Content+Technology Asia October-November 2017

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48 SOCIAL PAGES

03 NEWS Ideal Systems Buys IPK Broadcast Systems, Singtel-Ericsson to Launch 5G Centre, AsiaSat 9 in Orbit, Broadcast Solutions Singapore Office, News24 Transforms Bangladesh News with Sony, iflix Boosts Exec Team, CCTV Deploys Aperi, HanoiTV Second HD Channel.

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FEATURES 14 TAKING STOCK Mobile Video Flattens, Artel Establishes Board of Advisors, NAGRA Reveals Pay-TV Challenges.

15 STANDARDS SMPTE Approves ST 2110 for Pro Media Over IP.

16 ACQUISITION Taiwan’s Infinity

Multimedia Realises 4K HDR with Sony, Cooke Anamorphic/i Lenses Capture Shanghai Skyline, LEXUS Hits the Road with Blackmagic, ‘Game On’ for Tokyo’s Assemblage and URSAMini Pro, New Product from IBC2017.

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20 SPORTSCASTING Fox Sports Australia

Merges with Foxtel, Hotstar Cricket Coverage Scores with VR/AR, Gold Coast Diaries, Sportscasting Tech from IBC.

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

33 POST-PRODUCTION Little Red Ants

with Uber Vietnam, Animal Logic Open Source, Siggraph Immersed in VR, Cinema 4D Turns 19, Conductor Cloud Rendering, Blackmagic’s Audio and KeyKode Scanning.

36 AUDIO Mediacorp Joins RƎLAY Team for Virtual Mixing, Radio Free Asia Closes Phnom Penh Bureau, Radio Tech at IBC.

40 RADIO India Adds Transmitters to

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

42 CONTENT DELIVERY J:COM Chooses Ericsson for Next-Gen TV, Taiwan Broadband Deploys Harmonic, AsiaSat Delivers ‘Sophia TV Asia’, New Content Delivery Technology.

28 MEDIA IN THE CLOUD Aspera Tackles

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CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com

Mediacorp’s Miles of Files, plus Media Management Nirvana, Glyph Atom Storage, Avioon FLICS and JOBS, Object Matrix Process in Place, Facilis Scales Up.

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EDITOR’S WELCOME

The Shift in Viewing

CHANGES IN MEDIA CONSUMPTION HABITS continue apace with appointment television going the way of the Betamax, and the DVD and PVR on shaky ground.

Smartphone viewing also continues to gain ground; approximately 70 percent of consumers now watch videos on a smartphone – double the amount from 2012 – making up a fifth of total TV and video viewing.

According to Ericsson’s eighth annual ConsumerLab TV and Media report, the growth of on-demand viewing will continue to soar through to 2020, making up almost half of total viewing. In addition, 50 percent of all TV and video viewing will take place on a mobile screen (tablets, smartphones and laptops), an increase of 85 percent since 2010, with the smartphone alone accounting for almost one quarter (an increase of nearly 160 percent since 2010). Meanwhile, VR will be on the road to becoming mainstream, with 1 in 3 consumers becoming VR users by 2020.

Of course, it should be no surprise the report found that it is 16-19-yearolds who watch the most content each week (33 hours), an increase of almost 10 hours a week since 2010. However, more than half of this demographic spend their time watching content on-demand, with more than 60 percent of their TV and video viewing hours spent on a mobile device screen.

However, close to 60 percent of viewers now prefer on-demand viewing over scheduled linear TV viewing, an increase of around 50 percent since 2010. The average number of used on-demand services has increased from 1.6 in 2012 to 3.8 services in 2017 per person; 2 in 5 consumers already pay for on-demand TV and video services today and nearly a third (32 percent) say they will increase their on-demand spending in the next 6-12 months. Portability is also becoming increasingly important factor, with more than a third of consumers wanting access to content when abroad.

As those who have spent too much time scrawling through endless carousels of options will tell you, consumers might have more access to TV and video services than ever before, but the average time spent on searching for content is increasing - to almost one hour per day - an increase of 13 percent since last year. In fact, 1 in 8 consumers believe that they will get lost in the vast amount of available content in the future.

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With the user experience becoming ever more fragmented, the report says 6 in 10 consumers now rank content discovery as “very important” when subscribing to a new service, while 70 percent want ‘universal search for all TV and video’.

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There has also been growth in the time spent watching TV and video content - an all-time high of 30 hours a week (that’s a full-time job in some countries – mostly the semi-socialist, European countries). That 30 hours includes active viewing of scheduled linear TV, live and on-demand internet services, downloaded and recorded content, as well as DVD and Blu-ray.

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By Phil Sandberg

That last item might be a challenge, not only in terms of technology, but also in terms of vested financial interests. For example, It’s doubtful Netflix would work with iFlix to build a universal “VOD EPG", but stranger things have happened.

Thanks for reading Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414 671 811

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Ideal Systems Buys IPK Broadcast Systems

SES Video Expands APAC Team TWO NEW SENIOR APPOINTMENTS will bolster SES Video’s growth strategy and enhance support for the evolving needs of video and media customers in the fast-growing Asia-Pacific video market.

In an announcement by SES, SES Video has welcomed to the fold experienced industry professionals Yew Weng Soo as Vice President, Sales & Market Development and John Huddle as Director, Market Development, for Asia-Pacific.

Yew Weng Soo brings more than 25 years of industry experience to his new role at SES Video, driving business strategy, commercial activities, and the creation of new, value-added solutions for customers in Asia-Pacific. Yew

right when we need them, and also gain access to a number of new technologies which will allow us to serve existing customers better and provides us with some new products, customers, and services,” said Fintan McKiernan, CEO of Ideal Systems South East Asia.

[L-R] Peter Tang, IPK; Fintan Mc Kiernan, Ideal Systems; Kim Poh Tan, IPK. “We have enjoyed running IPK and keeping it profitable and debt-free over the years. We’re delighted that Ideal Systems are incorporating it into their business. With fourteen offices across Asia, Ideal’s larger regional reach will provide stronger support for our existing customers, and their better economies of scale will provide more opportunities to grow the business further,” added Peter Tang, MD of IPK Broadcast Systems.

Visit http://idealsys.com and www.ipk-broadcast.com.sg previously helmed media service provider Globecast’s Asia business, where he assumed responsibility for setting its strategic direction and managing business development. He has held a range of senior sales, marketing and business roles with satellite operators Intelsat and Loral CyberStar, and communications solutions provider Verestar.

John Huddle is tasked with developing new business opportunities across the region and driving strategic relationships and ventures with key stakeholders, including customers, governments, regulatory bodies, vendors and service providers. In a career spanning 15 years, Huddle has led regional market development and driven customer engagement strategy for satellite operator Intelsat and mobile satellite communications company Thuraya.

Visit www.ses.com

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IDEAL SYSTEMS HAS ANNOUNCED it has acquired Singapore based IPK Broadcast Systems, a systems integrator, distributor and supplier of broadcast, audio-visual and communications equipment. The acquisition will see the staff and daily operations of IPK move to Ideal Systems’ new larger Singapore offices by the 1st of November.

Established in 1982, IPK Broadcast Systems has built up a successful business and reputation providing technology solutions for the radio, television and multimedia industries in the ASEAN region. After the move in November, Peter Tang and Tan Kim Poh, who have run IPK since 1999, will remain for a period of time as advisors to Ideal Systems, ensuring a smooth transition of IPK’s business and to ensure there is no disconnect or disruption to the sales, marketing and support services for IPK’s existing customers, while key IPK staff will join the Ideal team in Singapore.

“This is a highly strategic deal for Ideal Systems in South East Asia as it consolidates our position as the leading Broadcast Systems integrator in Singapore while creating value by catalysing the growth of our new commercial A/V division across the region. We gain some fantastic new experienced staff

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NEWS + PEOPLE Singtel, Ericsson to Launch 5G Center of Excellence APAC TELCO PROVIDER SINGTEL AND ERICSSON will jointly establish a Center of Excellence (CoE) to facilitate 5G development and deployment in Singapore. 5G, the next-generation mobile network technology, is expected to roll out globally from 2020 and will deliver massive connectivity, ultra-low latency, gigabit speeds, and enable advanced applications such as smart cities, Internet of Things (IoT), augmented reality, and autonomous vehicles.

Co-funded by Singtel and Ericsson with an initial investment of SGD$2 million over the next three years, CoE aims to spearhead the development of Singapore’s 5G mobile network infrastructure to support future Smart Nation initiatives. It will also be open to Optus, and Singtel’s regional associates across Asia and Africa to encourage knowledge sharing within the Singtel Group.

An integral part of CoE’s strategic goal is also to help industries and enterprises understand the value of 5G in transforming their business and the importance of shaping their long-term planning. This first-of-its-kind collaboration in Singapore will feature four pillars: upskilling, demos, live field trials and collaborations with tertiary institutions.

Mark Chong, Group Chief Technology Officer, Singtel, says, “This is a critical next step in our journey to 5G. We’re pleased to partner Ericsson to enhance our 5G core competencies and create a robust 5G ecosystem that will allow

Singtel and our enterprise customers to benefit from the anticipated growth opportunities 5G will bring. We invite customers in various verticals, such as transportation, port operations and next-generation manufacturing, to start shaping their new digital business models with us.”

Activities will kick off in the later part of 2017, starting with Ericsson providing 5G expertise and conducting workshops, followed by field testing and hands-on experience to equip more than 100 Singtel engineers with critical competencies in designing and operating a 5G network.

5G demos will be set up in Singtel’s Comcentre headquarters to showcase future 5G application possibilities such as, immersive experience on Augmented Reality, enablement of haptic feedback in surgical operations, and remote medical education.

Starting in 2018, a mobile 5G test bed will be deployed to carry out live 5G field trials with key enterprise customers.

Singtel will also engage research and tertiary institutions on potential collaboration opportunities to test 5G radios and possible applications that can benefit from the high speeds and low latency provided by 5G. Visit www.singtel.com and www.ericsson.com

AsiaSat 9 Arrives in Orbit

Singapore Office for Broadcast Solutions GmbH

ASIA SATELLITE Telecommunications Company Limited (AsiaSat) has announced the successful arrival of AsiaSat 9 at 122° East on the 9th of October 2017, where it has commenced transmission and will maintain its operational position as replacement for AsiaSat 4.

FOR SEVERAL YEARS NOW, Broadcast Solutions has been active in the Asian region and has a strong customer base in the area. The company recently held the official opening of its Singapore office, with Joe Tan as Singapore office Manager and General Manager Asia Pacific.

AsiaSat 9 is now AsiaSat’s most powerful satellite, which generates a total spacecraft power of 20,700 watts. This new generation satellite, based on the SSL 1300 platform, is designed to provide multiple C, Ku and Ka-Band payloads for direct-to-home (DTH) television broadcast, video distribution, VSAT broadband networks and mobility services.

“I am delighted to report the AsiaSat 9 launch mission has progressed according to plan, and that the efforts of our mission team have come to result in the successful positioning of our largest satellite ever, serving the Asia-Pacific for the next 15 years or more at the key orbital slot of 122 degrees East,” said Andrew Jordan, President and Chief Executive Officer of AsiaSat. With features such as 110 watts C-band TWTA, special filter design, star tracker and hall-effect thrusters AsiaSat 9 is able to deliver an enhanced performance, higher efficiency and operational stability across a wider coverage of high growth markets in Asia. AsiaSat 9 has new Kuband beams including the world’s first Ku-band Myanmar beam, dedicated Indonesia and Mongolia beams in addition to two enhanced Ku-band beams serving Australasia and East Asia, and an AsiaPacific-wide C-band footprint.

Visit www.asiasat.com

Pictured here at the opening are: [L-R] Sandro Glanzer, Director - Special Events and Projects, Broadcast Solutions GmbH; CEO/Managing Director, Stefan Breder; Director Business Development, Peter Jakobsson; and Joe Tan, General Manager Asia Pacific.

The address of the new office is 10 Ubi Techpark, #07-43, Lobby C, Ubi Crescent, Singapore 408564.

Email: j.tan@broadcast-solutions.de Visit www.broadcast-solutions.de

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ASIAPACIFIC NEWS CHINA ERICSSON AND INTEL successfully complete the first 5G 3.5GHz multi-vendor Interoperability Developmental Test (IoDT) at a 5G field test in the Chinese capital of Beijing.

Ericsson’s 5G radio testbed and Intel’s 5G client test platform demonstrated excellent performance and stability. The field test is a significant milestone since China’s three primary operators have already announced plans to roll out 5G in the 3.5GHz band.

Ericsson’s 5G 3.5GHz radio prototype uses advanced radio technologies including Massive MIMO, multi-user MIMO, and beam-forming.

With beam tracking, Ericsson’s 5G radio prototype can accurately and quickly track the location and movement of the client devices in real time to ensure consistently reliable connections.

INDIA SKYLINE COMMUNICATIONS announced that Tata Sky has deployed the DataMiner NMS/OSS to manage its direct-to-home (DTH) operations.

Tata Sky is headquartered in Mumbai, India, with the objective of connecting to the best content in the world on any budget, any screen, anytime and anywhere.

The DataMiner NMS/OSS is deployed with the vast majority of DTH, satellite and service providers worldwide. The platform manages any type of device, from any vendor, using any protocol. For a customer like Tata Sky, this means it only needs invest in one NMS platform, instead of multiple proprietary and closed systems. End-to-end service orchestration and monitoring is at the heart of the platform.

BANGLADESH THE RENAISSANCE GROUP has launched Bangladesh's first kids-only channel. Available online, Duronto TV (Bangla for 'restless' ) will broadcast programmes focused on children’s entertainment. Programming will cover such topics as travelling, magic, science, sports, family, toys, and more.

SINGAPORE

NEWS + PEOPLE

SKYLINE COMMUNICATIONS announces the opening of a new office in Singapore to further support the continuous growth in the APAC region. This new and strategic Skyline hub will spearhead all customer-facing services for the APAC region, from sales consultancy, contract fulfilment, through to operational support.

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“DataMiner manages digital terrestrial television networks across Vietnam, the Philippines, and Singapore, all the way down to and across the vast territories of Australia.

Leading corporations such as Singtel, ABC, NBN, Broadcast Australia, Telstra, Tata Communications, myTV and Mediacorp, all rely on DataMiner to manage some of the most critical broadcast and media platforms,” commented Ben Vandenberghe, CEO at Skyline Communications.

JAPAN

VIETNAM

FACILIS ANNOUNCED THAT CRAZY TV, a post production facility based in Tokyo, recently installed a large shared storage network as part of a major facility expansion to support the increase in 4K work from its customers.

ATEME ANNOUNCES THAT VNPTI, a subsidiary of Vietnam Posts and Telecommunications and the biggest satellite transmission service provider in Vietnam, has deployed its Kyrion encoders and decoders to cover the APEC (AsiaPacific Economic Cooperation) 2017 event in Da Nang during November this year.

VNPTi will benefit from the video compression technology and bandwidth efficiency, while also maintaining video quality for viewers.

ATEME’s encoders and decoders were already adopted by VNPTi for its DSNGs in the past, and this previously successful experience led VNPTi to use ATEME’s contribution technology to transmit its full package of bandwidth and uplink services to both Vietnamese and international broadcasters.

For the installation, Crazy TV turned to systems integrator, Itochu Cable Systems, a one stop provider of broadcast, audio and telecommunications equipment.

MALAYSIA VERIMATRIX ANNOUNCES THAT Malaysiabased digital entertainment group, WebTVAsia, has deployed the Verimatrix Video Content Authority System (VCAS) for Internet TV as the underlying framework for its video-on-demand (VOD) service. From its own managed platform, WebTVAsia delivers engaging millennialfocused content over-the-top (OTT) to multiple countries in Asia. Independently audited, VCAS for Internet TV addresses the company’s core technical requirements and enables future opportunities for growth.

WebTVAsia’s VOD service is offered incorporating a free-to-view fee structure, relying on advertising to generate revenue.

Advertising capabilities are supported by Verimatrix partner,

Itochu Cable Systems procured a fibre channel and ethernet connected system of 384TB total capacity. Eleven 4K and HD editors will be connected with 16Gb fibre-channel, while another 57 clients will have access via gigabit ethernet.

AUSTRALIA US-BASED CBS CORP is to acquire Australia’s Network Ten. In addition to core linear channel TEN, the deal includes DTT channel ELEVEN (already 33% owned by CBS), DTT channel ONE, and digital platform, TENPLAY. CBS will also launch CBS All Access, its subscription VOD service into Australia.

Network TEN Receiver and Manager, and PPB Advisory Partner, Christopher Hill stated, “Network TEN has played a significant role in Australia’s media landscape over many decades, and the sale of the business to CBS will allow the iconic broadcaster to move into a new chapter on a strong and stable footing.”

