Content+Technology ANZ July-August 2015

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VOLUME 12 ISSUE 4 JULY/AUGIUST 2015

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

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THE MADNESS OF KING GEORGE BEHIND THE SCENES OF FURY ROAD

PREVIEW ISSUE

ISSN 1448-9554

VOLUME 12 ISSUE 4 JULY/AUGUST 2015

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Cover Story – Behind the Scenes on Mad Max

REGULARS 02 EDITOR’S WELCOME 04 NEWS Online Piracy Legislation,

78 INDUSTRY FOCUS 80 TIME SHIFTER

PAT Supplies Hillsong, Nine Network Streamlines Facilities, Executive Changes at News Corp

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HAIL FURIOUS MAXIMUS! SPECIAL FOCUS – MAD MAX: FURY ROAD Iloura Creates a Toxic Storm (44), A Conversation with Senior Colourist Eric Whipp (45), Shooting RAW Fury (46), Sound Devices Goes on a Wild Ride (56), Syncing Mad Max: Fury Road (57)

FEATURES 14 SMPTE PREVIEW Conference and

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Exhibition Preview

24 ACQUISITION Miller Spans the Globe with Abraham Joffe, TrueBlue Filter for RED Cameras, Goldner Touch for ARRI ALEXA

30 SPORTSCASTING VSM Control for NEP HD11, 4K Cricket World Cup, Eyeheight Colour Correctors at Wimbledon, French Open Coverage

37 NEWS OPERATIONS MediaCorp Installs Octopus and Expands LiveU, Socialising with the News Desk, Ross Introduces Carbonite Black

42 POST-PRODUCTION Deluxe to Offer

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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 Email: papers@broadcastpapers.com

Virtual Reality, Adobe Creative Cloud 2015, Grass Valley Unveils EDIUS 8, Houdini Engine Public Beta

SUB-EDITOR: Keith Ford Mob: +61 (0)430 432 437 Email: papers@broadcastpapers.com PRODUCTION MANAGER: Lucy Salmon Tel: +61 (0)412 479 662 production@broadcastpapers.com DESIGN & LAYOUT: Wide Open Media Tel: +61-2-9282 9359 info@wideopenmedia.com.au PRINTING: Lindsay Yates COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under

50 MEDIA IN THE CLOUD Motionlink Views Future with Space Storage, Finding the Right Archive Partner in the Digital Age, Sony and Memnon Announce Partnership

56 AUDIO ORF Scores with Lawo IP Infrastructure at Eurovision, New Showroom for CEDAR in Singapore, Audio Post Sounding Sweet

64 RADIO It’s a Lawo ‘Crystal Set’ for Macquarie Uni’s Radio Department, GatesAir Appoints Omnicast as Distributor, WinMedia 2015

68 CONTENT DELIVERY Media Links: Fibre in the Diet, AV Group Evolution, Saatellite Resists C-Band Spectrum Crunch, Grass Valley Integrating Playout with iTX

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EDITOR’S WELCOME

Pirates Should Get a Jolly Rogering!

By Phil Sandberg

THE RECENT PASSAGE of the Copyright Amendment (Online Infringement) Bill 2015 through the Australian Parliament will not eradicate the illegal theft of content. It is, however, a line in the sand that needed to be drawn, and one that will likely lead to a reduction in content theft.

I say ‘content theft’ because the term ‘piracy’, like the dozens of lame DVD pre-roll warnings produced over the years, fails to address the real impact of not paying for content and that, ultimately, is on people’s livelihoods.

According to Minister for Communications, Malcolm Turnbull, the Copyright Amendment (Online Infringement) Bill 2015 will “provide an enhanced, streamlined mechanism that enables infringing material to be blocked by a carriage service provider — an internet service provider — without the need to establish fault on the part of that provider. Specifically, the bill will introduce a new provision that allows a carriage service provider to disable access to infringing online locations located outside Australia.”

The bill is intended to only capture online locations where it can be established that the primary purpose of the location is to infringe, or facilitate the infringement, of copyright and is designed not to apply to virtual private networks, or VPNs, that are promoted or used for legitimate purposes.

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To reluctantly paraphrase Australian treasurer Joe Hockey, “the age of entitlement is over”.

To illustrate the scale of the problem, Irdeto recently released global piracy figures for Game of Thrones in the final weeks leading up to the season premiere on April 12. The findings indicated a 45% increase in piracy worldwide from 2014, with episodes of Game of Thrones (seasons 1-4) illegally downloaded more than 7 million times between February 5 and April 6, 2015. The same period saw 4.9 million downloads in 2014. The 2015 data shows an average of 116,000 illegal downloads per day of Game of Thrones episodes, which is an increase of 36,000 more downloads per day compared to 2014.

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Yes, owners should make it easier for you to access and pay for their content, but because it helps their business model, not because it stops you committing what is a crime.

“If this bill does not work as well as we would like,” says Minister Turnbull, “we will look at it again. If it does not achieve its objectives, we have got to be prepared to come back and change it. That is why we are committed to reviewing the operation of the bill 18 months after its commencement.”

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While this is a point that has been made many times before, it doesn’t change the fact that illegal content downloads are not “sticking it to the big corporations” – they will simply adjust future spending to maintain margins – or are an answer to the “inconvenience” of outdated release cycles – you really have nothing else to do until that production from the U.S. is available locally?

[L-R] Pirate Bay, Botany Bay.

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Content production, like many other industries, is an ecosystem of interdependence. If producers don’t earn enough for their productions, they will have less to spend on the next production. This means less for writers, cast, and crew, and the R&D funds available for developing new tools and platforms for content creation.

In its Top 10 Countries for Game of Thrones Illegal Downloads, Australia came in at Number 7 with 260,841 illegal downloads between 5th Feb – 6th April, 2015, a 32% increase over 2014 (China came in at Number 9).

So, as a great promoter of content used to say, “Doyaselvafavour”, avoid the soft focus of the Bali market and keep your inbox free of invoices from Dallas Buyers Club LLC, stump up for content and support great people in a great industry.

Thanks for Reading Phil Sandberg - Editor/Publisher papers@broadcastpapers.com - T: +61-(0)414671811

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

Foxtel Welcomes Passage of Online Piracy Legislation FOXTEL HAS CONGRATULATED the Government and Opposition for coming together to help fight online piracy. The Copyright Amendment (Online Infringement) Bill 2015 will give copyright owners and licensees the ability to seek injunctions to block access to overseasbased sites that steal content and profit from selling advertising around it.

Foxtel Chief Executive, Richard Freudenstein, said, “We are pleased that the Government and Opposition have taken strong action to combat online piracy. They recognise that, not only is piracy theft and therefore morally wrong, it is harmful to Australia’s creative communities and to businesses that employ hundreds of thousands of Australians. These offshore sites are not operated by noble spirits fighting for the freedom of the internet, they are run by criminals who profit from stealing other people’s creative endeavours."

Spencer Preece Joins Madison Technologies MADISON TECHNOLOGIES HAS ANNOUNCED the appointment of Spencer Preece to Madison in the role of Senior Account Manager – Broadcast & Pro AV. General Manager – Broadcast & AV, Ken Kyle, said, “The Broadcast & Pro AV division at Madison is growing, both in product range and revenue. We needed someone who matches us on a commitment to customer service and is driven by a love of the industry. Spencer is a great fit for us.”

Visit www.madisontech.com.au

“This Bill is part of a series of measures being put in place by government and industry to educate the public about the problems created by online piracy and where they can find legitimate ways to get access to the content they love,” Mr Freudenstein concluded.

“There is no silver bullet to deal with internet piracy, but the Copyright Amendment (Online Infringement) Bill 2015 provides an important part of the solution to the problem of online copyright infringement. It is vital that copyright owners have an efficient mechanism to disrupt the steady supply of infringing content to Australian internet users from overseas based websites,” said Minister for Communications, Malcolm Turnbull.