HONG KONG

By way of background, in the context of the licence renewal exercise of TVB, the CA took note of the increasing demand from persons with hearing impairments for the provision of sign language interpretation for news programmes. Taking into account the representations TVB made at that time in response to such demand, the CA considered it prudent to conduct a review, to be completed within two years from the commencement of TVB’s renewed licence.

NEW ZEALAND THE NEW ZEALAND RACING BOARD is reviewing its production of live broadcasts.

The NZRB's Vision Capture project aims to design and implement a long-term strategy for how racing footage is captured.

NZRB CEO John Allen said, "Our fleet of outside broadcast (OB) vehicles are nearing end-of-life and if vision is lost, even for a short time, the impact on betting revenue is significant."

NEWS + PEOPLE

TO MEET DEMAND for easier access to information by people with hearing impairments, the Hong Kong Communications Authority issued a direction to Television Broadcasts Limited to provide sign language interpretation for Cantonese news programmes broadcast on its Pearl Channel each day, with effect from July 2018.

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NEWS + PEOPLE News24 Transforms Bangladesh’s News Coverage STAYING AHEAD IN TODAY’S MEDIA environment means getting your stories to air faster. With social media increasingly driving breaking news stories, news production requires streamlined workflows and an efficient use of resources. Building a brand new TV station from scratch is both challenging and rewarding, as discovered recently by East West Media Group in Bangladesh.

Part of the Bashundhara Group, one of the largest conglomerates in Bangladesh, East West Media Group (East West) launched a 24-hour news channel aptly dubbed News24 in March 2016. Slightly shy of its first anniversary, the fledgling TV satellite station is already making a big impact on its viewers.

liked Sony XDCAM’s concept of workflow innovation, and its potential to accelerate our HD newsgathering and distribution in more ways than one.”

With XDCAM HD422 as its selected workflow, News24 acquired a wide range of Sony equipment for its TV operations. This included HD XDCAM compatible cameras: the HSC-100/100RF, HDC-P1, PMW-400, PXW-X160, and PXW-X70.

Forming the backbone of its studio operations, the HSC-100/100RF is rated as one of the best studio cameras.

It incorporates 1.5Gbps optical fibre technology and is equipped with 16-bit A/D conversion circuitry and 2/3-inch CCDs – delivering superb picture quality for signal transmission over a long distance.

For its outdoor coverage, News24 chose the PMW-400, PXW-X160 and PXW-X70 camcorders – compact but big on performance.

With a population of over 160 million, Bangladesh is the world’s eighth most populous nation and is home to one terrestrial TV station and 28 satellite TV stations. Access to TV in both urban and rural areas is at an impressive 90 percent.

News24 also invested in the XDCAM Deck as well as the PMW-RX50 mobile recorder.

The RX50 plays and records Full HD XAVC Intra and XAVC Long GOP, as well as MPEG HD 422 50Mbps, MPEG HD 420 35Mbps, MPEG IMX and DVCAM, making it the ideal companion deck for XAVC camcorders.

With a network-led market liberalisation sweeping across the People's Republic of Bangladesh, TV viewership in the country is growing rapidly. It is against this crowded landscape that News24 was launched to cater to an audience looking for quality news coverage – both local and global.

“Launching a brand new TV station has its benefits,” explained Rakib Alam, Deputy Head of Broadcast at News24.

“For starters, we had no legacy issues to contend with. We chose Sony as a partner to build a TV station that is flexible, scalable and cost-effective, and ready to meet the challenges of tomorrow’s evolving media environment.”

Drawing on Sony’s track record of building and equipping many of the world’s TV networks, News24 worked closely with Sony to choose the right equipment and provide technical expertise, and to help implement an efficient file-based workflow.

After careful review, News24 selected XDCAM HD422 as the preferred platform as it met many of the station’s stringent requirements – especially in the area of speed, content sharing and forging a collaborative network.

“The future of broadcast production will depend on broadcasters harnessing the potential of a streamlined networked media workflow,” said Alam. “We

Another key initiative was the implementation of Sony Optical disc Archive – a Blu-Ray optical disc based storage system that is impervious to temperature changes, dust, is water resistant and offers a shelf-life of 100 years.

News24 acquired the ODS-L30M, a 30slot master library unit that forms the basis for the PetaSite Optical Disc Archive scalable library for broadcast, post-production, editing and desktop operations.

“To succeed as a 24-hour news broadcaster you need more than just content,” concluded Alam. “You need a technology partner that will keep you up to speed at every turn. We see Sony as more than just an equipment provider. We also see Sony as a solutions expert that helps us deliver better returns and navigate an evolving media landscape confidently.”

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

NEWS + PEOPLE

Nautel Radio Transmitters Power India’s ‘Building for a Billion’ Project

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TRANSMITTER MANUFACTURER NAUTEL has announced receipt of final acceptance on a large transmitter project involving the commissioning of 27 digital-equipped medium-wave transmitters throughout the country of India.

The project, which was initiated in 2013 by Prasar Bharati for All India Radio (AIR), has been titled ‘Building for a Billion’, with the goal of bringing digital radio broadcasting to more than a billion residents of the country.

power (100 – 300kW) Nautel MW transmitters, each equipped for DRM30 transmission, at 27 separate sites throughout the country. Nautel has shipped another order of six transmitters to AIR, which will further expand the reach of the digital network across 33 sites. Nautel deployed the transmitters in association with its in-country partner, Comcon, along with Altronic providing RF test loads, Digidia providing DRM modulators/content servers, and Kintronic Labs supplying matching systems for the project.

AIR’s digital broadcasting system, the largest in the world, uses high-

Visit www.nautel.com

Māori TV Goes HD, Launches New HQ NEW ZEALAND’S MĀORI TELEVISION has formally opened new premises at 433 East Tāmaki road, South Auckland. The new HQ was launched in a ceremony attended by NZ’s Minister for Māori Development, Hon Te Ururoa Flavell, and other Members of Parliament, iwi, local community representatives, schools and industry partners. The day began with dawn karakia (greetings/prayers) – Te Tā i te Kawa – led by local kaumātua (Māori elders).

Chairman of the Māori Television Board, Georgina te Heuheu, says the opening has been an important opportunity to celebrate the new facilities with the south Auckland community - as well as key stakeholders, including the newly formed Te Mātawai organisation which represents iwi (Māori nation/tribe) and Māori interests in the revitalisation of te reo Māori (the Māori language).

“Our role of normalising the Māori language and culture, taking it into the homes of all New Zealanders via multi-platform devices – supports the language revitalisation efforts undertaken by Māori language communities, nationwide,” said Ms te Heuheu.

“Our new building has a modern layout, providing collaborative working spaces for staff. It provides the space and flexibility to encompass new platforms and technologies to support Māori Television’s purpose of revitalising te reo Māori in a fast changing digital environment. The building provides value for money, has access to arterial routes and to the airport and proximity to Māori communities and facilities.”

Māori Television has also launched High Definition transmission as part of its multi-platform strategy. The project is funded by a dedicated Budget 2016 allocation of NZD$10.6m.

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

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

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

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

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

Visit www.maoritelevision.com

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NEWS + PEOPLE

The NewTek IP Series

9

NEWS + PEOPLE iflix Boosts Executive Team STREAMING SERVICE IFLIX continues to grow the expertise of its executive team with the appointment of Jonas Engwall as iflix’s Head of Asia, and Anil Jhingan as the company’s Chief Commercial and Financial Officer.

With more than 14 years’ experience in broadcasting and television, Jonas Engwall was the founding CEO of RTL CBS Asia Entertainment Network where he spearheaded the launch of two of the company’s channels across 19 Asian markets. He also served as Vice President at RTL Group Asia (RTL), where he led the Group’s expansion into India and Asia, which included the launch of RTL’s Indian Channel. Prior to RTL, he was instrumental in the expansion of Modern Times Group’s free-to-air television business into emerging markets in Eastern Europe. iflix Co-founder and Group CEO, Mark Britt commented, “We love Jonas’ reputation in the industry as both a disruptor and innovator. He will be critical to deepening our distribution relationships and continuing to evolve our product through Asia.”

Mr Engwall added, “I am thrilled to join iflix as we enter the next stage of growth and transformation, with a focus on innovating the iflix service, drawing from the best of both Video on Demand and Linear television in its evolution as the future of Pay TV.” Previous Head of Asia, David Goldstein, shifts to a new role as non-executive Chairman of iflix Asia working closely with iflix Group CEO, Mark Britt.

Meanwhile, new Chief Commercial and Financial Officer, Anil Jhingan, brings over 17 years of experience in the pay TV, media and entertainment sectors, having held various executive positions at Sky plc, 21st Century Fox and News

Corporation. He has also served as a nonexecutive Director of iflix since March 2016.

Jhingan has extensive international experience in corporate and business development, financial planning, mergers and acquisitions and commercial partnerships across Europe, Asia, the Middle East, Australia and South America.

In his role as Group Director of M&A New iflix Chief Commercial and Financial Officer, Anil Jhingan. and International Development at Sky, Jhingan led the US$9 billion acquisitions of Sky Italia and Sky Deutschland, which established Sky as Europe’s leading entertainment and communications business.

Visit www.iflix.com

ON THE MOVE Edwin Foong has started a new position as Sales and Marketing Manager at Nextrend Systems Sdn Bhd. He was previously Product Marketing Engineer at Panasonic Malaysia Sdn Bhd. Yew Weng Soo has started a new position as VP, Sales & Market Development, SES Video, APAC at SES Satellites. He was previously Managing Director at Globecast Asia.

Amos Lim has started a new position as Head of Contribution - Asia at Globecast Asia Pte Ltd. He was previously Director of Broadcast Sales at Ascent Media.

Chepy Kurniawan has started a new position as Director of Operations at PT. Sinar Metrindo Perkasa. He was previously General Sales Manager at PT. Pacific Satelindo System Pte, Ltd. Jonathan Triboulet has started a new position as Director APAC Operations at Skyline Communications. He was previously Sales Director at Village Island.

Md.Shah Jahan Rahman has started a new position as Manager, System Admin at ATN News Ltd where he was previously Senior System Admin.

Sudheer Warrier has started a new position as AGM MCR Operations at Network18. He was previously Senior Manager at Times Network.

Vikneswaran Subramaniam has started a new position as Service Delivery Advocate at Harmonic. He was previously in Technical support and Project delivery APAC at Thomson Video Networks.

Naveen Kapoor has started a new position as Head, Newsroom, WION NEWS at WION (World Is One News). He was previously Consulting Editor at iTV Network, India.

Felix Ho has started a new position as Shift Supervisor Broadcast Operations at SPTL Holdings Singapore Pte.Ltd. He was previously Senior Broadcast Operations Officer at SPTL Holdings

Quasir Saleem has started a new position as Manager Satellite Operations at HUM Network, Pakistan. He was previously Manager Satellite Operations at Capital TV Raoul Cospen has started a new position as Business Development Director, Cloud and Saas at Dalet Digital Media Systems. He was previously General Manager Asia Pacific at Dalet Digital Media Systems.

Christopher Tay has started a new position as Deputy Director at SP

Group. He was previously Regional Sales Manager at International Datacasting.

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

NEWS + PEOPLE

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NEWS + PEOPLE Big Data Takes Centre Stage at ATF Summit ASIA TV FORUM AND MARKET (ATF) has announced a major focus on big data at its ATF Leaders’ Summit, a gathering of decision makers that will mark the start of the four-day event taking place from the 28th of November to the 1st of December, 2017.

futures to the fore. Amid an industry climate where new channels and formats are creating new playing fields, these findings are key to success.

Through television and online viewing, consumers generate large amounts of data.

Using analytics, businesses can leverage this information to gain understanding of audience behaviour and preferences. With Asia being one of the media world’s fastest growing regions, ATF Leaders’ Summit’s focus on big data aims to uncover Asian consumer inclinations, to enable regional and global content players to tap opportunities.

• ‘Marrying the Right Data with the Right Content’, where Pablo Gomez, Regional Head (APAC) of Kantar Milward Brown will reveal insight on the right data-and-content combination for successful brand strategies.

Yeow Hui Leng, Senior Project Director of ATF and ScreenSingapore said, “In the face of rising Asia, the ATF continues to build on our position as the region’s leading platform for the content industry. To this end, our conference constantly evolves and adapts to provide fresh insight pertinent to thriving in today’s content business. For this reason, the ATF Leaders’ Summit will place a spotlight on big data, which has become the foundation for guiding investment and strategy.

Through these sessions, executives will gain a clearer picture of a region and its audiences that thrive on disruption, to create competitive advantages for themselves.”

ATF Knowledge Partner to Kickstart Conference ATF’s Knowledge Partner, Kantar, will reveal hard-hitting insights at ‘The Future of Content’. Led by Stephane Alpern, Managing Director (APAC) of Kantar Futures, the invitation-only breakfast networking session will bring foresights, trends and

HanoiTV Expands with Etere to Support Second Channel

Socialbakers’ Founder to Deliver Exclusive Address on Big Data Completing the big data picture, the ATF Leaders’ Summit will host global Forbes ’30 Under 30’ lister and Founder of Socialbakers, Jan Rezab. A well-reputed social media analytics expert, Jan will delve into some of the most debatable aspects of modern business justification for strategies and decisions, and share some of the lessons many have yet to learn from.

With fresh statistics about APAC consumers and relevant case studies, the ATF Leaders’ Summit will enable decision-makers to implement the right roadmap for the year ahead, as disruptive technologies, changing customer expectations and regulatory scrutiny continue to transform the content business.

Visit www.asiatvforum.com

CCTV to Deploy Virtualised Aperi Platform CHINA’S STATE TELEVISION BROADCASTER, China Central Television

installation to drive a second HD channel. In 2015, HanoiTV selected

(CCTV), will implement the media virtualisation functionality of Aperi’s

Etere to manage the media lifecycle of its media asset management

IP-based live media processing platform. The broadcaster will use the

scalable solution that was also reliable. Etere MERP connects all departments, streamlines operations and optimises digital media for its production, transformation and distribution. Etere’s distributed architecture ensures a fault-tolerant and fault-resilient performance.

platform to deliver over 120 bi-directional links of high bandwidth, low-latency 4K, 3G-HD and SD media between its current and former headquarters in Beijing, some 15km apart.

As CCTV adapts to the changing nature of today’s media landscape, it must address new challenges of growing codec standards, increased bandwidth and channel counts, as well as differing video formats and the movement

The installation included Etere Media Asset Management (MAM),

of generic IP data traffic across networks. This new Aperi-based network

Playout Automation, Transcoding, HSM Archive, EtereWeb, Proxy

will provide instantly interchangeable SMPTE 2022 gateway functions, high

Browsing and Executive Scheduling. With the delivery, HanoiTV has commissioned an expansion of its Etere system to drive a second HD channel that requires a similar configuration.

quality J2K and H.264 compression, and transparent channeling of IP traffic.

The implementation – which includes the SMPTE 2022-7 hitless protection mechanism – also enables CCTV to add future IP and video format demands instantly, without needing additional cabling or hardware. Aperi’s live media

The latest installation comprises additional modular solutions for the

processing virtualisation platform is integrated with a floating license scheme

management of the second HD channel. It includes Etere Memory with

which optimises the infrastructure for CCTV’s multi-tenant network usage

Automation, OTT Delivery and Etere Main/Backup Redundancy Switch.

and lets them deploy the network for any number of program or production

The integration among the modules ensure files move efficiently across all departments and work in unity. Etere Memory features dynamic media logging capabilities that record and store transmitted media files in a low resolution format, and comes equipped with Etere Player for Windows and HTML5 player for web. Additionally, HanoiTV is also equipped with Etere OTT Delivery which simplifies the export of content to over-the-top platform

NEWS + PEOPLE

• ‘Is Advertising Dying?’, a panel discussion on whether content is the way for brands to connect with consumers. Here, Kantar will be joined by prominent industry names, along with significant players in the ecosystem.

HANOITV VIETNAM has confirmed an expansion of its Etere

and playout system. The TV station required an integrated and

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This will lead into the opening session of the ATF Leaders’ Summit conference, where Kantar will stage a two-part ‘Big Picture Panel’:

providers while ensuring accuracy of all contract terms and media format requirements.

Visit www.etere.com

scenarios. This means CCTV can simply load new software micro-services or applications within seconds.

Efficient connections are the foundation of live production infrastructures.

During the planning stages of the installation, CCTV undertook extensive testing of multiple transport solutions, but opted for Aperi due to its speed and low-latency.

This network follows Aperi’s announcement it would open its first office outside of the USA. The Australian office in Melbourne has been set up so Aperi can better service clients in Asia-Pacific.