“This bill will provide an enhanced, streamlined mechanism that enables infringing material to be blocked by a carriage service provider - an

internet service provider - without the need to establish fault on the part of that provider.

Specifically, the bill will introduce a new provision that allows a carriage service provider to disable access to infringing online locations located outside Australia. We are committed to reviewing the operation of the bill 18 months after its commencement.

“The bill is not intended to operate in a vacuum.

The availability of content that is timely and affordable is a key factor in the solution to online copyright infringement. When infringing sources of content are disrupted, this disruption will be most effective if Australian consumers have legitimate sources to turn to that provide content at competitive prices and at the same time that it is available overseas.”

Visit www.foxtel.com.au

ABC and MediaCorp Sign Partnership Agreement AUSTRALIA’S PUBLIC BROADCASTER, the Australian Broadcasting Corporation (ABC) and one of Asia’s leading media companies, MediaCorp, have signed a partnership agreement between their international platforms.

The agreement sees both companies exploring opportunities for future programme and content exchange and co-production between their various platforms on television, radio and online.

The partnership is applicable to the whole array of media properties that both companies own, from traditional free-to-air platforms to digital entities.

According to the two companies, in an increasingly interconnected and digital world, media organisations have to constantly seek partnerships and evolve to provide the best content for their audiences.

CEO of ABC International, Ms Lynley Marshall, said, “Channel NewsAsia sets a benchmark for quality international broadcasting across Asia. As we extend and enrich our content and services to audiences across the region, we are delighted to have reached an agreement that will enable both companies to leverage our respective knowledge, content and platforms.”

MediaCorp’s Head of News and Premier, Ms Debra Soon, added, “With pressure on news organisations to stay relevant, report faster, expand our digital offerings and meet our competitors head on, media organisations need to find ways to work together without compromising our objectives or standards.”

Visit www.abc.net.au and www.mediacorp.com.sg

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PAT Supplies Hillsong for National Video Network One of Australia’s largest and most technologically advanced churches in the country is without a doubt Hillsong Church, with its main campus in Baulkham Hills, Sydney.

LATE IN 2014 discussions began between Hillsong Church and PAT about building one of the most advanced video IP networks in the country. The design would connect Hillsong’s diverse network infrastructure across the country, which is based on Avaya’s Fabric Connect technology.

The project team lead by Ricki Cook, Luke Irvine, Sebastian Heck & Brett Randall, tested various encoders and streaming products on the market over various network topology designs, choosing LAWO’s video over IP technology offered by LAWO’s V__Line products. After various demos and assessments the Hillsong team was convinced that the LAWO V__Link4 offered unparalleled flexibility, features and value for money, leaving other more established video manufacturers behind. 14 x V__Link4’s were ordered and delivered by PAT last month.

Offering 4 x Video-over-IP encoders and decoders, frame synchronisation for each channel, frame and line phasing, as well as variable audio and video delays for each channel, the LAWO V__Link4’s were chosen as the preferred product to contribute production-quality video over IP. Features such as embedding and de-embedding including SRC’s, RGB Colour correction and Proc Amp’s for each channel, on top of two surround-to-stereo downmixers per embedder, offer a magnitude of options to Hillsong Church. Quadsplit Multiviewers, Waveform and Vector display, Timecode insertion, test pattern generator, and video ID generators for each channel, deliver a set of tools necessary for Hillsong’s broadcast distribution network. Timecode and Sync generators, as well as lip-sync measurements assure time accurate content delivery while making use of 2 x 10Gbit and 4 x 1Gbit SFP ports, from which 2 provide PoE. Needing to address the overall control of the system, again one of PAT’s manufacturers – L-S-B Broadcast Technologies – seemed to fit the technology bill better than anyone else. Initial testing of multi-stream switching within the V__Link4’s via VSM was convincingly trialled by Hillsong and PAT in close cooperation with L-S-B and LAWO in Germany.

The software components to be supplied with the VSM system include vLayer support for the connection to 3rd party control via ProBel SWp08 and SWp02, Leitch and Z-Protocol. Storage groups are enabled to create, load and save presets including labels, cross points, GPO states, parameters and panel layouts. A vsmScheduler allows scheduled events such as time based switching, while the use of Pseudo Devices will enable the engineers to link video/audio/TC/RS-422 signals into a switchable overall bundle, and allow them to create Audio to follow video rules, create stereo switching rules as well as up to 32 channel switching rules. Timers allow configurable up/ down timers with multiple triggers to run actions, while Apology rules enable alarms to trigger an automatic recover to back-up condition. The VSM Tally module enables intelligent Tally management within vsmStudio of up to 32 tally levels, and Alarm Modules collect and process incoming signals via SNMP, GPIO or native protocol. The system consists of two server licences for full server redundancy, LBP-16e, LBP-41e, LBP-83e panels, GPIO 32, LTC and smartHub111 for interfacing into RS-232 and RS-422 devices.

With the system, PAT will also supply a brand new ROSS VIDEO NK-3G144 SDI router with 144 x 144 cross points and 6 openGear frames populated with various cards for traditional SDI equipment. In addition to this, PAT will also supply LAWO V__PRO8’s for embedding, de-embedding, video processing & frame synchronisation as well as Boland broadcast monitors.

PAT’s founder and Managing Director, Patrick Salloch, is very pleased with the current progress of the project. “It is always an exciting proposition if a customer pushes the technology as far as possible. This was made possible through a very close collaborative approach with the excellent subject matter knowledge of the Hillsong technology team, the outstanding support of the manufacturers involved and the team of dedicated engineers I have the pleasure of working with at PAT,” he said. “This is one of the largest video over IP systems in Australia. The fact that it is controlled by VSM makes it also one of the most flexible and powerful content contribution systems in Oz. It is of course also a fantastic reference site for PAT and all manufacturers involved.”

Visit www.proaudiotv.com.au

NEWS + PEOPLE

PAT’s Engineering Manager, Adam Langham, explains, “Its was always clear to everyone involved in this project that the most powerful and versatile control system for the Hillsong Video Network would be VSM. While VSM and LAWO were showing time accurate multi-stream video source switching at NAB in Vegas for the first time, we were testing the same software releases in parallel to make it all work in the real world. Hillsong stream J2K to each campus where the bandwidth is available, other facilities with less bandwidth availability will receive and send video in H264 or via the web. The support from the LAWO Group including LSB was second to none and we knew that, with the vision of the Hillsong technology team and the outstanding support from the manufacturers, we could leave traditional thinking behind, and deliver a technology solution for an IP Video network never deployed in Australia before on this scale.”

Once the Proof of Concept for the VSM control was successfully completed, phase two of this project started and the VSM solution was scaled up to a system that not only provides the control of multi-stream switching, but offers a multitude of cutting edge live production features. The new VSM system, which is scheduled for delivery in July, has a total of 45 control ports controlling a brand new ROSS VIDEO NK-3G144 SDI router with 144 x 144 cross points, AJA KiPro HD/SD recorders and players, a Riedel Artist frame, LAWO V__PRO8’s, and LAWO V__Link4’s. Future expansion will include a LAWO Nova73 Audio Router.

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PAT

Nine Network Streamlines Facilities THE STREAMLINING OF Nine Network facilities around Australia continues apace with the completion of its relocation in Adelaide, a decision on a new location for operations in Perth and a call for expressions of interest in the purchase of its property in the Sydney suburb of Willoughby.

After more than 18 months of planning and execution, the relocation of Nine Adelaide from Tynte St, North Adelaide into Hindmarsh Square, in the CBD, is nearing practical completion.

Sean O’Brien, Managing Director of Channel Nine Adelaide, said, “We have undergone significant change over the past twelve months. Our business has grown and now is the time to undertake the biggest change in our history since we started broadcasting in 1959.”

Nine has acquired naming rights to the premises, the former Adelaide Bank Building, and will take over floor space previously held by Bendigo Bank.

The building is being fitted out with state-of-the-art technology to enable the 100-plus relocating staff to provide the news and broadcasting services expected by Adelaide viewers.

“There is a renewed vibrancy in the Perth CBD and Nine Perth will become an important part of the ongoing regeneration of the city. The highly visible location will enhance our community involvement, with many events being held on-site, including opportunities for the public to meet the Channel Nine stars. All going to plan, we will be fully operational in St George’s Terrace in the third quarter of 2016.”

Housing 130-plus staff, Nine Perth will occupy approximately 2,500 sqm across three buildings, including 255 St Georges Terrace, two levels in 267 St Georges Terrace, and the new state of the art Studio that will become the focal point in its parkland setting. The existing Properties will be extensively refurbished in keeping with a new media presence and interconnected in a campus style layout.

Nine Network Australia was represented by Colliers International and will take a long term lease over the Properties. Subject to the approval process, construction is expected to commence in December 2015.

Meanwhile, in the Western Australian capital of Perth, Channel Nine will relocate from the suburb of Dianella to Perth’s CBD in 2016.

Lastly, the sales campaign for the Channel Nine site at Willoughby in Sydney has kicked off with a call for Expressions of Interest, along with domestic and international advertising.

Construction will commence over the coming months on a fully digitised studio at 253 St George’s Terrace, which will include a unique outdoor activation area, Nine Plaza, complete with an outdoor video wall, to be located on an adjacent Primewest site.

The Willoughby property has been approved for development of up to 400 residential dwellings (five apartment buildings of 4-8 levels, 373 apartments and 27 torrens title addresses). The EOI also included provision for a 5-year leaseback to the Nine Network.

David Mott, Managing Director of Nine Perth, said, “Since the change of ownership, Nine Perth has achieved growth in ratings and revenue and developed a solid community engagement.

At this stage, first round expressions of interest have been submitted and a number of parties remain in negotiation.

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NEWS + PEOPLE

Michael Tomkins Announced as CEO of Deluxe MediaCloud for APAC

Senior Executive Changes at News Corp Australia

DELUXE ENTERTAINMENT SERVICES GROUP INC., a leader in digital media services, has

NEWS CORP HAS ANNOUNCED that Julian Clarke will retire at the

announced that Michael Tomkins has been named the new Chief Executive Officer of Deluxe MediaCloud for Asia-Pacific, Deluxe’s next-generation digital broadcast services business that offers cloudbased playout, media asset management and IP delivery. Michael joins Deluxe after serving as Chief Technology Officer for FOX SPORTS in Australia.

Peter Tonagh, currently the chief operating officer will take over as CEO and Michael Miller, currently CEO of APN, will rejoin the company as Executive Chairman of News Corp Australasia. Both appointments will report to News Corporation CEO Mr Robert Thomson, who heads the company’s global operations.

“As Deluxe MediaCloud continues to add customers and capabilities, Michael’s deep experience and expertise will add to our already strong and dynamic management team,” said Danny Stein, President, Deluxe New Media.

Michael joins a growing leadership team that includes co-founders Maurizio Cimelli, Managing Director and Alec Stichbury, CTO. Michael Tomkins is one of the most established and experienced IT professionals in the media industry, having held positions with the Prime Network, Foxtel, the Nine Network and Red Bee Media, before joining FOX SPORTS in 2011. He was previously the Head of Technology at Red Bee Media and was a Broadcast Engineer for the Nine Network between 2003 and 2007.

end of this year as the Australian division’s CEO.

“Our clear plan is to use Australia as a base for a significant expansion of our presence in Asia, while ensuring that our traditional businesses in Australia are developed to their full potential.

“Whether in broadcasting or the powerful platform that is print or in digital classifieds, we have a team that will vigorously pursue growth and strive to inculcate the sense of social purpose that has always been the cornerstone of the News Corp culture.

“We must all recognise the genuinely extraordinary work of Julian Clarke, who has helped to fortify the foundations for our future, and done so with dignity, creativity and integrity,” Mr Thomson said.

Visit www.newscorpaustralia.com

Michael will be based out of both Sydney and London.

Visit www.bydeluxe.com

Exterity Appoints Travis Anderson as Country Manager Australia and NZ

NEWS + PEOPLE

EXTERITY, a leading provider of enterprise IPTV technologies for the secure distribution of live, on-demand and recorded video over IP, has announced the appointment of Travis Anderson as Country Manager Australia and New Zealand. Reporting to Richard Phillips, Asia-Pacific Sales Director at Exterity, Anderson will offer specialist support for existing customers and partners as well as helping to facilitate the company’s growth into Australasia, following the opening of its APAC office in Hong Kong in 2014.

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Foxtel Boosts Commitment to Australian Content FOXTEL HAS REAFFIRMED its commitment to creating the best in Australian programming by announcing plans to double its investment in new Australian scripted, factual, lifestyle, and entertainment programming by 2018.

Specifically, over the next three years Foxtel will build its drama slate to at least five major series each year, up from the current average of two. There will also be an increase in investment in new comedy programming. This will be made possible by a tripling of the money invested in scripted content each year.

Foxtel will also commission at least nine new premium entertainment and six new documentary series per year. The budget for factual programming will also triple.

Foxtel Chief Executive, Richard Freudenstein, said, “We’re passionate about growing the depth and breadth of Australian content on our platforms and we are thrilled to announce that we’re significantly boosting our investment in local commissions.”

Visit www.foxtel.com.au

Colin Farquhar, CEO, Exterity, said, “Travis combines technical expertise with the ability to generate lasting customer relationships, making him the ideal person to accelerate our market presence in Australia and New Zealand.”

Presto and Entertainment One expand SVOD Relationship

Prior to Exterity, Anderson held sales management positions at AVICO Electronics, Philips Electronics Australia, Sampford IXL and Harvey Norman Commercial, where he specialised in proAV and IPTV solutions for healthcare, hospitality, retail and more.

PRESTO HAS SIGNED a subscription video on demand (SVOD) agreement with leading independent studio Entertainment One Television (eOne) to offer access to complete seasons of the distributor’s premium programming.

Travis Anderson said, “Exterity has repeatedly demonstrated its capacity for offering robust solutions in the proAV space, combining easy integration with capabilities that are always on top of the latest industry requirements. I am excited to be working with Exterity’s impressive client roster of technologically advanced customers in Australia and New Zealand, such as the Fiona Stanley Hospital, the Royal Randwick Racecourse, TV network ABC, the University of Sydney and many more.”

Visit www.exterity.com

Shaun James, Interim CEO of Presto TV, said, “eOne has one of the best collections of current hit TV programs worldwide and we’re thrilled to add a top-tier selection of some of their most suspenseful and thought provoking titles including Hell on Wheels, Bitten, The Firm and The Slap to Presto.”

“We’re delighted to be expanding our relationship with Presto,” commented Ben Bishop, Sales Director, eOne. “Given the recent success with The Walking Dead, we are confident that they are the perfect partner to bring this exciting new slate of programming to Australian audiences.”

Visit www.presto.com.au

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NEWS + PEOPLE

TV Remains Main Game WHILE VIEWING HABITS ARE EVOLVING, the television remains the main screen for Australian viewers. That’s the state-of-play according to the latest Australian Multi-Screen Report from measurement agencies Regional TAM, OzTAM and Nielsen. The report, covering the first quarter of calendar 2015, explores household take-up of new screen technologies and trends in how major age groups view broadcast television and other video across multiple screens.

It also presents new findings about Australians’ claimed use of and attitudes towards various screen types: the devices they prefer to use for different activities, and the extent to which they use more than one screen simultaneously (‘multi-screening’).

All age groups spend the majority of their viewing time watching broadcast television on in-home TV sets: across the population and screen types 88.4 per cent of all viewing takes place on the TV set.

In Q1 2015 Australians watched an average 89 hours and 28 minutes (89:28) of broadcast television – free-to-air and subscription channels – on in-home television sets each month (down from 93:16 in Q1 2014).

The average weekly reach, however, for Australian broadcast television was little changed on the same quarter of 2014 and 2013, at 88−89 per cent of the population. 22.158 million Australians watched broadcast television each month during Q1 2015.