Visit www.apericorp.com

IBC 2017 PREVIEW

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

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

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

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

predictions for e-sports in the future.

Disruption has increased cordcutting as consumers abandon TV screens. It has also increased opportunities for rights holders and broadcasters to provide meaningful interaction for the modern sports fan. The importance 18th Editionof developing a connection between a sport and

its fans cannot be underestimated.

IBC will investigate how sports and media rights can be exploited using tools available now. From

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

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

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

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

IF IT’S ASIA, IT’S ATF.

the broadcasting of events to the

evolution of alternative formats for traditional sports, IBC’s panellists will engage the crowd with their expertise in fan engagement.

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

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

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

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

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

Visit https://show.ibc.org

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2/10/17 9:57 am

TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Mobile Video Flat After 22 Strong Quarters OOYALA HAS RELEASED ITS Q2 2017 Global Video Index, revealing video consumption on mobile devices stayed essentially flat in the second quarter of 2017. This quarter’s report also tracks global variances in video consumption including greater Q/Q growth for tablet viewing, mobile growth in global markets, as well as emerging trends in online video advertising.

Long Form Video Consumption Continues Mobile Migration For the second consecutive quarter, long-form content – greater than 20 minutes in length – now represents the majority of time spent watching video across all screen sizes, with mobile devices being the platform of choice between 2.4 to 3.3 times more than personal computers.

Much of this is due to the increasing amount of premium content services are now making available to all devices. As longer content becomes more prevalent, an increasing number of users – across all demographics – are as comfortable watching long form content on smaller screens as they are on big screens. They’re simply watching more content generally.

By device, data finds long-form content now represents: • 96% of all time spent watching video on connected TVs, down from 98% the quarter before.

• 82% on tablets, up slightly from 81% in Q1.

• 53% on computers, down from 65% in Q1.

• 53% on smartphones, down from 55% in Q1.

Global Video Consumption Mobile viewing continues to be a major driver of OTT growth, despite the plateau in growth in Q2 2017. Although mobile plays were dominant in every region, Ooyala found that mobile plays in Asia pacific made up nearly three quarters of all plays at 72%, the highest in the world, a 21.9% variance in consumption over North American viewers. EMEA at 12.6% and Asia Pacific at 14.1% saw the highest percentage of tablet plays.

Regionally, the study found: • In EMEA, mobile plays represent 57.7% of all video plays, up from 54.1% in Q1.

• In North America, mobile represents slightly more than half of all video plays for the fourth consecutive quarter.

• In APAC, 72% of all video plays are on mobile, up from 61% in Q1.

• In LatAm, mobile plays topped 56%.

• After consecutive quarters of mobile play share increasing 7.5% in Q4 2016 and 8.4% in Q1 2017, mobile this quarter grew just 0.1%.

“Today’s video consumers are looking to complement or replace their traditional video entertainment sources, driving the increasing amount of original content that is being pushed over the top to audiences who want it when, where, and on any device they choose,” said Ooyala Principal Analyst and Strategic Media Consultant, Jim O’Neill. “That content increasingly needs to go out globally, to markets that often speak different languages, have different social mores, even government regulations. The space is getting more complicated, the stakes higher and the need for smart solutions more pressing.”

More Q2 2017 Global Video Index Highlights: Mobile growth in emerging markets – specifically APAC and LatAm, where mobile plays totalled 72% and 56% respectively – continue to gain access to premium content as the price of smartphones and mobile bandwidth declines.

Developed markets like North America (50%) and EMEA (57.7%) see mobile maintaining a lion’s share of online video plays as millennials turn to mobile devices first for content.

Visit www.ooyala.com

Artel Establishes Strategic Board of Advisors ARTEL VIDEO SYSTEMS, today announced the establishment of a Board of Advisors and welcomes Brian Cab and Eric Pfaff as Advisors.

Brian Cabeceiras brings 36 years of executive leadership experience spanning sales and marketing, systems, strategy, and technology in the media and entertainment technology supplier industry. Prior to joining Artel’s Advisory Board, Brian was Chief Strategy Officer for Imagine Communications and Chief Technology Officer for Harris Broadcast Communications. Brian brings a wealth of ‘Fortune 500’ operational experience to Artel from his career at Sony Broadcast, Tektronix/Grass Valley Group, Seachange International, Leitch Technology and Harris Broadcast-Imagine Communications, and was instrumental in corporate growth with over $1.5B of successful M&A activity.

Eric Pfaff has over 36 years in executive leadership experience in the media broadcast industry. He has been instrumental in the vision, entrepreneurialism, and application of innovations in the video transport sector. Prior to joining the Artel Board of Advisors, Eric was co-founder of Beers Enterprises/The Switch, and served as Executive Vice President and Treasurer. He co-founded Beers Associates, a media systems integration solutions company, and served as President. Eric also co-founded and served as a partner in TX Media.

Artel has also announced the acquisition of intellectual property from ARG ElectroDesign. The transaction provides Artel with core IP Brian Cabeceiras.

Eric Pfaff. switch technology from the Quarra 1G and 10G IP Switch family. In addition, Artel will take over the Automatic Repeat Query (ARQ) product line, which serves Reliable Internet Streaming Transport (RIST) for video applications.

In April, Artel announced an exclusive partnership to distribute both product lines in the North America. As a result, Artel will now manufacture and distribute the Quarra and ARQ product lines from its North American headquarters.

Visit www.artel.com

TAKING STOCK

NAGRA Reveals top Pay-TV Challenges

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NAGRA, IN PARTNERSHIP WITH MTM, has announced the full edition of 2017 Pay-TV Innovation Forum which examines the state of innovation in the pay-TV market. The 2017 report identified three key challenges facing the industry worldwide:

• Changing consumer behaviour and demand: 82% of executives agree competition in the pay-TV industry will increase over the next five years, with 71% believing service providers will struggle to grow their businesses during the same period.

• The proliferation of cheaper OTT services: 67% of executives agree competition from subscription VOD services will have a negative impact on pay-TV, pushing down prices and increasing churn, with 66% agreeing we will see a new wave of mobile-first services catering to consumer viewing habits.

• The rise of content piracy: 50% of executives believe piracy will lead to greater pressures on the industry over the next five years (up from 41% in 2016) with online streaming, peer-to-peer downloads and IPTV piracy cited as the most important forms of piracy affecting content owners.

Visit https://dtv.nagra.com

TECHNICAL STANDARDS www.content-technology.com/standards

SMPTE Approves ST 2110 for Pro Media Over IP SMPTE HAS ANNOUNCED the approval of the first standards within SMPTE ST 2110, Professional Media Over Managed IP Networks, a new standards suite that specifies the carriage, synchronisation, and description

agreed to make available to SMPTE as a contribution toward the new suite of standards.

Services Forum (VSF) Technical Recommendation for Transport of

SMPTE ST 2110 standards make it possible to separately route and break away the essence streams – audio, video, and ancillary data. This advance simplifies, for example, the addition of captions, subtitles, and teletext, as well as tasks such as the processing of multiple audio languages and types. Each essence flow may be routed separately and brought together again at the endpoint. Each of the component flows – audio, video, and ancillary data (there may be multiple streams of each type) – are synchronised, so the essence streams are co-timed to one another while remaining independent.

Uncompressed Elementary Stream Media Over IP (TR-03), which VSF

Visit www.smpte.org

of separate elementary essence streams over professional internet protocol (IP) networks – in real-time – for live production, playout, and other professional media applications.

With SMPTE ST 2110 standards, ‘intrafacility’ traffic can be all-IP, which means organisations can rely on a common data-centre infrastructure, rather than two separate facilities for SDI and IP switching/routing. The foundation for the first SMPTE ST 2110 standards came from Video

HbbTV Association Announces v9.2 Test Suite

Klaus Illgner, Chairman of the HbbTV Association said, “Designed to enable compliance with the current HbbTV 2 Specification, the v9.2 test suite

contains new tests that were prioritised by UK broadcasters, and we are extremely pleased to announce its release. The newly released test suite is another step toward improved services and advanced consumer features, reinforcing HbbTV as the global standard for delivery of broadcast and broadband services via connected TVs and set-top boxes.”

HbbTV Test Suite releases contain both fully approved test cases and preview material. Version 9.2 of the HbbTV test suite contains 1909 HbbTV test cases, of which 1492 are approved for testing conformance.

Visit www.hbbtv.org

TECHNICAL STANDARDS

THE HBBTV ASSOCIATION, a global initiative dedicated to providing an open standard for the delivery of broadcast and broadband services through connected TVs and set-top boxes, recently announce that version 9.2 of its test suite. The aim of this release is to support the certification of devices coming to market in 2018 for all versions of the HbbTV standard. The Test Suite is available to be used by any organisation through one of the Registered HbbTV Test Centres, or directly by HbbTV members.

15

ACQUISITION www.content-technology.com/acquisition

ACQUISITION Taiwan’s Infinity Multimedia Realises 4K HDR with Sony

This year, the company recorded a Mayday concert at Kaohsiung in the Southwest of Taiwan. The aim of the project was to capture the highest picture quality possible – 4K HDR – so that the footage could be used for future projects, such as a feature film. Infinity was mindful of the contrasting lighting used at the live concert and the issue of overexposure. After careful consideration, they decided to film the concert with Sony equipment, utilising S-Log3 and HDR XAVC format.

“We realise the potential that HDR brings and our customer was also keen for another breakthrough in live concert production,” said Lin Jiawei. “With Sony’s S-Log3, it helps bring out images in HDR beautifully. Not only does it improve the recording clip quality, the format also allows our postproduction unit to reproduce a better video.”

To support recording of 20 channels of 4K/HDR content, Infinity deployed a range of Sony equipment. This included nine 4K/HD system cameras, eight Super 35mm 4K CMOS sensor compact CineAlta cameras, one 4K/HD pointof-view camera, two 4K Super 35mm Exmor CMOS sensor XDCAM cameras and the 4K TRIMASTER EL OLED critical reference monitor.

INFINITY MULTIMEDIA PRODUCTION (Infinity) has over 30 years of media expertise and provides the latest offering to the Taiwan broadcasting and content creation market. Striving to constantly improve themselves by acquiring the latest technical knowledge and equipment, Infinity aims to satisfy the growing and ever-changing demands of the industry. This includes pioneering work in 4K HDR content.

“It is a challenging landscape for us but we constantly push our limits and work with partners to ensure that we are at the forefront of development.

At the moment, we see the lack of adoption of 4K in the Taiwan market and it is difficult to expand the market,” said Lin Jiawei, Vice President, Infinity Multimedia Production. “Nonetheless, we are glad that we have customers who understand the true value and the possibilities 4K HDR can bring to viewers.”

At the heart of the production was Sony’s workflow. Capable of converting into numerous broadcasts and delivery formats in real-time, the workflow delivered 4K HDR and HD SDR simultaneously with an HD-based production system.

This was important to Infinity as the company needed to broadcast live in SDR while ensuring the HDR format was available for post-production.

To ensure the success of this first 4K HDR live production in Taiwan, Sony Professional Solutions Taiwan put together a team to provide expertise, training and on-site assistance, including specialists from Japan HQ and Hong Kong.

“In a live environment, we cannot afford mistakes,” said Infinity’s Lin Jiawei. “To us, Sony is the epitome of reliability and never fails to deliver ground-breaking innovation to the industry. Together with my crew at Infinity, we look forward to more collaboration and surprises from Sony in the near future.”

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

Cooke Anamorphic/i Lenses Capture Shanghai Skyline WHILE LANGUAGE BARRIERS POSED some initial challenges for the Chinese and international crew and cast of S.M.A.R.T. Chase – the new action thriller produced by Bliss Media and starring Orlando Bloom – the choice of camera and lenses did not.

S.M.A.R.T. Chase stars Orlando Bloom as a washed-up private security agent who has to escort a valuable Chinese antique out of Shanghai. The film was directed by Charles Martin and shot by DP Philipp Blaubach using Cooke Anamorphic/i lenses on ARRI ALEXA digital cameras to capture the modern architecture and night-time skyline of Shanghai.

“I use Cooke S4/i lenses a lot, but this was the first time I had used the Anamorphic/i set,” said Blaubach. “I was keen to shoot anamorphically as I love the size of the canvas and the opportunity to play with the frame, especially when you have an ensemble piece with multiple characters. You can use foreground, mid-ground, background, it’s so interesting – you can have long non-dialogue scenes and let the action play within the frame so you don’t need to cut or pan that much.”

ACQUISITION

Charles Martin, directing his first feature film, was excited about the opportunity to shoot anamorphically, but also had some concerns.

16

“We thought at first that it would be more expensive,” said Blaubach, “or that it would make a difference for VFX. For example, if you use vintage lenses with lovely imperfections, romantic fall offs round the edges and distortion, they can be a problem for the VFX people. We decided to see what was available in China and find a set that had that character – the whole reason for using anamorphic – but not to the point of causing problems.”

Blaubach and Martin obtained a set of Cooke Anamorphic/i lenses to test, and found they gave all the required character without any of the issues.

“Some anamorphic lenses have a strong barrel distortion but Cooke must have done something to correct this because the lines are much straighter, which was very good for shooting in the city where you have horizontal lines of skyscrapers,” he said. “We did look at some other, newer anamorphic lenses but they were so clean and sharp and perfectly corrected that they had lost all the artefacts that people like, such as the ‘squashed’ bokeh – you wonder why people would use anamorphic lenses without those characteristics. That said, we didn’t want the archetypal ‘Asian action movie’ blue flare, and the coating on the Cookes eliminated flare nicely.”

Blaubach also knew that there was a lot of night work involved where he would need to shoot wide open, which isn’t easy with all anamorphic lenses.

“Some of them go a bit mushy, but the Cookes were very sharp,” he said. “The night shoots featured the exciting ambient lighting of Shanghai from shop windows, street lamps and neon advertising, with lots of different colour temperatures, and even wide open we could really see the detail.”

Blaubach also used Angenieux Optimo zooms which “cut very well with the Cookes, it was a good combination for second unit work.”

Visit www.cookeoptics.com

ACQUISITION

LEXUS Hits the Road with Blackmagic KEI TAKAHASHI, A CAMERAMAN and founder of Tokyo-based KID Co. Ltd., recently employed Blackmagic Micro Cinema Cameras and Video Assists to shoot a web movie for the new LEXUS LC500.

To bring out the attractiveness of the car, the production shot the car driving along the stunning Angeles Crest Highway in California. Shot using a number of cameras, including six Micro Cinema Cameras, the movie captured the intense nature of California and the LC500 powerfully running through the curvy road from various angles. Along with the Micro Cinema Cameras, Takahashi used two Video Assists for monitoring.

As Takahashi explained, “We temporarily blocked about four kilometres of the road for the shoot, and let the LC500 run the four kilometres. When the car came back to the starting point, we started shooting again. We repeated this several times. It took 15 to 20 minutes for each round, and we only had one day to shoot the entire movie. And since we were at an external location, we had to finish while the sun was out.”

The Micro Cinema Cameras were set using a single Kei Takahashi, founder of Tokyo-based KID Co. Ltd. pipe across the car with grips. Tripod mounts were schedule for this project was very tight, it was very beneficial to shoot many installed via the grips, where three Micro Cinema Cameras were mounted. angles at a time.

Another Micro Cinema Camera with a suction cup was stuck to the window on the driver’s side, while the last was installed near the driver’s foot. With this “I work with Murakami, the director of this project, for other projects. The Micro setup, Takahashi was able to shoot five angles such as the speedometer, the Cinema Camera has become a real stable for us for use on car related jobs. driver’s hand, gas pedal and a number of other specific features of the car in For car commercials, small cameras are often used by installing them in a car action. Takahashi used another Micro Cinema Camera to shoot a vertical size like this project or mounted on a head. However, the picture quality of those movie. cameras usually did not look good, and is missing richness in the picture. We “The director and I were thinking that it would be interesting if we put the Micro are shooting something luxurious, so we want the image to match that. The Cinema Camera rotated in 90 degrees on top of another camera when shooting Micro Cinema Camera, on the other hand, can capture a rich image and is easy the LC500 from the camera car. The idea just came up and we decided to shoot to match with other cameras,” concluded Takahashi. the vertical size movie in case we could use the footage for something,” said In addition to the Micro Cinema Camera and Video Assists, Blackmagic Design’s Takahashi.

DaVinci Resolve was used for on set grading, with the final post production “The Micro Cinema Camera’s advantage is its compact size. It can be installed process completed in Japan. where regular cameras cannot fit. The main advantage that allowed me to shoot the vertical size movie was that it can be rotated in 90 degrees. As the

Visit www.blackmagicdesign.com

‘Game On’ for Tokyo’s Assemblage and URSA Mini Pro

Tokyo-based production company, Assemblage, recently picked Blackmagic’s URSA Mini Pro 4.6K and DaVinci Resolve with DaVinci Resolve Mini Panel for gaming giant Riot Games’ latest video project.