The proportion of time spent viewing live television has dropped gradually in each of the past five years, while playback viewing through the TV set within seven days of original broadcast continues to rise. Even so, 91.6 per cent of all broadcast TV viewed on television sets is still watched at the time of original broadcast (live-to-air).

Meanwhile an increasing proportion of the time people spend with the TV now goes to activities other than watching broadcast television. This other TV screen use follows the take-up of internet-capable or ‘smart’ TVs – now in nearly one third of homes – along with growth in viewing of TV content

between 8 and 28 days from original (live) broadcast.

For example, in the four-week period 22 February – 21 March 2015 this 8-28 day playback viewing (which does not appear in the playback figures within OzTAM and Regional TAM Consolidated data) accounted for 1.66 per cent of all TV viewing time across the day (up from 1.06 per cent in the same four-week period a year ago).

Across the population as a whole watching video is not the primary activity Australians undertake on their mobile screens. 11.6 per cent of all video viewing – both broadcast and non-broadcast content – happens on screens other than the TV. Viewing habits are evolving though, with people under age 35 in particular increasingly using internet-connected devices to watch video.

Nielsen’s annual Australian Connected Consumers report shows 75 per cent of online Australians aged 16 and over say they ever ‘multi-screen’, that is, use an internet-connected device while watching television (74 per cent a year ago.)

Across the population people who multi-screen say they most often use their laptop/notebook computers for this activity, followed by smartphones, desktop computers, and then tablets.

Visit www.oztam.com.au and www.nielsen.com/au

ACMA Under Review THE AUSTRALIAN FEDERAL GOVERNMENT has announced it is conducting a review of the Australian Communications and Media Authority (ACMA) to ensure the regulator is able to “effectively deal with challenges arising from a rapidly changing communications sector”.

The ACMA is responsible for the regulation of broadcasting, the internet, radiocommunications and telecommunications throughout the country.

NEWS + PEOPLE

According to a statement from Minister for Communications, Malcolm Turnbull, “The Australian communications environment has changed dramatically since the ACMA was established in 2005. The rollout of the national broadband network, the introduction of digital multichannels, the widespread use of digital devices including smartphones, the growth of search engines like Google, and the use of social media platforms like Facebook, Snapchat and YouTube, are all combining to make communications services a more integral part of every Australian home and business.

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“The communications sector is experiencing rapid change and in response the Australian Government is pursuing significant reforms across the Communications portfolio. We are working to accelerate the rollout of the NBN, ensure regulation is fit for the digital age, reform Australia Post, modernise Australia’s spectrum management framework and make our public broadcasters more efficient and accountable.”

The review will be undertaken by the Department of Communications, supported by a reference group of Australian and international communications and regulatory experts.

The Department will consult widely with regulated entities, consumers and their representatives and relevant organisations, including other regulators.

The Department will call for submissions in the near future and will report to the Minister for Communications by the end of 2015.

The terms of reference for the review are available at: www.communications. gov.au/consultation_and_submissions/acma_review

NEWS + PEOPLE

ARRI Shines Bright with SkyPanel Lights THIS YEAR’S SMPTE sees ARRI represented on several stands at the exhibition with ALEXA cameras, AMIRA cameras and the very first SkyPanel lights in Australia.

The Canon stand will feature the versatile documentary-style AMIRA camera. There will also be a ready to pick up and shoot straight out of the camera bag AMIRA on the Miller stand.

Across the hall on the Lemac stand there will be a fully operational ALEXA XT (Xtended Technology) camera, the ALEXA that adds a number of significant and unique features to the ALEXA family.

Also part of the ALEXA range and demonstrated

by Ignite Digi on the John Barry Sales stand will be an ALEXA Mini, the compact, lightweight and selfcontained camera that is a versatile additional tool in the ALEXA camera range.

Finally for ARRI, and in a first for Australia, on the Barbizon stand will be the first two SkyPanel LED fixtures. SkyPanel is a compact, ultra-bright and high-quality LED soft light that sets a new standard for the industry. With a design focused on form, colour, beam field and output, SkyPanel represents the culmination of more than a decade

of research and development of LED technology at ARRI. Visit www.arri.com.au

Aspera Highlighting Files and FASP AT SMPTE15 Aspera will showcase Aspera

NEWS + PEOPLE

Files, a new SaaS offering for global media sharing built on the next generation of its FASP software platform. With Aspera Files, any organisation, small to large, can establish a branded web-based presence for fast, easy and secure exchange and delivery of any size file-based media between end users across separate organisations, combining multiple

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storage platforms. Content can be stored and easily accessed in multiple cloud and on-premise storage systems, and sharing between users and trusted organisations is as easy as drag-and-drop regardless of where the content is located.

Aspera will be demonstrating FASPstream using a live broadcast stream from China over public Internet directly into the Aspera booth

at SMPTE. A side-by-side comparison of the live feed with and without FASPstream will be demonstrated. Additionally, Aspera will demonstrate ingest of a live video feed to an Elemental Live transcoding system across an intercontinental WAN and the resulting web streaming output from the live transcoder.

Visit www.asperasoft.com

Videocraft Demonstrates Mobile Production AT THIS YEAR’S SMPTE Videocraft will demonstrate just how flexible mobile broadcasting, editing and production can be with their mobile production solutions.

Alongside the recently introduced Mobile Production Centre (MPC) truck, brand new at SMPTE15 will be the new 4K ready Videocraft FlyPak. SMPTE15 also marks the introduction of Videocraft’s new 4K live production camera systems, based around the Sony PMW-F55 digital cinematography camera. The Sony CA4000 fibre camera adapter and BPU 4000 Baseband Video Processor allow the F55 to be used as a full facility studio/OB camera, in both 4K and HD production. These new systems are complemented by significant upgrades in lenses, including the new Canon CN50x20 IASH PL 50-1000mm super telephoto PL zoom.

Videocraft’s versatile MPC truck will be on display for the first time at SMPTE15, showing its live production capability, with the latest EVS and Avid workflows on display.

Magna Focuses on Acquisition, Management, and Delivery AT THIS YEAR’S SMPTE15 EXHIBITION Magna Systems and Engineering (Stands O-03, P-01 and P-03)will be focusing and demonstrating solutions in the three key areas of content acquisition, management, and delivery for both broadcasting and new media workflows.

Magna Systems engineering manager, Barry Pegg, said, “Magna Systems offers the only true and realistic independent alternative for bespoke solutions. This is something we will be promoting in a big way at SMPTE.” Highlights on Magna’s stand include: Appear TV – the company that boasts video over IP, streaming over IP, OTT over IP, in fact almost everything over IP. TVU Networks – will be demonstrating their new TVU One with DGI Inspire and aerial networking pack, a TM8200 backpack with Mesh capacity, TVU Anywhere, the TVU Grid and the new IS Plus compression and stat muxing.

Tedial – the MAM specialists will be highlighting their multi-tenanted solution that encompasses comprehensive business offerings and analytics.

SMPTE15 will also be the stage where Videocraft demonstrates its expertise in integrating Avid systems in live television, with the latest Media Composer, Interplay and ISIS systems all tightly integrated in to the broadcast workflow.

RTS Telex – will be demonstrating their latest keypanels, and highlighting RVON, Omneo and Dante networking capabilities.

Visit www.videocraft.com.au

Oracle – will be demonstrating its Front Porch Digital DIVArchive, tape library, and ZFS3 flash drive server.

AJA Bringing CION to SMPTE15 SINCE 1993, AJA VIDEO has been a leading

AXON – will be demonstrating Audio Video Bridging (AVB), a new modular multi-viewer, a new 4K upconverter and a 32x32 4K router.

TAG Video Systems – will be demonstrating their clever VM9000 IP multi-viewer.

BridgeTech – a demonstration of efficient OTT monitoring, transport stream monitoring and IP delivery monitoring.

manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, costeffective products to the professional, broadcast, and post-production markets.

General Dynamics Mediaware – a demonstration of high-quality compressed domain digital video processing products and digital video technology.

AJA products include the “KONA” and “Io” video I/O devices, the “Ki Pro” family of file-based recording devices, “KUMO” compact video routers, the “FS” family of frame synchronisers and scalers, a full range of Mini-Converters, and the “CION” 4K production camera.

FileCatalyst – will be demonstrating the latest in high-speed file and data movement solutions.

Through AJA’s Developer Program leading manufacturers and developer partners across the professional video industry gain access to AJA’s unique technology for integration into their product line-ups.

Nevion – will be displaying their compact Flashlink transport system family, which offers solutions ranging from simple CWDM/DWDM point-to-point links to nationwide optical links.

Representatives from AJA Video Systems will be in attendance at SMPTE15 to provide product demonstrations and to showcase their latest product innovations and workflow solutions.

Visit www.aja.com

ChyronHego – will be demonstrating their new Cameo, Mosaic, Lyric 64-bit and Paint systems.

Enensys – will be demonstrating the latest in the design and manufacturing of Digital TV transmission systems and broadcast network equipment.

Ikegami – will be demonstrating the latest 1/3” HC-HD300 camera solution and affordable LCD monitors.

Pebble Beach Systems – a demonstration of their powerful Marina and Dolphin solutions.

Visit www.magnasys.tv

SMPTE 15 PREVIEW

www.content-technology.com/smptedaily

SMPTE15: Persistence of Vision July 14- 17, Hordern Pavilion & Royal Hall of Industries, Moore Park

The Society of Motion Picture and Television Engineers (SMPTE) is kicking off its centenary year with SMPTE15 Conference and Exhibition in Sydney. The theme for this year’s landmark event is ‘Persistence of Vision’, relating to both the underlying concept that allows a series of images presented in quick succession to be rendered as a moving image by the human brain, as well as SMPTE leading the way in standards development and education for the industry.

CHRIS FETNER OF NETFLIX will present the opening keynote at SMPTE15, a timely inclusion following the introduction of Netflix to Australian shores in March. Fetner will challenge both SMPTE and the industry to reinvent itself, much as Netflix is doing to the industry as a result of its business model. The keynote is expected to be a very popular session and a big draw card on the first day, as well as generating a lot of discussion.

David Wheeler, Chair of the SMPTE15 Conference Committee, said, “There are some areas which we’ve noticed in the contributions that are top of mind, things like high dynamic range (HDR). That actually seems to be getting every bit as much attention as Ultra HD. Rather than having a larger image, actually having a better image, an image with a greater dynamic range, blacker blacks.

“We’re seeing a lot coming in on cloud and IP. In 2013, if you looked at the program, you would have seen the IT stream if you like was kind of confined, but if you look at the program this year, it’s blown out and it’s all over the place. There’s IP delivered contribution, we’ve got work in the cloud in the first day’s session, and there’s a lot of IP discussion happening in other sessions as well.

“We have also still made an effort to try and structure it in such a way that if your interests are in a particular area, notwithstanding that we’ve got two streams running in parallel in all sessions except the opening key note, that you would be inclined to go to one or the other and not torn

between the two. We’ve tried to think about the delegates from that point of view.”

Despite HDR and IP threatening to dethrone UHD as the technology du jour, SMPTE15 will have an abundance of UHD at the conference. Chief among these is a half-day UHD essentials seminar on the last day, a package which has been put together by the SMPTE education team and it’s being delivered by Bruce Devlin from out of the UK. “That’s something which, for people who are coming to grips with UHD and what does it mean to my work flows and the equipment that I need, that’s going to be a very good session where people can come along and just sit down and focus on Ultra HD. On the first day there will also be a session about the challenges of Ultra HD,” said Wheeler.

“Half of our authors and presenters are from overseas, a quarter of those from North America and the balance from the UK, Europe, and Asia-Pacific. We’ve got a number of the senior management of SMPTE coming to attend the conference, some of whom are presenting papers, Matt Goldman, Patrick Griffis, and members of the SMPTE executive are presenting papers out here. Barbara Lange, our executive director, is also coming out. She’ll be opening the conference and introducing Chris Fetner. We’re just delighted with what we’ve got here; we’ve got high quality papers,” concluded Wheeler.

Visit www.smpte.com.au

IEEE BTS Distinguished Lecturer Pablo Angueira to Present at SMPTE15 THE IEEE BROADCAST TECHNOLOGY SOCIETY (BTS) has announced

and robustness for different services (mobile TV, HDTV, and UHDTV) in

baseline of ATSC 3.0 standard. It is also aligned with the COFDM and LDPC techniques used by DVB-T2, and it is one of the key technologies currently being analysed within the Physical Layer Technical Group of the Future of Broadcast Television (FOBTV).

Angueira will describe the basics of the system, the building blocks and design fundamentals, and the performance under different conditions.

one RF channel. The system has been accepted to be part of the

Visit http://bts.ieee.org

that one of its Distinguished Lecturers, Pablo Angueira, will give a presentation at SMPTE15 on behalf of the IEEE BTS. The session, titled “Layered Division Multiplexing: Basics Concepts, Application Scenarios and Performance,” is scheduled to take place on the second day of the conference — July 15 — at 2 p.m. in room 1 of the Hordern Pavilion and

SMPTE 2015 PREVIEW

Royal Hall of Industries at Moore Park.

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In keeping with the theme of the conference “Persistence of Vision — Defining the Future”, Angueira’s session will focus on Layered Division Multiplexing that uses spectrum overlay technology to deliver simultaneously multiple program streams with different characteristics

SMPTE 2015 PREVIEW

Fujinon Lenses for Every Season AT THIS YEAR’S SMPTE, FUJIFILM will show off its range of lenses, including its latest Cine-Style, broadcast studio, and field lenses on stand N001 in the foyer of The Horden Pavilion.

The entire range of FUJINON Cabrio cine/ENG-style lens series will be on hand. The latest addition to its series of cine zooms – the FUJINON Premier PL 25300mm Cabrio – will be a particular highlight. Equipped with a 35mm PL mount, the PL 25-300mm boasts a high zoom ratio covering the focal length of 25mm to 300mm. The PL 25-300mm supports an optional, detachable servo drive for electric zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus, and iris adjustment.

Designed using the latest proprietary optical simulation software, the entire range of Cabrio lenses offer exceptional optical performance in the centre of the image and in the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. The zooms support Lens Data System (LDS) and /i Technology metadata formats, and can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.

Alongside the Cabrio range will be Fujifilm’s XA99X8.4BESM ultra-wide field production lens. The XA99x8.4 offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. The XA99x is f1.7 to 341mm and f4.2 at 832mm. Like other lenses in this product line, including the XA77x9.5, XA88x8.8, XA8812.5 and the XA101x8.9, the XA99x8.4 offers FUJINON’s DIGI POWER digital controls (featuring F number limit), Quick Zoom, twoshot presets, a 2X extender, and other precision digital functions increasing production flexibility.

Fujifilm will also have their entire range of LTO tapes on display including the unique LTO-6 that features groundbreaking Barium Ferrite technology.

Also on display in the media area will be Fujifilm’s unique LTO labels and labeling system.

Visit www.fujifilm.com.au

Mediaproxy Showcases LogServer Suite Updates MEDIAPROXY PTY. LTD., a leader for broadcast compliance logging, content monitoring and transport stream analysis, will showcase a comprehensive update to its LogServer suite of products at SMPTE15, including the new LogServer Access product, OTT live stream monitoring, ASI Streamer, and numerous enhancements across the entire product range and user interfaces.

A new addition to the LogServer suite of products, LogServer Access offers customers a highly cost-effective product for disaster recovery, remote backup as well as access to all recorded media content and meta-data via the leading edge LogPlayer user interface. Scalable to hundreds of channels on a single server, LogServer Access provides transparent access to assets from other LogServers systems. LogServer Access provides full redundancy without the high cost of doubling up on hardware and software and opening up new workflows across local and external networks.