Riot Games is a California-based video game developer, publisher and eSports tournament organiser, famous for its signature title game, League of Legends.

The Tokyo-based multicultural production company, Assemblage, recently shot and handled post-production on Riot Game’s new corporate and recruit video.

Alexandre Bartholo, CEO of Assemblage and DoP for the project, said, “Firstly, I was planning to use just one camera for this entire project, but time was short. I wanted to capture shots from various angles. Plus, I recently began using the ARRI Master Anamorphic lens set. I thought how can I get the most from these? So, I decided to add another camera – the URSA Mini Pro. The URSA Mini Pro was used to capture close ups and B-roll. The entire shoot was shot in URSA Mini Pro’s anamorphic mode and in 23.98fps, except for the B-roll which was shot in 40fps.

“I mostly handheld the URSA Mini Pro as we did not have time to put it onto a tripod. Shooting B roll in slow motion makes a somewhat cleaner handheld shot and makes looks more interesting,” said Alex.

“While I was shooting, I mostly used the URSA Viewfinder, which was easy to

use and the colour is accurate. I like the physical controls on the camera where I can change white balance, LUTs and ND filters while looking at my picture via the Viewfinder. Also, the de-squeeze button on the camera is very useful when shooting in anamorphic.”

While shooting, the URSA Mini Pro was always on stand-by so that he could get B-roll anytime.

“One of the great aspects of the URSA Mini Pro is its compactness. Everything is built in and easy to carry around. It was hard to use other cameras for B-roll as it needed a lot of rigging to attach before you could really start shooting, and it was then too heavy and no longer good for hand held B-roll shooting.”

“I have used the original URSA Mini, too, and I liked it, but the biggest benefit of the new model for me is the built in ND filters and swappable mount.

Even though I wanted to use a PL mount for this project, I may need to use EF lenses for some documentary shoots, so it is great to swap lens mounts depending on my work. Also, I am more comfortable using built in ND filters than having external ND filters as I can’t be entirely sure I am blocking an equal amount of IR, which can be a big deal in post-production as black can become a little bit tinted. So, having a camera with internal ND filters, I can be sure black is black.”

For colour grading, Alex used DaVinci Resolve Studio and the new DaVinci Resolve Mini Panel.

Visit www.blackmagicdesign.com

ACQUISITION

WITH BUDGETS AND REVENUES eclipsing many feature films, video games have long drawn on cinematic techniques to enhance the player’s experience.

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ACQUISITION

Cooke Optics Reveals Latest Lens Innovations COOKE OPTICS unveiled its latest lens developments during IBC2017, incorporating the S7/i and Panchro/i Classic ranges, as well as two true front anamorphic zoom lenses for the Anamorphic/i series.

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

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

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

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

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

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

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

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

Visit https://cookeoptics.com

DTC Launches AEON-TX Wireless 4K Transmitter IBC2017 saw DTC Domo Broadcast (DTC) launch AEON-TX, a new HEVC transmitter for wireless 4K UHD video. DTC Domo Broadcast Sales Director, JP Delport said, “It is exciting to watch the development and possibilities of POV cameras for live broadcast: UAV use, virtual and augmented reality, 360 camera viewing, and IP delivery. However, it is the increasing adoption of UHD and HDR on a global scale that is really compelling.

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

wireless camera system portfolio.”

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

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

Visit www.domotactical.com

Vislink Showcases HEVC 4K UHD Wireless Camera XG TECHNOLOGY showcased its new HCAM during IBC2017, an HEVC 4K UHD camera transmitter. HCAM was among the products for broadcast, sports and entertainment being jointly presented by Vislink and IMT. HCAM represents the next generation of HEVC 4K UHD on-camera wireless transmitters for broadcast, ENG and prosumer cameras due to its highly flexible and configurable mounting options and intuitive video interfaces. HCAM permits 4K UHD wireless video with a 70ms latency via Vislink’s RF modulation.

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

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

ACQUISITION

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

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docking V-Lock and Anton/Bauer battery plates with integral power feed through.

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

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

Visit www.vislink.com

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ACQUISITION

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

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

same control and automation as large broadcasters.

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

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

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

Both the

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

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

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

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

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

Visit www.br-remote.com

MSE’s MyWay Grip MATTHEWS STUDIO EQUIPMENT featured its new rigging system, dubbed the MyWay Grip, at IBC2017.

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

MyWay Grip rigging system was designed to eliminate these challenges.

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

customisable set up with unlimited possibilities.

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

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

Visit www.msegrip.com

Capture Full-HD with Marshall’s CV225 IP67 MARSHALL ELECTRONICS CV225 IP67 lipstick camera made its IBC debut this year. The CV225 utilises the latest light sensor technology in a compact weatherproof design, while maintaining broadcast video standards. The CV225 is suitable for professional broadcast television applications including sporting events, reality television, broadcast trucks, and weather vehicles. Marshall worked closely with professional video and systems integrators to improve

the first generation CV200 lipstick camera. The second generation CV225 IP67 lipstick camera incorporates those improvements, offering greater image clarity, enriched colours, enhanced low light performance and the added ability to remotely adjust without reliance on-screen display menus.

Visit www.marshall-usa.com

Miller’s Skyline 90 Makes its Debut

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

balances heavy camera loads.

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

Visit www.millertripods.com

ACQUISITION

MILLER FLUID HEADS featured the Skyline 90 Fluid Head at IBC2017. Designed to meet the challenging conditions of outside broadcast, the Skyline 90 supports payloads of up to 75kg and features robust, all-alloy, heavy duty construction.

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Foxtel Merges With Fox Sports Australia

SPORTSCASTING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SPORTSCASTING

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

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

Visit www.broadcastwirelesssystems.com

Eleven Sports Singapore Selects Ideal

Arqiva Extends AsiaSat Lease

ELEVEN SPORTS SELECTED IDEAL SYSTEMS for live sports production of the 2017 Merlion Cup international basketball tournament, held in Singapore’s OCBC Arena from September 20th to the 24th.

MEDIA SERVICES COMPANY, ARQIVA, has extended its lease for C and Ku-band capacity with AsiaSat for sports content delivery across the Asia-Pacific.

Ideal Systems conducted extensive field trials for its new Hybrid-IP live sports production system in Singapore. The field trials included producing live match coverage of the recent soccer friendly between Singapore and Hong Kong and as well as Singapore’s Asian Cup qualifier against Turkmenistan for Eleven Sports Singapore. Both matches were streamed live to Eleven Sports Singapore’s Facebook page and have amassed over 170,000 views.

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

The Merlion Cup saw basketball teams from China, Korea, the Philippines, Chinese Taipei and Indonesia battling it out over five days. Live coverage will be streamed direct to the SportsSG YouTube Channel and broadcast on Live TV both nationally in Singapore and internationally. Ideal will be deploying its latest JVC HD IP cameras and new Hybrid IP production system which incorporates graphics, timers, slow motion replay, and commentary all in IT based solution. The production system from Ideal also includes the Dejero encoder that can stream via the Dejero Cloud direct to YouTube and to the Dejero Broadcast Server at the Eleven Sports Singapore studio for distribution to national and international TV networks.

Visit http://idealsys.com and http://elevensportsnetwork.com

The agreement will see Arqiva’s continued use of AsiaSat 5 to deliver a broad range of sporting events to Asian viewers, from football and cricket, to volleyball and tennis. The new agreement also provides Arqiva the option of using Ku-band capacity on AsiaSat 7, allowing additional flexibility in the deployment of smaller antennas for occasional use and live events.

David Crawford, Managing Director, Satellite and Media at Arqiva, said, “In addition to our continued commitment to provide services in the Asia-Pacific region, this lease extension with AsiaSat gives Arqiva and our customers true flexibility for future live events. Our on-going strategic partnership with AsiaSat reinforces our commitment to providing premium occasional use services in the market.”

Barrie Woolston, Chief Commercial Officer of AsiaSat said, “We are delighted to support Arqiva with an expanding range of high quality capacity, enabling Arqiva to enjoy great flexibility and efficiency for delivering the best possible content distribution solutions to their clients.”

Visit www.asiasat.com

SPORTSCASTING

Hotstar Cricket Coverage Scores with VR/AR INDIAN OTT BROADCASTER, HOTSTAR, is an online video streaming platform owned by Novi Digital Entertainment Private Limited, a wholly owned subsidiary of Star India Private Limited. The service offers 50,000 hours of TV content and movies across 8 languages, and every major sport covered live.

Early this year, Hotstar launched a new virtual set and a myriad of augmented reality graphics for its live online coverage of Indian Premiere League cricket matches.

The photo-realistic AR and VR studio graphic elements were designed by Kenneth Tsai, head of design firm, Dotconnector, and created with the latest workflow solutions from Vizrt.

A new Viz Virtual Studio system – complete with a series of custom onscreen looks – was installed at sister company Star Sports’ main broadcast facility in Mumbai. Other Vizrt tools chosen to support the new studio include: Viz Artist, a real-time 3D graphics design tool that allows designers to build complete virtual sets, complex 3D animations and lower third graphics (e.g., sports scores and late-breaking sporting news), Viz Arena, a real-time image-based virtual graphics platform, and the Vizrt Social TV solution, used to schedule and display social media posts from viewers.

“Our goal with the new Vizrt technology is to gain a competitive advantage over traditional TV programming by offering viewers new types of storytelling – including larger graphics and unique camera perspectives – that truly engages our viewing audience,” said Ajit Mohan, President, Hotstar. “This includes content for consumption on mobile phones, an increasing trend in India. The addition of data visualisation (via AR) to present unique analysis, insights and player statistics is another step in that direction.”

“The new virtual set and the Vizrt graphics tools give us endless possibilities for how we can cover professional cricket with AR and VR in the studio,” said Viraj Verma, Senior VP at Star Sports and Head of the Studios and Production. “It’s important for us to tell our stories to audiences with the latest techniques in data analysis, and through the use of cutting-edge augmented reality and virtual reality graphics.”

TIED-TO-PITCH VIRTUAL ADVERTISING Viz Arena is used in the Star Sports studio in Mumbai to place virtual AR graphics (including tied-to-pitch advertising and visual analysis tools) over live video supplied by the governing body of the IPL tournament to provide the best coverage for its online and OTT viewers.

“We’re seeing an increasing number of sports broadcasters around the world using our advanced VR and AR graphics systems to help distinguish their programs from the competition and it appears to be helping them gain market share,” said Manish Aggarwal, Managing Director, Vizrt India Pvt Ltd. “We are truly excited to be working with Star Sports as we feel confident this will trigger other prospective customers in the region to present their programs in a more creative way. Star Sports is a real pioneer in the region.”

Now that the new VR studio is available for on-demand viewing, Verma said they plan to use it for more than 140 hours of programming this year alone for a show called “Cricket HotSpot” on the HotStar OTT service.

“Vizrt technology was instrumental in creating original programming and leveraging the real-time data to develop AR elements and various attractive on-screen looks we’ve chosen for our programs,” he said. “Today’s sports coverage whether on TV or OTT has to stand out in order to attract viewers and we can use Vizrt’s technology to accomplish great things in the future as well.”

Months prior to the launch of the new virtual studio space, Kenneth Tsai was called in through the help and support of the local Vizrt office, who helped evaluate and set up the onsite installation and training of system operators.

Star Sports installed its first Vizrt 3D graphics systems in 2013, which are used daily throughout the year on several different programs.

See a clip of Hotstar live OTT sports production with Vizrt at https://vimeo. com/232820421 Visit www.vizrt.com

MultiDyne Unleashes High-Density Fibre Transport immediately converts the two corresponding BNC copper connections on the back panel to video inputs. In dual-receiver mode, the corresponding BNCs automatically convert to video outputs. Transceiver SFPs are also supported for maximum operational flexibility.

From there, users can mix any combination of optical and copper connections to achieve the desired balance of inputs and outputs. The VF-9000 automatically recognises the SFP module connections, and transitions to the proper configuration upon coming online. A robust multiplexer feature effortlessly combines 18 signals over one single-mode fibre for efficient, highdensity signal transport.

The higher signal density is for customers working in ENG, sports production and other applications with high channel counts. Users can support up to 36 video signal conversions across HD, 3Gb/s and 12G from one unit, with automatic configuration of all inputs and outputs based on several parameters.

For example, in dual-transmit mode, each front-panel optical module (SFP)

The VF-9000 also differentiates itself from competitive systems by offering two hot-swappable AC power supplies to establish redundancy, eliminating the need to fiddle with external power supplies in fast-paced live production environments.

Visit www.multidyne.com

SPORTSCASTING

MULTIDYNE FIBER OPTIC SOLUTIONS used this year’s IBC Show to introduce the VF-9000 fibre transport frame. Housed in a compact 1RU, and available in 18- and 36-channel versions, the VF-9000 is designed to address a growing need for higher signal density, format flexibility and operational versatility in a fibre transport platform.

Users aren’t strictly limited to video – VF-9000 systems can mix in audio, ethernet, reference and other data signals based on specifications at the time of order, with plans to enable hot-swappable functionality for any card and SFP in future releases. Likewise, the VF-9000 strengthens operational versatility by enabling signal regeneration and wavelength shifting within the same frame.

A web-based GUI ensures visibility of signal health and conversion status across all inputs and outputs, as well as internal parts such as fans and power supplies.

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SPORTSCASTING

The Gold Coast Diaries – Chapter 6

By Jeff Coleman WEDNESDAY JUNE 13 2017.

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

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

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

We’ve also finalised the specialist aerial cinematographic equipment we’ll be using, including minicams, railcams, and cineflex units (mobile camera facilities) for both our lead ground vehicles as well as the helicopters. That inventory

is being worked into our aerial radio frequency (RF) service planning. We’ll be drawing on the expertise of our NEP colleagues in Finland, along with technology developed in Europe specifically for events that take place over long distances and varied terrains (think Tour de France and other European championship cycling). It combines robust modulation and coding for high quality, stable images, even in tough environmental conditions, using RF signals relayed to pressurised aircraft.

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

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

On the subject of spectrum and telecoms, workshops are underway with Optus, who has designed a bespoke dark-fibre network to transport video and audio services, including commentary from 15 competition venues plus the Athletes Village. Optus is also delivering connectivity for telephony, internet, and cloud services across all competition sites. All up there are 27 multilateral feeds from competition venues, as several have multiple fields of play and therefore more than one multilateral feed. Led by Mark Ahern, our Head of Broadcast Infrastructure, and Andrew Angeli, Head of Commentary Systems, we’re holding weekly meetings to work through the fine detail of the network Optus has

On-Air Graphics Solution NEWBLUEFX HAS RELEASED the Titler Live 3 Broadcast on-air graphics solution. Designed to run on a laptop, Titler Live 3 Broadcast allows any broadcaster with an SDI, NDI or HDMI connection to make graphics from a variety of inputs, including spreadsheets, sports (such as Datalink and SportZcast) and social media.

Capabilities of Titler Live 3 Broadcast include: • Runs on both Mac and Windows devices. Titler Live 3 Broadcast allows broadcasters to generate multi-layered, 3D animated graphics, delivering complex designs, with glints, loops and crawls through an intuitive design interface.

SPORTSCASTING

• Leverage After Effects designs through the AE Project Importer, then connect to any data source for dynamic, information-rich graphics.

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All of the above can be done through any SDI, HMDI or NDI connected device, allowing for unlimited graphic layers per channel, on up to 16 channels.

Other Titler Live 3 Broadcast features include: • Designs work across live and post-production environments.

• Create custom designs with 120+ effects, transitions and animations included.

• Add numerous channels at no additional cost.

• Select from a quick-start menu of 370+ included templates of lower thirds, titles, bugs and more.

• Support for StatCrew, SportZcast and DataLink.

• Support for RSS Feeds and Text File generators.

• Providing over 370 pre-made main title, lower third and bugs templates that are all fully customisable through the industry standard Title Designer – bundled in Avid Media Composer, Grass Valley Edius, and Premiere Pro.

• Built-in scoreboard tool for Football, Baseball, Basketball, Soccer, Volleyball, and many more.

• Broadcasters can connect real-time data to their designs from a variety of sources including spreadsheets, social media services, and sports data for instant, asynchronous animated updates.

• Extensible API for serving data and driving animation events from custom external sources, including HTML UI support.

• Independent layer updates (refresh elements of graphics independently).

Visit www.newbluefx.com

SPORTSCASTING

designed to carry broadcast traffic and data. Come Games time up to 100 Optus technicians will be working across the various locations.