In addition to comprehensive enhancements across the entire suite of products, the latest version of LogServer now also includes support for several OTT live streaming formats providing enhanced quality of service monitoring for streams distributed via CDNs. Mediaproxy will also be showcasing the latest version of TSAnalyzer including the new ASI Streamer feature. TSAnalyzer has a versatile toolset for analysing a wide range of transport stream types in ATSC and DVB formats. Beyond forensics on file-based and live network stream sources, TSAnalyzer allows for seamless connection to any LogServer ASI or IP. Ideal for avoiding the substantial cost of high bandwidth WAN networks, TSAnalyzer provides low bandwidth event monitoring of native transport streams.

Visit www.mediaproxy.com

Imagine Communications’ Workshops at SMPTE15 IMAGINE COMMUNICATIONS, a leader in video infrastructure, advertising

Elemental Presenting on HEVC AT SMPTE15 IN SYDNEY Elemental will offer executive 1:1 briefings and software-defined video demonstrations at the show, in addition to a formal presentation about the latest HEVC updates.

Highlights include: + Software-based demonstrations in the Quinto Booth, No. A-68, focused on: Just-in-time packaging, ad insertion and DRM for multiscreen video distribution with Elemental Delta

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Live-to-linear VOD and time-shift revenue services, such as catchup TV, start-over TV, nPVR and delay TV

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+ 1:1 Elemental executive briefings with David Godfrey, VP sales, APAC Topics ranging from unified headend strategies for linear TV and multiscreen services, to cloud, virtualisation, 4K and HEVC

SMPTE 2015 PREVIEW

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+ Changing the Game: A Guide to Cost-efficient Software-based HEVC Video Processing Deployment Subject-matter expert Mark Cousins, professional services manager APAC for Elemental, will lead a presentation about software-based HEVC deployments starting at 9:55 am on Tuesday, 14 July in Room 1.

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Visit www.elementaltechnologies.com

systems and workflow management solutions serving media networks, broadcast stations, digital media, communication service provider and enterprise markets, will be showcasing its latest technological innovations through a series of workshops at SMPTE15 conference and exhibition (Stand A-05).

The Imagine Communications workshops at SMPTE Australia will focus on advanced technology and solutions including ways to simplify the creation and management of a new channel with the use of VersioCloud, the IPenabled, software-based, integrated cloud playout platform running on commercial off-the-shelf (COTS) IT platforms. This workshop will highlight the benefits of VersioCloud, with real world examples of how these playout technologies can be used to easily add additional channels, reduce risk and support disaster recovery.

Imagine Communications will also highlight CloudXtream, a comprehensive cloud video platform for multiscreen video distribution and monetisation.

CloudXtream is designed to meet the growing and complex array of video distribution requirements, including live video, video on demand (VOD), cloud DVR (cDVR), dynamic ad insertion (DAI), packaging, encoding, transcoding, storage management, and cloud orchestration.

Imagine Communications will also feature a workshop focused on leveraging IT/IP technology to build out flexible television infrastructures using software defined networking. This workshop will showcase how the Magellan SDN Orchestrator software control system can manage hybrid facilities to protect customers’ existing baseband investments, while providing a clear path to an open, interoperable and IP-based future.

Visit www.imaginecommunications.com

VISIT US AT HORDERN PAVILION STAND M - 0 4

Join us at SMPTE 2015 Lumina Broadcast Systems are proud to represent these world leaders in broadcast equipment

We will be demonstrating new Satellite DVB S2X Solutions, exciting new Studio Automation and Social Media Applications, together with new FM Transmitters & TWTA Amplifiers. As well as Portable Satellite and Wireless Camera Systems together with lots more leading technology from around the Globe.

Lumina Broadcast Systems Australia Pty Ltd | PO Box 1693 Lane Cove NSW 1595 Ph +61 2 9817 2179 | Fax +61 2 8572 5285 | sales@luminabsa.com | www.luminabsa.com

SMPTE 2015 PREVIEW

Sony Showcases Latest 4K and HD Production Tools AT SMPTE15, Sony is exhibiting a range of technologies for HD and 4K that embody its ‘beyond definition’ vision and demonstrate innovation in the areas of shooting, working with and viewing compelling content that extends beyond broadcast to markets including motion picture, event videography, corporate, houses of worship and education production.

CBK-55BK “Documentary Dock” for PMW-F55/F5 CineAlta 4K digital cinematography cameras is a game changer – transforming the cameras so operators have the familiar ergonomics of a true shoulder-mount camera, ideal for documentaries, EFP and run-&-gun style shooting. This enables the F55 or F5 to be a Super35mm production camera one moment, then quickly and easily converted to a broadcast shoulder-type camera the next.

The PXW-FS7 is an ultra-portable 4K camera featuring a Super35mm CMOS sensor, ideally suited for one-person operation. The latest member of the XDCAM family has been designed for documentary, music video, online content creators and corporate filmmakers looking for beautiful picture quality and an unrivalled choice of recording formats.

The new BVM-X300 4K TRIMASTER EL OLED reference monitor will be on display. This is the flagship model in Sony’s professional monitor line-up.

Dejero’s Bogdan Frusina to Present at SMPTE DEJERO HAS ANNOUNCED That Bogdan Frusina, the company’s founder and chief technical officer, has been selected to present a paper at SMPTE15. On Wednesday, July 15 at 3:45 p.m., Frusina will present “Looking to the Cloud for Multiscreen Video Contribution Management” as part of the conference’s “IP Delivered Contribution” track.

“Today’s broadcasters are constantly challenged to reliably deliver low-latency, high-quality video to multiscreen audiences on-air and online,” said Frusina. “In this session, we’ll describe a powerful solution that centralises the management and routing of contribution content and online publishing services in the cloud, enabling live feeds, remote transmissions from bonded wireless transmitters, and network feeds.

Acting as a type of virtual subrouter, this solution integrates into a wide range of broadcast, IP-based workflows and gives the operator a single dashboard for managing contribution assets — thereby offering a powerful toolset for distributing low-latency, high-quality live content across multiple delivery platforms.”

Dejero will be exhibiting at SMPTE15 with Digistor in stand D-12, and will offer demonstrations of its solutions at the show.

Visit www.dejero.com

The monitor supports a High Dynamic Range (HDR) mode and a wide colour gamut exceeding DCI-P3 and covering most of the ITU-R BT.2020 Recommendation.

With sports fans globally demanding more live sports content across TV and digital platforms, HawkEye in collaboration with Sony has developed a solution that streamlines the live production workflow and significantly reduces the cost of live sports production – without impacting on the quality of the output. Hawk-Eye’s SMART Production service combines automated player tracking cameras with an IT based software platform, to deliver a live HD quality sports broadcast service.

Presentations on working with Sony cameras by several local cinematographers, along with overviews of product groups will be featured on the stand throughout the Tuesday, Wednesday and Thursday.

Visit http://pro.sony.com.au

Digistor - Meet the Experts AT DIGISTOR’S SMPTE15 STAND (D-12), visitors will meet with supplier experts plus Digistor’s own specialists to get the information to implement an effective content solutions strategy. Experts are on hand to discuss VXF and post-production, file-based workflows, shared storage, asset management, and IP media delivery.

Visitors can meet with key vendors in Digistor’s Consulting Area or private Consulting Room to discuss specific application needs and develop/ whiteboard strategies and solutions. Discussing application needs with Digistor is an ideal starting point for SMPTE to get the “lay of the land” and let them guide you towards technologies or suppliers that would be of most interest.

Key new releases include Adobe’s Anywhere platform and new pro video tools; Avid’s Everywhere collaborative environment, ISIS, Interplay and MAM solutions; Autodesk’s 2016 releases and newly-acquired Shotgun production management software; Dejero’s EnGo compact modular transmitter plus cloud solutions for mobile news gathering; DDP’s shared storage/MAM/PAM platform; Root6’s ContentAgent file-based workflow, encoding, transcoding solution; Wacom’s new Cintiq 27QHD creative pen & touch display.

In 2015, Digistor is celebrating 25 years of providing services and solutions to the broadcast, post-production and digital media markets.

Visit www.digistor.com.au

Vendor Demonstrations from Techtel

SMPTE 2015 PREVIEW

WITH ONE OF THE LARGEST EXHIBITOR SPACES at the show, Techtel

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(Stand B-04) will exhibit at SMPTE15 with a fresh, new look as they celebrate 30 years of success in the media and entertainment industry.

theatres, SightDeck enhances presenter/audience engagement like never before while recording the final output with unrivalled composition and quality.

Vendors involved include Harmonic who are pioneering HEVC softwarebased encoding on their VOS platform with a demonstration based on the live processing of UHD. In addition, Harmonic will showcase their revolutionary and field proven Spectrum server solutions for production and playout applications, based on the widely acclaimed MediaGrid network storage appliance.

SiliconCore, the world leader in LED screen manufacturing will unveil their 1.2mm Lavender LED screen in its Australian premier. An ultracrisp image combined with the unbeatable light output of LED will impress those viewing Techtel’s video wall. In another Australian-first, newcomer to the teleprompting business, CueScript, will demo their advanced hood-monitor combination and teleprompting software, CueiT.

Spectra Logic will have their BlackPearl storage gateway available to preview.

The BlackPearl provides the latest in tape-library gateway technology, marking the beginning of a new era of simple access to low cost data storage.

Dutch live production experts, VidiGo, will showcase the latest in software driven architectures with their turnkey studio automation solution. The VidiGo automation platform provides graphics, clip playback and audio mixing right at your fingertips.

Ultimatte, the chroma key experts, will demonstrate their revolutionary presentation tool, SightDeck. Ideal for education and corporate presentation

Visit www.techtel.com.au

SMPTE 2015 PREVIEW

Amber Technology’s New Range of Products AMBER TECHNOLOGY, one of Australia’s leading distributors of high technology equipment solutions to the professional broadcast, film, recording, live production and home entertainment markets will be demonstrating their latest new product releases at SMPTE15 on Stand C04 in the Royal Hall of Industries.

In addition to Amber Technology’s expert local team, international brand representatives from EVS, Brainstorm, Snell, Telestream, and Interra Systems (Baton) will be attending to answer your questions. Live demonstrations across Amber’s full range of content creation and acquisition, delivery, processing and asset management solutions will be happening throughout the show.

This year, Amber continues to expand and diversify their range of Professional Broadcast solutions. Premiering for the first time at SMPTE 2015: + EVS – “cockpit” live production control environment + Brainstorm – Real-time 3D graphics and virtual set solutions for all broadcast graphics types and workflows as well as for feature film production

+ DPA Microphones 4017B Shotgun Microphone plus new additions to the d:screet range + SSL Network I/O range of interface options for MADI, IP audio Network and SDI conversion

+ Snell Maverik – fully customisable work surface for the Kahuna vision mixer series

+ Aviwest - DMNG multi-network bonding ENG system

+ Haivision Cloud – all in one Private Internet TV channel solution

+ Telestream – Lightspeed server and Vantage workflow manager

+ Silvus Streamcaster HD – integrated cameraback HD encoder for the Silvus Mesh Radio System + Anton Bauer V-Mount Batteries + Vinten Radamec FE Series Height Drive + Litepanels Astra 1x1 next generation LED panel and Caliber mobile LED lighting kit

Amber Technology General Manager Media Systems, Ross Caston, notes, “Throughout SMPTE15 there will be live demonstrations on the Amber Technology stand, across our full range of content creation and acquisition, delivery, processing and asset management solutions - come and discuss your next project, and see how we can help maximise your ROI and deliver on your promises.”

Visit www.ambertech.com.au

Silver Trak Showcases Media Room SILVER TRAK WILL BE demonstrating their much-heralded Media Room smart media storage, management and delivery service as used by some of Australia’s largest free to air broadcasters, streaming companies and content providers including Foxtel, Transmission Films, and Entertainment One at this year’s SMPTE. Media Room addresses the specific needs of any broadcaster, production house, post production house or distributor who has media assets they want to store, manage and deliver from the convenience of any web connected device. In simple terms it gives the user 100% control over their assets and the ability to use Silver Trak’s services such as QC, file storage or Aspera fasp high speed data transfers without paying any licence fees and without leaving the comfort of their seat.

A brand new Media Room feature that will be demonstrated at SMPTE15 is the system’s unique per-campaign per-delivery watermarking solution,

which enables users to upload their own watermarks and apply them in campaigns and deliveries. This new level of security sits alongside the already successful HLS-encrypted screeners and passcode protection offered by Media Room.

Silver Trak MD Christian Christiansen said, “There will be a full Media Room demo at SMPTE and this is significant as Media Room is unlike any other asset management and delivery service. There is no charge to upload or populate your own Media Room and aside from your small monthly subscription, you only pay when you use any of Media Room or Silver Trak’s services. All assets are stored redundantly and all are easily accessible at anytime. This means our clients, many of whom are dealing with their own international clients, can upload, view, amend and deliver those assets 24/7. No one need be restricted any longer by office hours, plane schedules or expensive courier deliveries.”

Visit www.silvertrak.com.au

Brightcove Delivering Video Through the Cloud 2015 HAS SHAPED UP to be a huge year for online video, as the year

SMPTE 2015 PREVIEW

saw the market entry of not one but three over–the–top video players, both foreign and domestic. By all accounts, Australians have flocked to these new services, drawn by their favourite content being accessible anytime and on any device of their choosing.

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Free-to-air (FTA) operators have not stood still, deploying catch–up TV services across popular devices like the AppleTV, as well as joining forces to launch FreeviewPlus.

Media content publishers who are focused on launching and operating OTT services not only have to navigate around the monetisation and pricing models that are likely to drive service adoption, but also weigh the challenges associated with content delivery and security. Operating in a highly competitive market, speed to market is paramount. This is where

cloud–based solutions can significantly increase the efficiency of a business across the entire media value, from content creation, publishing and distribution to monetisation.

With more than 5,500 customers in over 70 countries, broadcasters, publishers, and media companies rely on Brightcove’s powerful and scalable cloud-based solutions for delivering high-quality video experiences to audiences everywhere and monetisation of video across every connected device.

Experts from Brightcove will speak at SMPTE 2015, addressing the developments that lie ahead for HbbTV, strategies to maximise monetisation of video and the upcoming MPEG-DASH online video format.

Visit www.brightcove.com

Come see us at the show - Stand C41

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MAM

INGEST

Broadcaster Pro

MediaCube

Studio HD550

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SMPTE 2015 PREVIEW

Miller Showcases Cinematographic and Broadcast Solutions MILLER CAMERA SUPPORT EQUIPMENT, a leader in the production of innovating camera support solutions, highlights its wide range of tripod systems, including the new Cineline 70 Tripod System and agile Air Tripod System, at SMPTE15 (Stand L-20).

On display at SMPTE15 is the complete Cineline 70 Tripod System, which includes a new heavy-duty (HD) Mitchell Base 1-Stage alloy tripod and HD alloy ground spreader to complement the Cineline 70 fluid head. Ideal for cinematographers, the tripod boasts a fast and easy setup, with features that include a high-capacity leg-lock system, deploying turn-lock levers with rapid lock/release action, as well as a heavy duty Mitchell Base with a built-in bubble level.

The fluid head, constructed of corrosion resistant alloy, offers advanced precision fluid drag control with ultra-soft starts, smooth stops and perfect diagonal drag transition, as well as counterbalance systems with “all-in-onelocation” control layout. It is set to accommodate industry-leading camera mountings, including ARRI, Sony, RED, and Canon, and it also features an ARRI-compatible, side-loading camera platform, along with an optional, easyto-fit Mitchell base adaptor.