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

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

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

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

prior to shipping in August.

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

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

Reliably transport video from remote locations with ease EnGo Mobile Transmitter Blending cellular and other available IP connections, the Dejero EnGo reliably delivers exceptional picture quality with extremely low latency–even in challenging network conditions.

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

www.dejero.com/engo

SPORTSCASTING

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

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

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SPORTSCASTING

Magna and NEP Announce Largest Australian Full IP RTS Talkback MAGNA SYSTEMS AND NEP have announced the largest ever installation of RTS IP talkback equipment in Australia. The talkback system forms part of NEP’s new Andrews Hubs, located in Sydney and Melbourne, and connects the hubs with sporting venues and OB trucks across the country via a highbandwidth IP network.

NEP Australia’s Director of Technology, Marc Segar said, “Once NEP committed to an all-IP ecosystem at the Andrews Hubs and in our four new all-IP outside broadcast trucks we began the search for the best IP-based technology. The RTS talkback system fits perfectly into the ethos of the hubs, as the keypanels with control over IP enable us to configure local keypanel settings and allows access to every panel remotely.”

NEP’s search for IP-based talkback began last year when Segar and his team, including Head of Audio and Communications, Salvador Santos, searched for systems capable of delivering their IP requirements.

Santos explained, “We wanted a decentralised system that could be flexible, and which would allow any studio to take on any of the broadcast comms responsibilities nationally. This meant equipping the hubs, our new hybrid OB trucks, and refurbishing the current OB trucks with the latest IP technology. For the talkback side, one person we asked for a proof of concept was Lucas Bohm, the RTS Product Manager at Magna Systems.

“We had experienced the new RTS ADAM-M matrix and new keypanels when they were installed in The Bunker at NEP’s Everleigh HQ last year, so

we knew they were good. Once we tested them to their limits it was clear the RTS solution met all our requirements.”

The decision to choose an RTS IP-based talkback system meant that both NEP hubs, the four new hybrid OB trucks and the refurbished current RTSbased OB trucks would have 100% RTS comms, which in turn meant the new system was not only the largest RTS installation in Australia but also the most advanced.

In total the system included multiple ADAM-M matrix frames with redundant power supplies and MCIIe control accounts, new OMNEO IP and Dante audio-enabled OMI32 32-channel and OMI48 48 channel cards to connect the keypanels, multiple TM10K Trunk Masters with redundancy between the trucks and hubs, RVON16 IP cards for the long-haul trunk lines, over 300 of the latest software optioned KP-5032, KP-4016, EKP4016 and DKP-4016 keypanels, 300 PH-88R5 headsets, multiple Roameo AP-1800 DECT wireless access points and TR-1800 wireless four-button beltpacks.

Segar concluded, “The ease of the RTS talkback system’s IP connectivity across one national network and being able to trunk all the ADAM-M matrices together on such a large scale was key in the purchase of this equipment and its fair to say we now have the very latest in IP talkback technology.”

Visit www.magnasys.tv

Bexel Launches Sideline Audio/Video Cart BEXEL RECENTLY ANNOUNCED the launch of its Sideline Audio/Video Cart in Burbank, California.

The cart is a plug-and-play solution for streamlining the acquisition of field audio and video feeds in all types of stadium sports productions. With its pneumatic tires and aluminium shell, the Sideline Audio/Video Cart can be deployed on the sideline or end-zone of a sports field, or anywhere requiring quick and easy connections for video and audio feeds.

The Sideline Audio/Video Cart is customisable and can be equipped to each customer’s specifications.

Since equipment can be pre-assembled in the cart, setup and strike times are greatly reduced. Staff costs are lowered because fewer technicians are required on-site, and they can arrive later to the venue.

The cart provides connections for single-mode fibre, SMPTE hybrid and copper

cables, and hydra cable assemblies, and it enables MADI audio as well as wireless audio and video transmissions. A built-in patch-bay makes it easy to monitor, troubleshoot, and manage signal routing.

The lightweight Sideline Audio/Video Cart can be moved into place and deployed in minutes by a single person, and it comes complete with integrated antenna poles, customised drawers for stowing gear, and a flat tabletop surface that can serve as an on-site workspace. The standard cart measures 183 x 120 x 91.5cm, providing ample rack space for shows of any size, and its rugged, weather-resistant housing protects gear in all conditions. The cart is powered via 110V outlet and provides an extended period of UPS backup power.

Visit https://bexel.com

Camera Corps Introduces Clarity Mini HFR 4K and HD Cameras CAMERA CORPS HAS ANNOUNCED an addition to its London based rental assets with the introduction of its own in-house-designed miniature high frame-rate camera for live broadcasting. The new Clarity range is designed to deliver real-time live output and high frame-rate SDI video replays into slow-motion servers.

SPORTSCASTING

The Clarity cameras are far smaller than traditional high speed broadcast cameras yet can capture high quality HD at up to 480 frames per second (8x real-time at 50p or 60p frame rate). Finished in black and measuring just 65 x 25 x 120mm, not much larger than a smart phone, the Clarity head is practically invisible to other cameras covering the scene. Image capture is via a seven megapixel micro four thirds sensor, custom designed to operate

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at high frame rates. The camera can also be genlocked and has a wide temperature tolerance, from -25° to +50°C, allowing outdoor use from winter sports to the hottest mid-summer events.

Completing the system is a full-functioned remote control panel with paint, focus, iris and zoom control. Optical fibre cabling allows easy setup and long-distance signal transport. Additional features include a positive-lock lens mount plus a global shutter with speeds of 1/60, 1/125, 1/500 and 1/1000 second. Sensitivity is 2000lux at F11 aperture. Video can be output in 1080p, 1080i and 720 formats at 50 or 59.94Hz. Visit www.cameracorps.co.uk

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NEWS OPERATIONS www.content-technology.com/newsoperations

Mediacorp Powers Up EVS Workflow THE NEWS WORKFLOW AT MEDIACORP’S new media campus in Singapore includes a deployment of EVS technology on a huge scale.

The EVS technical infrastructure at the campus includes technology for ingest, management, editing and output of content. There are six XS production servers ingesting content which are managed by several IPDirector live production asset management systems while ten Ingest Funnel applications allow for electronic newsgathering (ENG) crews to ingest additional content from camera cards.

“The scale of the technical facilities that have been implemented at our new Mediacorp campus is beyond anything we’ve done before,” said Norraine Yusof, SVP of Campus Technology Development at Mediacorp. “The technology we’ve installed for the newsroom, from ingest to playout – and the support and training we receive from EVS – was key to ensure our workflow operates seamlessly for our journalists and technicians.”

The core of the infrastructure relies on 42 XTAccess transcoding and transfer engines and eight additional servers supporting the IPDirector and Xedio applications across the network. At the heart of the system is EVS’ XStore SAN storage – a 492TB system which has the capacity to store 12,000 hours of high-resolution or 20,000 hours of low-resolution content.

The solution deployed for the newsroom incorporates 280 Xedio Cutter applications which give users the ability to create a story framework for editors to pick up and edit using the IPLink for Adobe plugins which facilitates easy access to content within the network. Journalists can also edit content

themselves using one of the 170 workstations installed in the newsroom with EVS’ Xedio CleanEdit.

Once content is completed, another five XS servers take care of the playout of the programmes from the news production control room. All of the workflow’s 12 XS servers – whether for ingest or playout – are interconnected with a high-bandwidth media sharing network using two XHub3 systems from EVS. “Mediacorp didn’t want an infrastructure of disparate elements. The EVS-centric workflow that’s been delivered is a complete production chain – from start to finish,” said Olivier Heurteaux, SVP APAC at EVS. “By planning and rolling out a workflow in this way, the company’s production crews, journalists and editors have an easy to operate production workflow that outputs the highest-quality content possible.”

Visit https://evs.com

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

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

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

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

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

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

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

Telestream Announces Auto-Transcription Platform

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

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

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

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

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

Visit www.telestream.net

NEWS OPERATIONS

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

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NEWS OPERATIONS

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

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

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

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

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

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

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

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

Visit www.brainstorm3d.com

LiveU LU600 HEVC Solution LIVEU IS DRIVING live video, providing live video streaming for TV, mobile, online and social media. For the first time at IBC, LiveU demonstrated its LU600 portable transmission solution with the HEVC Pro card Integrating the LU600 with the new 4K HEVC/H.265 hardware-based encoder allows broadcasters and content creators to benefit from high video performance with bandwidth efficiency. The LU600 is set to offer the fastest file transfer, lowest delay and a high-speed bonded internet connection.

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

LiveU’s IBC studio set consisted of three cameras to capture live interviews, with special guests discussing the latest technology disrupting the industry and how this impacts business. In addition, there were two roaming cameras where hosts interviewed exhibitors and showcased their products. Each of these cameras were connected to LiveU’s LU600 HEVC units. The live feeds were then transmitted back to the BeTerrific production studio in New Jersey where the production was

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

LiveU also featured original programming streamed straight to Facebook Live.

Also showcased was LiveU’s live streaming device for the online media market, LiveU Solo. Solo allows users to live-stream directly to Facebook Live, Twitter, YouTube Live and other popular social media and online video providers. Solo is simple to manage and control remotely via a web interface or smart device.

LiveU also presented its Solo cloud production suite of services for cloud graphics insertion.

Visit www.liveu.tv

Mobile Encoder to be Shown by Quicklink

NEWS OPERATIONS

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

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

The Mobile Encoder has recently been used by Geo

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

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

Visit http://quicklink.tv

NEWS OPERATIONS

AVIWEST Uplink for Live Remote Production AVIWEST ATTENDED IBC2017 to showcase the latest developments in its digital mobile newsgathering ecosystem.

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

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

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

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

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

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

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

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

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

Visit www.aviwest.com

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

Providing the flexibility required in modern broadcast facilities, Rascular also revealed its new web panel capabilities at IBC2017. Alongside the flexibility that device independence provides, they also allow tight integration with live broadcasting to social media e.g. Facebook Live. Panels can be used in all modern browsers on mobile and desktop platforms. They also facilitate the remote control of services and equipment for pop-up and OTT channels and are ideal for integration with cloud-based encoding technologies.

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

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

Visit www.rascular.com

IP-Enabled LED Monitors

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

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

Visit www.cuescript.tv

NEWS OPERATIONS

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

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MEDIA IN THE CLOUD, STORAGE & MAM Aspera Moves Mediacorp’s Miles of Files

By Phil Sandberg 2017 HAS BEEN A BIG YEAR for Singapore’s national broadcaster, Mediacorp, with the launch of its new HQ in the city’s Mediapolis precinct.

As well as a new building and studios, there is a new “engine” under the hood in the form of a comprehensive file-based workflow.

Powering this engine are IBM Hybrid Cloud solutions, including IBM Aspera Orchestrator, part of the Aspera platform, which manages video and audio for more than 35 Mediacorp brands, including seven television and 11 radio stations as well as newer over-the-top (OTT) distribution systems.

Orchestrator now provides a common, streamlined solution for Mediacorp to collect, manage and distribute video across all systems, including on-premises systems and public clouds. Orchestrator helps manage more than 200 workflows and automatically handles parts of the process, such as encoding video for different formats, to help reduce manual tasks and speed time to market. In addition, IBM Aspera Faspex and Aspera Shares transfer files between internal sources, global sites and external vendors.

Planning

Distribution (Webportal)

Subtitling

Distribution (Toggle)

Distribution (GV)

MAM (Dalet)

“In terms of the overall goal, Mediacorp really wanted to improve their processes and modernise the operation and then position themselves for the evolving trends - not only being able to handle linear, but Over-the-Top more effectively. They wanted to lower their operational costs and reduce errors and effectively provide deterministic kind of errors and that’s where, when they just put out their tender, that’s what they were looking for in terms of workflow management and coordination. So naturally, we have quite a lot of experience with that with broadcasters around the world doing quite a number of large projects of similar scale, and we proposed Aspera Orchestrator.”

So, what is the scope of the Orchestrator implementation?

Compliance (Actus)

Distribution (Radio-Netia) Distribution (Radio-Zetta)

Non-linear distribution (Web, Toggle)

According to Steve Pollini, Vice-President of Technology Solutions with IBM Aspera, building new headquarters gave Mediacorp the opportunity to expand its use of Aspera solutions from that of high-speed file transfer to collaboration.

MEDIA IN THE CLOUD, STORAGE & MAM

Production (AVID)

Content, Metadata & Control Flows

The new IBM Aspera platform being used by Mediacorp now handles the end-to-end production process for video -- ingest, asset management, transcoding, quality control and distribution for various platforms, including linear programming on TV and radio stations and OTT systems. It helps manage the workflow sequencing, queuing and load balancing, while providing a comprehensive view and control point for different processes, users and subsystems.

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News PAM (EVS)

Ingest Folders

Scheduling (IBS)

Distribution

Production

Linear Distribution

Planning/Scheduling

News

Radio

all of their assets or the technical assets, but also effectively operate like an enterprise service bus which was quite central to the request that they had within their tender.

“The idea of the enterprise service bus is that you can tie it together, everything from program acquisition and scheduling, metadata processing, together with distribution, rights, ad sales, VOD planning and then, at some point, as they evolve, they can tie it into their finance and broadcast resource management systems.

“In addition to that, instead of kicking off the process and then waiting for something to pop out at the other end, they wanted a comprehensive endto-end view of everything that was going on in the system. So, instead of a request going from the scheduling system into the MAM and then it cascading through the system, everything started with a request from scheduling system which would invoke Aspera Orchestrator.

“In order to accomplish their end goals, we created approximately 250 workflows within Orchestrator and, of those, 50 of them are mainline workflows and the other 200 are what we call “sub-workflows”. Let’s say you were going to do transcoding for linear and you’re also going to do transcoding for Over-the-Top, the transcoding and QC portion of that could constitute a sub-workflow that could be called by each of the multiple mainline workflows.

So, once you design and build that, you test it, it’s like an object, a sub-routine, and you’ve got it and you can reuse it with other workflows.

“They have about 20 major subsystems and various vendor systems that they use for transcoding, QC, subtitling, their MAM, they have their own scheduling and planning system, media analysis, virus scanning, etc. The way a lot of folks in the past have tied these things together is via a scheduling system which would invoke the MAM and kick off a process that was sort of cascaded through till something popped out the other end and it was ready for feeding to the live system.

“By using Orchestrator as a hub, it knows the status of every step of every flow within the system. Therefore, we could create dashboards that management could use to know the status of the entire system. You would also know the status of any assets that were flowing through the system, whether it was successful, whether it was meeting their SLAs, or if there was a problem within the system. So, you have both management level dashboards and you have the normal, technical displays and dashboards that allow your technical staff to do investigation and to research it.

“One of the reasons I think that they appreciated what Orchestrator could bring is that not only would it be able to coordinate the workflows, manage

“I think the other positive aspect of Orchestrator is that it’s scaled along with their system and, even more importantly, it lets them reuse their resources continues p31>>

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

MEDIA STORAGE

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

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

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

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MEDIA IN THE CLOUD, STORAGE & MAM

Avioon Launches FLICS Transcoding and JOBS Orchestration Tool SOFTWARE MANUFACTURER AVIOON presented its FLICS video transcoding and JOBS file workflow solutions at IBC2017.

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

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

Visit http://avioon.com

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

USB-C (3.1) cable, and a

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

unique ‘3-2-1 Warranty’

For those requiring greater speed and capacity, the Atom RAID SSD is Glyph’s fastest solid-state drive. It combines a capacity up to 2TB with speeds reaching 860MB/s. It also easily fits into the user’s pocket. Available in 1TB or 2TB, every unit features two RAID-0 SSDs. Glyph Atom drives come pre formatted with HFS+ – Journaling and Time Machine ready. All Atom SSDs and Atom RAIDs come with both a USB-C to

USB-C to USB 3.0 cable.

They feature Glyph’s which includes full replacement for three years with overnight replacement in the first year, ‘Level One Data Recovery’ for two years, and ‘Advanced Data Recovery’ for the first year.

Visit www.glyphtech.com

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

MEDIA IN THE CLOUD, STORAGE & MAM

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

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

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

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

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

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

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

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

Visit www.digital-nirvana.com

MEDIA IN THE CLOUD, STORAGE & MAM >> continued from p28

to best advantage. For example, you can have a pool of transcoders. Then, depending on the nature of the content and the metadata associated with it, you can queue the content for transcoding, but you can also prioritise it.

In addition, if you’ve got something like it’s got to get through really fast, like news content, and you’ve got long form content that typically takes anywhere from 10 minutes to 30 minutes to transcode the program, you can reserve one or a couple of transcoders just for that and Orchestrator will automatically route the content to the high priority queue, which will feed it to the transcoders that are used for doing the short programs that have to get through basically instantaneously.”

of internal rules or regulatory issues, you’ve got to protect that content from users within the different groups. When you set up a Share is like setting up a project and you allow a certain group of users access to that and you can do that through say, Access Directory Permissions or LDAP (Lightweight Directory Access Protocol), and then that way you get to manage the permissions and control the access of that content internally. You’ve got both the external security, not allowing penetration into your network with your normal network security measures, you’ve also got a virus scanning and then internally, by using Aspera Shares, they control access to the content, depending on what group permissions you have.”

“Essentially, what we created for them was a fully integrated system to improve the processes and allow them to avoid the silos that they’ve had in years past with all these various subsystems effectively having manual handoff or watch folders between them to move content along through the system.”

Mediacorp also operates quite a number of radio stations. Are they utilising Aspera for that, or is that a completely separate silo?

In terms of security requirements, is the focus of that protecting content, protecting their whole system, or a bit of both?

“It’s actually both. As an example, anytime you receive new content or metadata from an outside party, the first thing that would happen is as that content would land within a DMZ, in a server, storage within a DMZ. Before that content can be moved into the broadcast zone, the production zone, Orchestrator would automatically have it virus scanned and if it passed it would then allow that content to be ingested into the production zone. If not, it would be quarantined, an alert would be sent to the relevant team to manually handle that content, and to potentially notify the folks that sent it to them.

“They actually have some fine-grained security requirements that you can’t handle with normal storage permission. So, what they did was they licensed Aspera Shares, which is effectively a web app which uses the Aspera transfer protocol to move content around, but it also allows you to control access to various places and content. So, let’s say, you’ve got a sports group, you’ve got a news group, you’ve got your regular other content for movies, etc., and because

“No, absolutely, it’s tied in through Orchestrator, right, because they’re using products like RCS Sound Software, Netia, Media software, and so that ties in, just like Harmonic, Vantage, EVS, Avid, you know, Grab Valley, Baton, Dalet, they all tie in via Orchestrator and that’s where Orchestrator serves as a functional enterprise service bus for them and provides all the workflow orchestration for all the processes and all the subsystems. That way they’ve gotten away from the silo approach that they had in the past.”

Does that allow different TV and radio channels to share content?

“Absolutely. Let’s say that the television station didn’t already have access to a piece of content, you’d be able to kick off the workflow to have a transfer from their radio system into the subsystem that handles all the video.

“They’re using Dalet for the MAM, so that also stores the metadata for everything and one of the things that Orchestrator does is it allows you to tie together, with the radio system, with the transcoder, et cetera, because they all have different metadata requirements and their APIs are all slightly different in terms of the way that they operate, and so Orchestrator facilitating that by acting as the glue and basically doing any transformations that are required of the metadata from one system’s format into another system’s.”

Visit www.asperasoft.com

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

THE CELEBRATION OF LIFE & TECHNOLOGY Telestream Live Capture 2.0 Focuses on Digitising Tape Archives

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Register online by 15 October 2017, & enjoy earlyversion bird discounts ofLive upCapture, to its solutions, has announced 2.0 of Lightspeed

TELESTREAM, THE PROVIDER OF digital media tools and workflow

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

Telestream Vantage ecosystem. Vantage enables automated capture, editing, multichannel video capture and processing system. transcoding, copying, and more, while Vantage Open Workflows allows these SA2017.SIGGRAPH.ORG/REGISTRATION processes to start early, even as files are being captured (growing). Lightspeed Designed to provide the fastest possible tape ingest workflows, Lightspeed Live Capture now supports high-density log and capture, with the ability to Live Capture also functions as an integral part of any enterprise live-to-VOD control and digitise four tape decks at once from a single system. Lightspeed workflow that includes Lightspeed Live Stream and Vantage.

Live Capture Sponsored by is a 1RU appliance capable of capturing 4 channels of HD-SDIOrganized by Telestream’s Vidchecker application can be used to verify video and audio or 1 channel of 4K/UHD into any high-quality video format required at frame quality, plus legality and correctness for a complete archival workflow.

SA2017.SIGGRAPH.ORG rates up to 60 fps. Its multi-tenant design enables one operator to control Vidchecker can run directly on the Lightspeed Live server with Live Capture. four channels, or four operators to each control a single channel, maximizing Visit www.telestream.net operational efficiency.

MEDIA IN THE CLOUD, STORAGE & MAM

The 10th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia

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MEDIA IN THE CLOUD, STORAGE & MAM

Object Matrix Unveils Process in Place OBJECT MATRIX SHOWCASED its extended ‘Process in Place’ (PiP) solution, along with other innovations at IBC this year Process in Place is a content aware feature developed by Object Matrix that reduces the processing needed to index and access content.

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

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

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

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

Visit http://object-matrix.com

Facilis Technology Debuts New Scale-up Options AT IBC2017, FACILIS showcased new Version 7.0 Shared Storage features for the first time in Europe. Included within Version 7.0 are the new Facilis Hub Server, a performance aggregator that can be added to new and existing TerraBlock systems, Open Storage Attachment that promotes generic storage partitions to Facilis Shared File System volumes, and a new browserbased, mobile compatible web console delivering enhanced workflow and administration.

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

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

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

Visit www.facilis.com

Imagine Products at IBC2017

MEDIA IN THE CLOUD, STORAGE & MAM

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

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

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

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

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

Imagine Products’ PrimeTranscoder also made its European debut at IBC.

Visit www.imagineproducts.com

POST PRODUCTION www.content-technology.com/postproduction

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

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

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

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

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

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

Visit www.animallogic.com

Little Red Ants Take Colourful Ride with Uber Vietnam

The growing, Singapore-based production house is responsible for producing multiple TVCs from various sectors – military, public service, fast moving consumer goods (FMCG), and more. Choosing to colour all their projects in DaVinci Resolve, Little Red Ants Creative Studio has grown from strength to strength to be one of the most trusted names in post-production in the region.

August 18, 2017 marked three years of Uber in Vietnam. In 2014, Uber started with Ho Chi Minh City. Since then, Uber’s service has been expanding fast and now offers rides in Hanoi and Ho Chi Minh City through multiple choices of safe and affordable modes of transportation (uberX, uberMOTO, UberBLACK and UberSUV); and has created hundreds of thousands of job opportunities. The new television commercial campaign celebrates the growth of Uber in Vietnam by tracing the trips of every day Vietnamese and showing how Uber is the best way to get around.

“Uber wanted to show that their service spanned all types of scenarios and situations, hence, we had to juggle with day, night, magic hour scenes, indoors,

outdoors and even inside the vehicles. So it was a mishmash of lighting conditions and trying to make the piece coherent. Utilising masks and the extremely powerful tracker in DaVinci Resolve, along with the robust colour tools, allowed us to selectively alter and tweak shots so that they matched from scene to scene along,” explains Darren Tan, owner of Little Red Ants Studio.

“At Little Red Ants, we believe good ideas and great people create the best works. Together with our clients, we constantly seek new ways to deliver top visual content. We rely on DaVinci Resolve as our go-to colour grading software because of the incredibly powerful set of tools that allow us to add finesse with colour,” explained Tan. “DaVinci Resolve also provides a very easy to understand and well-designed interface that makes the learning curve for beginners short. I also really like DaVinci Resolve’s flexibility when it comes to taking in various camera formats and codecs. Being able to edit, colour grade and master out makes it an indispensable tool in our workflow.”

View the Uber Vietnam TVC at https://player.vimeo.com/video/218099364 Visit www.blackmagicdesign.com

POST PRODUCTION

SINGAPORE’S LITTLE RED ANTS Creative Studio recently provided colour correction for an Uber Vietnam television commercial (TVC) using Blackmagic Design’s DaVinci Resolve.

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POST PRODUCTION

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

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

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

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

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

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

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

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

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

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

Visit http://optitrack.com

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

POST PRODUCTION

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

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

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

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Continuing its commitment to make motion tracking for immersive VR experiences

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

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

calibration over time.

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

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

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

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

Visit https://shotgunsoftware.com

POST PRODUCTION

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

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

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

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

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

Visit www.maxon.net

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

best possible audio capture. The capstan encoder

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

scan KeyKode from their film. KeyKode numbers

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

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

Visit www.blackmagicdesign.com/au

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

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

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

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

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

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

Visit www.conductortech.com

POST PRODUCTION

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

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

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

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AUDIO Digital soundwaves

www.content-technology.com/audio

Stagetec Asia on Sound Footing IT HAS BEEN A BUSY YEAR for Stagetec Asia, since its August 2016 acquisition from Salzbrenner by Stage Tec, the Berlin-based manufacturer of professional audio mixing consoles and matrix routers. Headed by Managing Director Advon Tan, Stagetec Asia handles accounts in the Southeast Asia/ Pacific region and oversees the distribution of Stage Tec products.

The company was recently called on by system integrator, VME Broadcast Sdn Bhd, to supply audio equipment for the newly upgraded TV production centre in the Parliament of Malaysia. The Parliament of Malaysia, which comprises The Dewan Rakyat (House of Representatives) and the Dewan Negara (Senate), recently underwent a major renovation through its entire facilities including its TV and radio production room.

The newly built facilities comprise a production gallery room, studio floor, and camera control room for two different locations – Dewan Rakyat and Dewan Negara. The production gallery was equipped with an audio delay unit by Sonifex, AX series monitor system by ADAM, and the first Aero Series in Malaysia from Linear Acoustic. The Aero Series processor provides audio tools measurement such as loudness, dynamic range control, upmixing, downmixing, plus ITU and EBU compliant loudness metering and logging.

Meanwhile, the studio floor and camera control room were furnished with a pair of ADAM AX series for audio monitoring. The studio floor was also fitted with a Sonifex ‘Record’ LED signalling device for the TV production studios.

Malaysia’s Houses of Parliament, Kuala Lumpur.

The Malaysian Parliament project follows that of Formosa Television’s Media City Campus in Linkou, Taiwan.

Formosa TV equipped its new studios with two Stage Tec Crescendo Platinum consoles, two Nexus Star DSP/Matrix Cores and four networked Nexus Active Stage Boxes.

The completely new Broadcast Complex at Linkou Facility has been installed with Stage Tec Crescendo Platinum consoles which feature 48 faders and can be freely configurable up to 500 audio channels or 128 sum busses.

The respective consoles are connected to large scale Nexus audio network.

The Crescendo Platinum’s large processing power allows for comfortable operation within a 96kHz sampling rate.

The project was undertaken in conjunction with Oceanic Technology Corporation, Stagetec Asia’s authorised distributor in Taiwan, led by Mr.Tim Tu, sales director of Oceanic Technology. Oceanic also worked with Stagetec Asia in Taiwan on an OB Van project for NEXT TV in Taipei during 2012.

Mr.Steven a TV sound engineer from FTV commented that he had “… never heard such a beautiful sound using a simple dynamic microphone which can processed a high dynamic range of audio.”

[L-R] Mr. Alvin, Sales Representative from Oceanic Technology Corporation; Mr. Chen, Fermosa TV Sound engineer; Mr. Henry, Project Director OTC; Mr. Advon Tan, Managing Director Stagetec Asia; and Mr. Cheng Chien Liu, FTV Chief Audio Director supervisor.

Managing Director of Stagetec Asia, Mr Advon Tan, said “Stage Tec once again has proven to provide a high quality, reliable, sustainable and flexible audio system in the Broadcast field. We are honoured to have Stage Tec system in FTV new broadcast complex and we are hoping that FTV staff will experienced a high quality and reliable product which can sustain through the years.”

Visit www.stagetecasia.com

Surround Audio Decoder AUDIO PROCESSOR MANUFACTURER ORBAN used the recent IBC Show in Amsterdam to announce the launch of its iMix 257 Surround Audio Decoder.

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

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The DSX 257 Surround algorithm processes true stereo signals (LR) to create a pleasing surround sound image and well-centred dialog. Completely compatible with matrix-encoded stereo signals (LtRt) including Dolby ProLogic, Dolby ProLogic II, and SRS Circle Surround, the DSX 257 Surround algorithm upmixes matrixed LtRt content to a coherent, spatially accurate 5.1 or 7.1 surround sound mix. Previously down-mixed DSX Surround and DTS Neural Surround (LtRt) content is completely restored to the original discrete 5.1 stems using DSX Surround.

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

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

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

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

Visit www.orban.com

GOING THE DISTANCE. TAKE YOUR CONSOLE ANYWHERE WITH RP1.

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

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

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

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

AUDIO

calrec.com

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AUDIO

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

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

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

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

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

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

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

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

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

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

Visit www.studio-tech.com

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

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

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

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

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

Visit www.orban.com

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

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

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

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

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

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

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

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

Visit https://ferrofish.com

AUDIO

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

device, Mac, or Windows computer.

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

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

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

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

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

The d:vice comes with interchangeable lightning and USB cables. Its MicroDot inputs allow the d:vice to be connected to all DPA capsules via the optional MMP-G preamp.

The d:vice Digital Audio Interface easily fits in the users’ pocket and is controlled through a remote application on any iOS device. A DPA app is available for download from the Apple App store. The app allows users to store gain settings and low-cut filters for ongoing use in dedicated presets. For security the DPA app allows settings to be locked.

Visit www.dpamicrophones.com

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

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

across the Nimbra platform.

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

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

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

Wohler a Class Monitor WOHLER TECHNOLOGIES exhibited its latest audio and video monitoring, metering, and IP solutions at IBC2017. Wohler had its entire range at the show, including the iAM Series of IP-based audio and video monitors. its AMP1-8-M, AMP1-2SDA, and new modules for its AMP2-216V Series.

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

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

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

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

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

Wohler also showcased its low cost audio monitoring solutions, including

Visit www.wohler.com

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

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RADIO The original broadcast media

www.content-technology.com/radio

Mediacorp Joins R3LAY Team for Virtual Mixing MEDIACORP HAS INSTALLED 50 newsroom production workstations equipped with Lawo R3LAY mixing software at its newly-built “Mediopolis” in Singapore.

using off-the-shelf PCs. The R3LAY line includes VRX8 8-fader and VRX4

“Broadcasters today are all buzzing about ‘Virtual Radio.’ Lawo has been pioneering virtualization for nearly a decade, so it’s no surprise that Mediacorp chose our virtual radio mixer solution for their new facility,” says Boon Siong Tan, Lawo’s South East Asia Sales Director.

software.

Mediacorp’s new media center hosts facilities for 12 radio and eight TV stations, as well as originating a number of online streaming channels. The centrepiece of this new facility is a 30,000-square-foot central newsroom, designed around an open workspace concept that allows reporters, producers and talent to create content at dozens of production workstations.

4-fader Virtual Radio Mixer, VPB Virtual Patch Bay, and VSC Virtual Sound Card All are AES67 / RAVENNA compliant, and multi-touch capable for easy, intuitive use on touchscreen PCs and laptops. R3LAY

To power the radio workstations, Lawo’s partner, Broadcast Communications International, supplied and installed 50 copies of R3LAY VRX4 Virtual Radio Mixer software, part of a family of virtual radio mixer products which run on standard PCs. Each computer is connected to the facility’s AoIP network, giving each workstation’s R3LAY mixer instant access to audio from networkattached devices such as playout computers, codecs and VoIP servers, as well as audio from local sources.

can mix all types of

“Thanks to R3LAY, each workstation’s workflow can be identical to all the others, and is easier to manage,” notes Lawo’s Tan. “This enhances operational efficiency greatly, since any producer or presenter can now build content – interviews, news pieces or editorials – at a moment’s notice, using any available workstation.”

streams.

R3LAY radio software enables broadcasters to build “virtual broadcast studios”

Visit www.lawo.com

native PC audio using included ASIO, WDM, WASAPI and MME drivers, as well as AES67 / RAVENNA Nearly 500 broadcasters have downloaded R3LAY software since the R3LAY webshop debuted in 2016. Users can obtain the latest versions from www.r3lay.com

Radio Free Asia Closes Phnom Penh Bureau RADIO FREE ASIA HAS DECIDED to close its nearly 20-year old bureau in Cambodia’s capital Phnom Penh, amid what is described as a “relentless crackdown by Prime Minister Hun Sen’s authoritarian regime on independent media” ahead of polls next year.

programs, reports and content on shortwave radio, social media, and on our website.

According to RFA President, Libby Liu, Cambodian authorities have been citing tax and administrative violations as a pretext to close independent radio stations carrying reports from RFA and its sister US government-funded radio station, the Voice of America, as well as the Voice of Democracy station, and forced the closure of the American-owned Cambodia Daily newspaper.

Through the years, Cambodian journalists working for RFA have risked their lives to report on corruption, illegal logging, forced evictions, bribery, labor disputes, and rights abuses, among other important stories largely ignored by statecontrolled media.

Liu said the authorities had employed the same tactics against RFA, despite its full cooperation to comply with all government requests and its efforts to register as a licensed media company in Cambodia.

They had resorted to “false statements” and “increasingly threatening and intimidating rhetoric” about RFA, made mostly through leaked documents on government mouthpiece media and random statements from different ministries, she said.

“After almost 20 years of bringing the Cambodian people independent, reliable and trustworthy news and information from inside the country, Radio Free Asia has regrettably been forced to close its Phnom Penh bureau,” Liu said in a statement.

“The government’s relentless crackdown on independent voices in recent weeks has made it impossible to keep the bureau open while guaranteeing the integrity of RFA’s journalistic mission.”

RADIO

Liu stressed however that RFA, which broadcasts into six countries, including North Korea, China, Myanmar, Laos and Vietnam, would continue reporting on Cambodia as part of its mission to provide accurate and timely news and information to Asian countries whose governments prohibit access to a free press.

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“RFA stands resolved to stay true to its vital mission in Cambodia, now more than ever, to go forward shining a light even in the darkest of hours,” she said.

“RFA will keep reporting on the most important and censored issues and events inside the country – and we will continue to broadcast and publish our

“As history has shown, dictators may rise and force their will on nations, but the people will always seek truth in pursuit of freedom.”

“Their hard work has helped to build the foundation of RFA’s investigative, in-depth journalism from the ground up and has earned us the trust of the Cambodian people – to whom we also owe our heartfelt gratitude,” Liu said.

She said she hoped that the government would not persecute “the individual brave Cambodians” who worked with RFA in retaliation for RFA’s efforts to bring reliable free press to their countrymen and women.

The RFA closure of its Phnom Penh office on Tuesday came as the U.S. ambassador to Cambodia rejected accusations by the Hun Sen Government of interference by the United States as “inaccurate, misleading and baseless” and called for the release of detained opposition leader, Kem Sokha.

Kem Sokha was arrested on the 3rd of September and charged with treason and accused of plotting with the United States to take power from Hun Sen, a former Khmer Rouge commander who has ruled Cambodia for more than 30 years.

On Monday, Hun Sen, who could face his biggest election challenge next year. threatened to dissolve Kem Sokha’s Cambodia National Rescue Party (CNRP) if it continued to back him.

“It has become increasingly apparent that Prime Minister Hun Sun has no intention of allowing free media to continue operating inside the country ahead of the 2018 elections. The government has instead seized on every opportunity to go after critics, political opponents, NGOs, and independent media committed to reporting the truth,” Liu said.

Visit www.rfa.org

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

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

In VHF television, the VAXTE supports power levels up to 25.6kW in multicabinet configurations. All VAXTE transmitters integrate the Maxiva XTE exciter platform, enabling support of all OFDM (DVB-T, DVB-T2/Lite, ISDB-T, ATSC 3.0) and DAB radio (DAB, DAB+, T-DMB) modulations. Capable of storing two modulations, the XTE also improves digital signal processing power by four times its predecessor, and features GatesAir RTAC software for digital signal correction at amplification stage. VAXTE transmitters also provide IP-based monitoring and control to simplify oversight of all signal performance and transmitter parameters across DAB and TV networks including single-frequency networks.

Like the Maxiva UHF series of air-cooled (UAXTE) and liquid-cooled (ULXTE) transmitters, the VAXTE series is built on GatesAir’s latest power amplifiers, which increase peak power capacity for all OFDM and ATSC waveforms.

Based on GatesAir’s PowerSmart Plus architecture, the VAXTE slims footprint and weight through its high-power density, and returns rack space, reduces energy consumption, and minimises internal parts.

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

Visit www.gatesair.com

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

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

Based on the Representational State Transfer (REST) protocol, the API allows every aspect of the systems, including configuring PTZ camera presets, switching, recording, streaming, and applying different scenes and titles, to be controlled remotely. Many third-party hardware and software solutions, from automation and playout systems to dedicated control surfaces, are already

compatible with the REST-based API, enabling multiCAM solutions to be easily integrated into existing workflows with minor configuration effort on the controlling devices.

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

Multicam Tracking and Multicam e-Learning simplify the acquisition, recording and streaming of lectures, online training sessions, keynotes, conferences, and other live presentations and events. Multicam Tracking offers fullyautomated production, while the semi-automated Multicam e-Learning allows single users to manage all video capture, camera switching, video recording, composition and streaming tasks from a central touchscreen. A third system, Multicam Conf, provides automated video capture and production while integrating with leading audio conferencing solutions.

Visit www.multicam-systems.com

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

modern web browsers, to target ads by country, state, metropolitan area or even more granularly. Support for third-party ad integration enables content providers to fill spots outside their primary area with ads relevant to those geographies.

Less-effective approaches to advertising in podcasts insert ads into the downloadable media when the files are initially published. As a result, the audience receives the same ads, regardless of location or interests – someone downloading the content years later would still consume the outdated advertisement. StreamGuys’ dynamic advertising capabilities insert ads into the on-demand files only when content is requested, leveraging information about the listener – from geographic location to other demographic or behavioural data.

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

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

Visit www.streamguys.com

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

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RADIO

Digigram: Building Advanced Broadcast Solutions AFTER 32 YEARS in the radio broadcast arena, Digigram will gain new momentum through a change to its management board. Committed to moving closer to customers and making technology become invisible to the user, the company is gearing up with new market-oriented solutions.

Digigram IQOYA IP Codec’s Power in Software Digigram is making its IQOYA audio-over-IP (AoIP) technology accessible as middleware to ecosystem partners for creation of live streaming, processing, and encoding systems.

Offered as AoIP software, IQOYA *VIP can be hosted on a PC or in the cloud.

The engine provides high-performance encoding, transcoding, streaming, and routing functions for Windows applications. It offers strong added value through IP streaming to radio automation editors, as well as program routing and transcoding for radio stations. Broadcasters and content delivery networks (CDNs) will see a major evolution in their business models using IQOYA *VIP, allowing them to design ‘radio-as-a-service’ solutions.

IQOYA *VIP combines Digigram’s IQOYA IP audio streaming and encoding engine, built on the company’s FluidIP technology, and virtual multichannel audio devices. This solution allows development partners and system integrators to provide their own value-added applications with confidence.

Refined over more than 3,000 IQOYA installations for broadcast and telecom operations, Digigram’s IQOYA *VIP engine features native MPEG-TS, Shoutcast/ ICEcast, and ACIP dual streaming formats with time diversity, including MPEG, AAC, OPUS, and apt-X encoding/decoding. Because the software is packaged in a module and controlled through a web services API and GUIs, IQOYA *VIP is easy for customers to deploy in cases ranging from a simple streamer to a complex, multiformat transcoding farm for head-end distribution.

Cloud Technologies for Broadcasting Digigram’s cloud technologies meet increasing market demand for simplified access and serve as high-level solutions that address complete outside broadcasting workflows, thereby eliminating the need for specialised hardware systems or expensive capital expenditure.

IQOYA *CLOUD SIP Infrastructure and Codec IQOYA *CLOUD, the codec-management infrastructure from Digigram, is now available in software-as-a-service (SaaS) mode. The IQOYA *CLOUD is affordable for small and medium-size broadcasters who need only to pay a monthly recurring fee. The service gives broadcasters access to a broadcast SIP infrastructure for outside broadcasting, as well as allowing centralised codec management anywhere from any authorised device. It enables interoperability, worldwide discovery, and secure access to a broad array of IP audio codecs from different manufacturers. With this centralised, cloud-enabled tool, control room operators can monitor current codec status, accept and initiate IQOYA calls, and take action in the event of network faults to ensure the continuity of outside broadcasts.

Broadcast in Two Clicks With blu blu by digigram is a virtual talkshow service that facilitates real-time management of content contribution from journalists, voice talent, and remote presenters. Designed for the professional broadcast environment, blu by digigram enables studios to establish several simultaneous bidirectional communication links via the blu virtual-mixing workspace with any remote contributor who has a web browser, traditional SIP codec, or even telephone as a backup.

This service unites a cloud-based software-as-a-service (SaaS) application with a professional audio interface in the studio to improve the user experience dramatically. With this pay-as-you-go model for managing and processing contributed content from an array of sources, broadcasters can dedicate more resources to creating relevant programming.

Visit www.digigram.com

Telos Alliance Premieres Innovative Radio Products THE TELOS ALLIANCE PREMIERED products to an international audience at

Axia Livewire+ AES67 IP-Audio Driver

this year’s IBC Show. The Alliance introduced several new broadcast products

Axia Pathfinder Core PRO Routing Control

Axia has been implementing AES67 compliance across the Telos Alliance product line since the AES67 standard was ratified. With v2.10, Axia is excited to announce that its IP-Audio Driver is now fully AES67-compliant.

The Axia Livewire+ AES67 IP-Audio Driver lets users send and record single or multiple channels of stereo PC audio directly to and from Axia networks via ethernet – no sound cards needed. Up to 24 channels of stereo audio can be sent simultaneously over a single CAT-5 ethernet connection. v2.10 adds AES67 features like the ability to sync to PTP, support to define multicast addresses outside of the Livewire range, and SIP/unicast support for RTP streaming.

Axia Pathfinder Core PRO offers reliable system-wide routing control that

OmniaSST Audio Processing

and updates to existing lines during the show.

Omnia VOLT Audio Processor Sharing technological lineage with Omnia products like the Omnia.11, VOLT has a nextgen clipper designed by Frank Foti and dynamics design from Omnia Chief Algorithm Designer, Cornelius Gould. Six separate AGC sections (one wide-band, five multiband), five timealigned limiter sections, deep bass, warmth, and stereo enhancers, and the Omnia factory presets all contribute to pristine audio.

is independent of a PC. Axia has taken everything it’s learned over the 10 years since the launch of the Pathfinder family of routing control software, and ported that knowledge into a completely new appliance. Pathfinder Core PRO’s web interface means simple configuration and monitoring from any device. This Linux-based appliance makes efficient use of the processor, while freeing users from a Windows-based server. Control protocol for third-party

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integration is also included: Pathfinder Core PRO Device Emulators allow it to

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OmniaSST is a professional software platform that transforms Windows PCs into Omnia audio processors. OmniaSST is the first processor to support the Telos Alliance’s µMPX codec. µMPX, a specialised codec purpose-built for FM radio, is able to transport high-quality Multiplexed FM signals over a small 320kbps data pipe, slashing bandwidth requirements up to 83%. Reduced data requirements mean high-quality multiplexed audio and RDS signals can be directly routed over IP from a processor to a decoder application, opening

‘look like’ another protocol, emulating third-party protocols and translating

tremendous possibilities for efficient MPX audio transport.

them into the Axia language.

Visit www.telosalliance.com

CONTENT DELIVERY

CONTENT DELIVERY

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

J:COM Chooses Ericsson for Next-Gen TV JAPAN’S CABLE SYSTEM OPERATOR, J:COM, has selected Ericsson’s MediaFirst TV Platform to enable an enhanced and personalised multiscreen TV experience to its 3.7 million subscribers. The basic design phase will commence in Q4 2017, and the companies will solidify the development agreement subsequent to this.

The service will provide J:COM subscribers with new features, including a personalised TV experience on all screens, and the ability to watch live TV and access content on demand on any device. Ericsson will deploy RDK in J:COM’s set-top boxes and a conditional access system to enable delivery of Ultra HD content. This will deliver additional monetisation opportunities such as more effective content recommendation services courtesy of Ericsson’s data analytics.

Hirohiko Imura, President, J:COM, said, “Consumers have more choice than ever before and it is therefore imperative that we stand out from the crowd to remain competitive in an ever-cluttered TV landscape. We believe a seamless and personalised TV Everywhere service will enable J:COM to create that distinction. By deploying Ericsson MediaFirst TV Platform we will have access to a range of uniquely intelligent, high performance solutions that will help us transform our television offering and strengthen our position at the forefront of TV innovation.”

Angel Ruiz, Head of Media Solutions, Ericsson, said, “Ericsson’s award-winning MediaFirst TV Platform will enable J:COM to power a next generation TV experience that is available seamlessly across all screens both inside and out of the home, and tailored to meet the needs of each individual subscriber. By leveraging the benefits of virtualisation and cloud technologies we can help J:COM increase its subscriber base and benefit from new and more flexible business models. This is the first step in a long-term partnership which we look forward to growing with J:COM over the years to come.”

Ericsson MediaFirst TV Platform is a software-defined, media-optimised cloud-based TV platform. MediaFirst TV Platform provides a converged multiscreen experience including pay-TV in-home, TV Everywhere and OTT services. It embraces all content sources and delivery networks and is integrated onto the RDK, enabling operators to benefit from the common underlying software of the RDK while retaining the ability to differentiate their customer facing TV experience. It also provides analytics tools enabling operators to target relevant content and promotions to viewers, increasing revenue opportunities and reducing churn.

Visit www.ericsson.com

AsiaSat and MMB Deliver ‘Sophia TV Asia’ to APAC ASIA SATELLITE TELECOMMUNICATIONS COMPANY LIMITED has been selected by global satellite service provider, Milano Media Broadcast, and its client, Sophia TV Asia, to broadcast into the Asia-Pacific region on AsiaSat 5.

in Asia, bringing fresh content to viewers, and remain encouraged by AsiaSat

Sophia TV Asia is an independent, non-profit radio and television station that has enjoyed great popularity in Europe, Africa, and South America.

With its service commencing free-to-air on AsiaSat 5 in C-band, Sophia TV Asia has gained access to an audience of over 800 million households via terrestrial networks, pay-TV platforms or direct home reception in Asia and Australasia.

said Barrie Woolston, Chief Commercial Officer of AsiaSat.

“Our program content deals with the most diverse spheres of life from the perspective of high ethical moral, given for the peoples of all cultures. We are very pleased to have first-rate distribution services from MMB and AsiaSat, making our content accessible by TV networks and audiences across the Asia-Pacific,” said Stefano Delù, legal representative of Sophia TV Asia.

5’s ability to draw new global satellite service partner like MMB, serving international broadcasters exceptional coverage and expansive penetration,” ‘Sophia TV Asia’ is free-to-air on AsiaSat 5 with the following parameters: • Orbital location: 100.5°E • Transponder: C11H • Downlink frequency: 4040 MHz • Downlink polarisation: Horizontal • Transmission standard: DVB-S2 • Compression standard: MPEG-4

“We are excited to have partnered AsiaSat to bring Sophia TV Asia’s program content to Asia. We look forward to helping Sophia TV Asia grow its viewership further with AsiaSat 5’s unique advantage in neighbourhood and penetration,” said Luca Bondini, Chief Executive Officer of MMB.

• Modulation: 8PSK

“We are very happy to be able to work with MMB to launch Sophia TV Asia

Visit www.asiasat.com and www.mmbtv.net and www.radio-santec.com

• Symbol rate: 29.72 Msym/sec • FEC: 5/6

CONTENT DELIVERY

Taiwan Broadband Deploys Second Harmonic Cable TV Video Delivery

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HARMONIC HAS ANNOUNCED that Taiwan Broadband Communication (TBC) recently deployed a second Harmonic headend to support its CATV service.

Using a combination of Harmonic’s video encoders, multiplexers and playout system, TBC delivers 120 HD and 64 SD channels to subscribers.

superior video quality to subscribers by utilising advanced motion estimation,

“We’ve experienced significant growth over the last few years, and adding another headend was necessary to ensure the best viewing experience for our subscribers. While selecting a technology provider, the key requirements were video quality, flexibility, and load balancing between the main and second headend,” said Jimmy Chen, CEO at Taiwan Broadband Communication.

“Ultimately, we chose Harmonic because of exceptional video quality, stability, and an end-to-end solution that supports features such as local playout to boost our subscriber loyalty and revenue.”

downstream programs for local ad insertion and branding.

At the heart of the headend is Harmonic’s video encoding platform, which increases SD/HD MPEG-4 AVC encoding efficiency and enables TBC to deliver

refined multi-pass encoding and preprocessing capabilities. The encoders are integrated with Harmonic’s multiplexing systems and Spectrum XE playout system, which provides TBC with a cost-effective solution for regionalising “Harmonic is the expert in delivering crystal-clear video quality and helping operators better monetise their offerings via regional and local program insertion functionalities,” said Tony Berthaud, Vice President of Sales, APAC, at Harmonic. “Our turnkey solutions offer a complete framework for ad insertion, allowing TBC to gain a competitive edge in the marketplace and generate extra revenue. I am thrilled that Harmonic has been selected by TBC for their second head-end, confirming our long-term cooperation based on mutual trust.”

Visit www.harmonicinc.com

CONTENT DELIVERY

Telestream and IBM Aspera Enable Near Real-Time Remote Live Video Capture AT THE RECENTLY HELD IBC SHOW, IBM and Telestream announced a solution for high-speed capture and production of live broadcast quality video from remote locations. Telestream Vantage powered by Aspera combines Aspera’s FASPStream streaming technology and Telestream Lightspeed Live Capture media processing platform to enable production teams to work on live video feeds from remote locations in near real time.

Capturing and producing content for live events poses challenges, and timely remote production has long been an unattainable goal. Today, media companies rely on satellite or fibre-based infrastructure, and incur additional costs by co-locating production teams and equipment. Alternative IP-based solutions either offer streaming with low quality and high latency, or are slow and cannot work with content still in creation or capture.

Telestream Lightspeed Live Capture and Vantage Open Workflows powered

by Aspera offers an innovative approach to delivering broadcast-quality video streams. Creative teams can now work on a live capture feed delivered from a

remote location while the event is taking place, without waiting for the entire file to be written to disk and transferred. Transcoding, packaging, editing and other downstream workflows can start immediately. The end-point can have a range of hosting environments, including centralised on-premises, private or public cloud, and the streams can be written to multiple locations concurrently.

IBM Aspera’s FASPStream software line represents the first open video transport solution that is capable of high-quality live streaming over commodity internet WANs. The software utilises the FASP bulk data protocol to transport any live video source (local multicast, unicast UDP, TCP or growing file source), and provides timely arrival of live video and data independent of network round-trip delay and packet loss. Less than five seconds of start-up delay is required for 50Mbps video streams transported over 250 milliseconds round-trip latency and three percent packet loss – sufficient for 4K streaming between continents.

Visit http://asperasoft.com and www.ibm.com/cloud-computing

Rohde & Schwarz Bridges Hybrid SDI and IP Operations ROHDE & SCHWARZ RECENTLY INTRODUCED a new approach to live ingest, media processing and channel playout that provides bridging technology between hybrid SDI and IP broadcast operations. R&S VENICE can be used as a channel playout solution in 24/7 operation applications within medium and large-scale broadcasters. The integration of Rohde & Schwarz’s virtual storage access technology ensures reliable on-air operations even in mission critical applications.

on-air reliability. The system’s implementation of Rohde & Schwarz’s virtual storage access technology enables uninterrupted broadcast operations with no performance degradation in the event of single or multiple failures. When combined with R&S SpycerBox Cell storage systems supported by IBM Spectrum Scale file system, the virtual storage access technology provides multiple layers of data redundancy, from low-cost to enterprise-scale configurations.

R&S VENICE enables immediate application within existing SDI baseband architectures while future-proofing by offering the flexibility and sustainability of IP-based broadcast infrastructure. R&S VENICE allows communication and integration via the framework for interoperable media services (FIMS) standard. Also, open standards rather than proprietary APIs enable interoperability with a range of third party equipment.

Rohde & Schwarz’s modular storage approach enables users to select from different bandwidth, capacity, and redundancy levels, and for these levels to be modified in the future. The UHD capabilities of R&S VENICE with parallel 1080 down-conversion functionality enables users to establish high resolution services while maintaining the simple infrastructures used within existing HD workflows.

In developing R&S VENICE, Rohde & Schwarz claims a new standard in

Visit www.rohde-schwarz.com

Imagine Communications Accelerates Evolution of Playout with Versio Platform

Despite recent advances in the viability of next-gen architectures to host mission-critical media workflows, most playout solutions are still optimised for purpose-built hardware. Versio Platform represents the industry’s first cloud-native, microservices-based and modular playout solution for pure-IP, geo-dispersed environments using commercial-off-the-shelf (COTS) hardware.

Versio Platform segments functionality into discrete building blocks that can be integrated to support precise workflows. Versio Platform modules can also be implemented into multivendor environments. A modular approach to playout operations provides customers with the ability to reach new levels of customisation and achieve the optimal balance between required resources and productivity demands.

The modular nature of Versio Platform enables media companies to select from a variety of deployment models, operational modes and functionality. The platform provides a choice between capex and opex payment options, as well as multiple deployment models, including premises, cloud (private or public), or

hybrid. Media companies can also select functionality, including playout engine and automation, as well as input/output requirements, on a function-byfunction basis. Numerous value-added options, such as advanced audio track routing, multi-language captioning, UHD and proxy generation, can also be implemented incrementally.

The new playout solution features an intuitive user experience, shielding operators from the ‘componentised’ nature of Versio Platform. The HTML5based interface present an integrated and simplified user experience across all operations, enabling media companies to navigate through every aspect of their operations using a single and familiar interface.

Powered by Zenium, Imagine Communications’ pure microservices technology, Versio Platform derives its modularity and agility from its cloud-native design. Unlike solutions based on monolithic software design principles, the components that make up Versio Platform are composed of discrete services that can be updated or replaced essentially on the fly – and without disrupting operations.

Versio Platform also integrates with Versio IOX Storage. The recently introduced Versio IOX Scale-out NAS Storage solution is powered by EditShare EFS, the scale-out file system and storage software platform provided by Imagine’s technology partner, EditShare.

Visit www.imaginecommunications.com

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IMAGINE COMMUNICATIONS RECENTLY introduced Versio Platform, a modular and customisable media workflow platform designed to enable media companies to optimise playout and related operations to meet finely tuned operational objectives. Versio Platform provides content producers and distributors with a menu of integrated building blocks for constructing a playout facility that can be customised to operational requirements and upgraded with market demand.

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CONTENT DELIVERY

IP Gateways from Crystal Vision THIS YEAR’S IBC SHOW witnessed the formal release of Crystal Vision’s IP gateways, which combine purpose-built video over IP hardware with software-based processing. With features including status monitoring, clean switching, sophisticated synchronising (including PTP support), delays and IP traffic shaping, the gateways initially support the SMPTE 2022-6 and SMPTE 2022-7 protocols and can be reconfigured via a software upgrade to support SMPTE 2110 essence-based protocols.

The introduction of the Vision 1 1RU frame brings further flexibility to the Vision frame system, providing housing for up to four cards and incorporating numerous signal outputs, dual reference syncs distributed from the frame, and the ability to be used with higher bandwidth signals such as IP and 4K. The Safire 3 real-time chroma keyer also gets improved live operation from the VisionPanel control panel.

Crystal Vision’s IP gateways are for integrating SDI into an IP environment, combining video over IP hardware with software-based processing and features including clean switching between flows, sophisticated synchronising (including PTP support), unicast and multicast transmission support, signal status monitoring, up to ten frames of video delay, and IP traffic shaping. The SDI6-IP-VF encapsulates baseband SDI to IP to allow the transport of uncompressed video over 10GbE IP networks. It converts up to six HD/SD or three 3Gb/s SDI input connections and allows assignment of the converted flows to either of the two output 10GbE links.

Alternatively, the second 10GbE link can be configured for SMPTE 2022-7 redundant streaming.

The IP-SDI6-VF de-encapsulates baseband SDI from 10GbE IP networks. It converts to six HD/SD or three 3Gb/s SDI output connections, with flexible assignment of the converted flows from either of the two input 10GbE links.

Alternatively, the second 10GbE link can be configured for SMPTE 2022-7 redundant input streaming.

Broadcasters are discovering they have all sorts of new issues to solve using IP, and the unique IP-IP-VF IP to IP translator – which features four bidirectional 10GbE IP network interfaces – is suitable for applications where network settings need to be changed, such as network address, multicast to unicast and protocol translation.

Initially supporting the SMPTE 2022-6 and SMPTE 2022-7 protocols which are suitable for long-haul and pass-through applications, their flexible platform means that the IP gateways and IP to IP translator can be reconfigured via a software upgrade for new standards as they emerge, including essence-based SMPTE 2110.

Visit www.crystalvision.tv

Ericsson Accelerates HDR Deployment IBC2017 SAW ERICSSON launching a new standard dynamic range (SDR) to high dynamic range (HDR) conversion toolset that enables broadcasters to meet the requirements of delivering a high quality HDR live TV service.

Relying on the television to switch between HDR to SDR to HDR in response to a transmitted signalling has significant quality risks as the television may take time to switch, or fail to switch at all (if there is a missing or incorrect signal). This is especially risky with multiple SDR and HDR changeover points happening in rapid succession.

It is this uncertainty over switching which becomes an issue for the reputation of the HDR channel with consumers and also causes issues with the HDR content owners.

The Ericsson solution is introduced during encoding in the head-end and uses a process known as inverse tone mapping (ITM), which rebalances the chroma and luma of the SDR content so it can be shown back to back with HDR content, without any need for the HDR TV to switch.

Using Ericsson’s ITM algorithm in the head-end encoders means HDR service providers have full control over displaying both SDR and HDR. This approach empowers service providers rather than relying on TV vendors and is less disruptive than having to deploy a completely new generation of third-party set-top boxes.

Visit www.ericsson.com

All-in-One Live Production and Playout AT IBC2017, CINEGY unleashed the new Cinegy TV Pack, the latest version of Cinegy Capture PRO, and an advanced Cinegy Multiviewer, the most efficient multiviewer the company has ever produced.

Cinegy TV Pack is an all-in-one live production and playout package that provides everything needed to get a pixel-perfect TV channel on air at an affordable price.

Whether purchased outright or with an annual subscription, Cinegy TV Pack does everything in a software-only environment. The pack includes Cinegy Air PRO plus Cinegy Type for real-time playout and multi-channel automation, including channel branding and CG, basic Cinegy Capture PRO for real-time ingest, Cinegy Multiviewer for multi-channel video monitoring, Cinegy Live for mixing and cutting, and Cinegy Convert for transcoding and batch processing.

CONTENT DELIVERY

New Cinegy Multiviewer software couples OTT servers with mid-range NVIDIA graphics cards to decode up to 24 channels of HD. This is because of the multiviewer software’s ability to offload most processing onto the NVIDIA GPU.

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This is paralleled with improvements to Cinegy Desktop, a production tool that

Cinegy Multiviewer can also share RAM with all relevant Cinegy software running on the same machine, creating a machine-wide frame buffer that can share output with any Cinegy software application running on the same system.

provides real-time access to media in Cinegy Archive, along with a suite of tools

Cinegy Capture PRO is multi-channel, multi-format real-time ingest software that enables real-time content streams to be recorded and made accessible quickly. Cinegy Capture PRO now includes native ProRes support, Dolby Digital and Dolby E decoding, DANIEL2 codec support and many other enhancements.

Cinegy Desktop now includes upgrades to the effects available to the timeline

for logging and editing, and the ability to import and export media to third-party non-linear editing and automation systems. sub-system, along with a new GUI and native x64 support.

Visit www.cinegy.com

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CLASSIFIEDS + EVENTS

A Decade of Life Through Technology at SIGGRAPH Asia 2017 THE APAC REGION’S BEST MINDS in computer graphics and interactive techniques are set to convene in Bangkok, Thailand for the annual SIGGRAPH Asia. Held from 27th to 30th November at the Bangkok International Trade and Exhibition Centre (BITEC), the 10th edition of SIGGRAPH Asia is expected to attract close to 7,000 attendees from over 60 countries.

Themed, The Celebration of Life and Technology, the impetus behind this year’s conference and exhibition is to showcase how human experiences help push the boundaries of digital imaging, research, science, art, animation, gaming, interactivity, education and emerging technologies.

Keynotes at SIGGRAPH Asia this year include Albert Yu-Min Lin, Award Winning National Geographic Explorer, Co-Founder and Chief Science Officer at Planet3 and Michael Cohen, Director of the Computational Photography Group at Facebook.

SIGGRAPH Asia will also host a Featured Session titled, How Real-Time Graphics Helps Pixar Make Feature Films. This panel session will be led by Pixar Animation Studio’s Senior Graphics Software Engineers, Pol JeremiasVila, and David G Yu, who will demonstrate how Pixar applies real-time graphics in animation.

This year’s edition will also see the return of the VR Showcase, which will delve deep into both virtual and augmented worlds to showcase the impact of immersive VR in fields such as healthcare, entertainment as well as its influence on human interactivity and engagement. Meanwhile, the Emerging Technologies program seeks to demonstrate how research on interactive technologies such as 3D interaction and brain-machine interface or braincomputer interface can help improve the way we live, work and play.

The Symposium on Mobile Graphics and Interactive Applications (MGIA) will highlight novel uses of graphics and interactivity on mobile devices and how we interact with digital content. Also returning is the Computer Animation Festival which showcases a world-wide collection of the year's best works.

The festival will comprise of screenings and panels including presentations by industry experts related to computer animation and visual effects.

The event’s exhibitors will demonstrate their newest developments in hardware and software applications. Leading companies and brands include Epic Games, FORUM8, FoxRenderfarm, Ritsumeikan University, SOFA Framework, The Khronos Group, Tsinghua - Tencent Joint Lab, Simpitec Co., Ltd, Unity Technologies, VSOChina, Yannix (Thailand) Co., Ltd, among numerous other brands.

Visit https://sa2017.siggraph.org

Digital Video Revolution at CASBAA Convention 2017 REGIONAL MULTICHANNEL TV and digital video trade body CASBAA has announced the key themes (and workshop programme) for the CASBAA Convention 2017 to be staged at Studio City in Macau, from the 6th to the 8th of November.

“The line-up for the three-day CASBAA Convention 2017 has been designed to capture the urgent issues facing our industry at a time of the most dynamic market changes seen in more than 20 years,” said Christopher Slaughter, CASBAA CEO. CASBAA represents 100 corporations across 20 markets in the Asia Pacific, running from China to Australasia, Japan to Pakistan and encompassing over 623 million Pay-TV subscribers and 2.5 billion broadband connections.

The full implications of the digital video revolution are at the top of the CASBAA Convention 2017 agenda, including solutions to the potentially devastating impact of digital piracy, the on-going opportunities presented by local, regional and global OTT platforms and the challenges arising from the mountains of detailed digital data now being assessed by broadcasters, carriers, technology vendors and advertisers alike.

In the meantime, through a series of ‘Masterclass’ panels and presentations, the CASBAA Convention 2017 programme will deliver: • Real-time case studies focused on the crucial battle against on-line piracy, including a few ‘Wins’.

• A fresh look at the best performing business models for Pay-TV.

• Deep-dive presentations on the vital security technologies and regulatory ‘fixes’ under debate across Asia Pacific and around the world.

• Close examinations of the new ecosystems and revenue streams now available for the monetisation of emerging digital video markets.

• New insights on the impact of soon to be launched broadband satellite services across Asia.

• Plus ‘Understanding the Viewer’: a series of closely moderated conference sessions shedding fresh light on the complex worlds of digital media and programmatic advertising.

Key Speakers include: • Samuel Scott, Columnist, The Promotion Fix @ The Drum • Hosi Simon, Global General Manager, VICE Media • NK Sinha, Secretary, MIB, Government of India • Dr Ros Lynch, Director, Copyright & IP Enforcement, UK Intellectual Property Office • Sudhanshu Vats, Group CEO, Viacom18 • Birathon Kasemsri Na Ayudhaya, Chief Content and Media Officer, True Corporation • Jeremy Butteriss, Managing Director for Global Partnerships, APAC, Google Visit www.casbaaconvention.com

CLASSIFIEDS + EVENTS

Advertiser Index

48

ABU Digital Broadcasting Symposium…...…..… IBC

Calrec…...…………………………………………………… 37

Masstech-SGL…...………………………………………… 4 Magna Systems & Engineering …………………… IFC

AJA Video Systems…...………………………………… 5

CASBAA…...………………………………………………… 43

Asia Television Forum…...……...……...……...……... 13

Dejero…...…………………………………………………… 23

Blonde Robot…...……...……...……...……...……...…… 9

EMC…...……………………………………………………… 29

Brainstorm …...……...……...……...……...……...…….. 8

Ideal Systems…...………………………………………… 3

Quantum…...……………………………………………… OBC

Broadcast Solutions Gmbh …...……...……...……... 15

IHSE…...……………………………………………………… 10

Siggraph Asia…...………………………………………… 31

Mediaproxy…...…………………………………………… 11

8 ENHANCING MULTIPLATFORM CONTENT

The use of multiple devices to consume media is the norm in today’s world.

Broadcasters and content developers need to understand this and take advantage by creating content suitable for consumption on these platforms and devices. Just like going digital is a must, content is still key for success in the current media market.

The theme of the 2018 ABU’s Digital Broadcasting Symposium is “Enhancing Multiplatform Content” which aims to address technologies and techniques essential to develop appropriate and engaging content required to target the changing behaviour and demand of audiences.

S ave t h e d ates

5-8 March 2018 Kuala Lumpur

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