Also on display at SMPTE15, will be Miller’s Air Tripod Systems. These lightweight travel companions are ideal for professionals who are shooting both videos and photos in rugged, outdoor conditions. Both are compact, adaptable and durable. Each system consists of an Air fluid head, offering professionals authentic Miller fluid head pan and tilt technology, and a variant of the Solo 75 2-Stage tripod. The Air fluid head, composed of magnesium alloy housing and precision components, comes with two positions of selectable counterbalance and a dual pan handle option. Both systems have the ability to support payloads ranging from 2kg to 5kg.

Visit www.millertripods.com

Shogun Studio From Atomos ATOMOS, creator of 4K & HD Monitor-recorders, a pocket size ProRes recorder, signal converters & power management solutions, will be showing a number of their products at SMPTE15, including the new Shogun Studio.

SMPTE 2015 PREVIEW

“We’re going to have cameras from all the leading 4K and HD brands including Canon, Sony, Panasonic, Nikon, RED, and others to showcase our monitor recorders, headlined by the 4K Shogun recorder,” said Tony Trent, Chief Marketing Officer at Atomos. “SMPTE will also be one of the first shows in the world where we’ll be demonstrating RAW recording from Sony FS700 and FS7.”

Harnessing the latest recorder, monitor, and playback technology, the Shogun Studio is an all-in-one 4K/HD, 2ch, dual 7” 3RU rack recorder, monitor and playback deck. Designed from the ground up with the rack environment in mind, the Shogun Studio has an extensive recorder, monitor and playback deck feature set, making it perfect for the Live Event, Studio, On-set and Broadcast environment.

Outside the Shogun range, Atomos will also be showing Ninja Blade and Samurai Blade, which are targeting HD applications as well as the Ronin product for rack mounting. Ninja Star targeting drones and lightweight applications will also be displayed.

Visit www.atomos.com

Quinto Communications – Technology for the Future QUINTO COMMUNICATIONS is a leading integrator of high technology products and services designed for the television industry. From baseband video, whether it be SD, HDTV, 2K or 4K, or the latest in file-based IP and transmission technology, Quinto’s comprehensive range of products enables users to integrate the building blocks of video production and transmission in the most cost-effective and resilient manner At SMPTE15, Quinto Communications will feature a range of new products covering the latest technology in video production and transmission technology. From digital acquisition to integrated playout facilities, Quinto’s range of advanced products will show users all the building blocks for a modern television facility.

Highlights will include: + AbonAir – wireless video link systems; + Autocue – prompting systems for cameras and conferences; + Blackmagic – low cost video and audio products; + Dalet – Amberfin transcoding platform, Brio video server and MAM solutions; + Evertz - Dreamcatcher IP based 4K replay system; + Elemental Technologies - live and file-based streaming solutions; + JVC – HDTV cameras and monitors; + Marshall Electronics – wide range of monitors and small cameras; + PAG – camera batteries, lights and chargers; + Screen – captioning and subtitling systems; + Snell – standards conversions and Kahuna vision mixer; + Vitec – comprehensive product portfolio for video, digital signage and IPTV requirements.

With over 30 years industry experience, together with a record for technical expertise and local support, Quinto Communications provide high technology solutions.

Visit www.quinto.com.au

Smaller Boxes, More Pixels at OnAir ONAIR SOLUTIONS will be showing the flagship LiveU LU500 8-modem lightweight backpack as well as the brand new mini LU200 2-modem unit.

For many broadcasters, cellular backpacks are now the primary method of linking video from the field and LiveU’s LU-Central cloud platform is the place to manage your fleet of devices, channels and servers. LiveU representatives Doron Meirom and Boris Wong will be at the OnAir Solutions stand to demonstrate LU-Central and the full range of LiveU transmitters.

If you haven’t seen 4K HEVC up close and personal yet, check out the demo loop on a Samsung 65” UHD TV. Encoded by the ATEME Titan engine, see what HEVC has to offer and why ATEME is a leader in video quality for broadcast and IPTV encoding.

As always, OnAir Solutions will also be showing the Sencore range of video delivery solutions and Volicon’s broadcast monitoring platform. Not to be forgotten, the NewTek Tricaster 8000 and brand new Mini units will be on the stand and visitors can see OnAir’s nifty rental kits for the TriCasters.

Logitek Electronic Systems president Tag Borland will be at the stand to answer questions, including the latest happenings in AoIP standards and all that fun stuff like packet sizes, synchronisation and latency. Logitek Australia will also be showing their range of pre-wired racks.

Kevin Campbell from WorldCast Systems will be at the OnAir stand to talk about how you can save money on links with APT SureStream. The WorldCast Audemat range of monitoring solutions and the WorldCast Ecreso transmitters will also be on show.

Visit www.onair.com.au

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PAT

Broadcast Technologies GmbH

Production Technology Experts

fiber optic solutions

Sound advice, visionary technology.

Professional Audio & Television has long been known for the world class products we sell, but we are also known for our local world class service and support. The customer purchase is just the start of our relationship.

We understand the commercial and technical demands our customers face, and we ensure their purchase is the correct solution to satisfy both of these needs. We pride ourselves on being an integral part of the customers decision making process.

Come and see us at SMPTE 2015 from the 14th – 17th of July

Stand B-11 The Horden Pavilion & Royal Hall of Industries, Moore Park

www.proaudiotv.com.au Professional Audio & Television Pty Ltd P: 02 9476 1272 E: sales@proaudiotv.com.au

PAT048 World Class SMPTE FP_2.indd 1

24/06/2015 12:42 pm

ACQUISITION www.content-technology.com/acquisition

Miller Spans the Globe with Abraham Joffe WHEN INTERNATIONALLY AWARD-WINNING Australian cinematographer Abraham Joffe set out to document the lives of five world-class photographers as they captured incredible images for the recently completed National Geographic channel series Tales by Light, he turned to Miller Camera Support Equipment, relying on the company’s Compass tripods to help him and his camera crew obtain the perfect shots.

Told from the eye of the storyteller, Tales by Light, co-produced by Canon Australia, follows photographers in their trek through 15 countries, across six continents over the course of a year, as they push the limits of their craft to capture enticing, evocative wildlife footage in extreme environments. The six-episode series explores the artists’ journey as they aim to showcase the world in a new light. The series aired on the National Geographic Channel.

“We filmed in such a diverse array of locations, ranging from the peaks of the Himalayas to the jungles of Uganda,” says Joffe. “On these shoots, we filmed grizzlies in Alaska, elephant seals in Antarctica and migration scenes in Kenya. When we were not working with wildlife, we were capturing action sports sequences in Vanuatu,

Utah, and Colorado, as well as meeting local communities in Papua New Guinea and Ethiopia.”

To obtain the variety of creative shots he was after for the series, Joffe exclusively relied on Miller’s Compass tripods, including the Compass 12 Solo 75 2-Stage Carbon Fibre Tripod, Compass 15 Solo 3-Stage Carbon Fibre Tripod, and Compass 25 Sprinter II 2-Stage Carbon Fibre Tripod. Joffe utilised primarily mounted Canon EOS-1D C camera for the shoot, as its compact size and versatility enabled him to use it within some very extreme environments.

Working as a skeleton crew often as small as four people, Joffe and his team had to keep the gear light and compact, as weight was a constant concern. They generally carried the majority of the cameras and lenses on their backs with stabilisation equipment, tripods, monopods, and sound equipment stored in the haul of the plane during travel.

“The lightweight Miller compass tripods got the job done and were the most practical for travel, as they could easily and quickly transition from setup to breakdown,” he adds. “Also, as we were shooting in 4K, the resolution was never forgiving for missing focus. The solid build and reliable

movement of the Compass fluid heads enabled me to keep my shots solid through the project.”

Joffe further mentions that the Miller tripods proved an absolute necessity when filming the copious amounts of wildlife footage. “Filming snow leopards in the Indian Himalaya required a Canon 600mm lens with an extender, and Miller’s Compass 25 was perfect for keeping it rock solid,” he adds. “Additionally, most of the wildlife in South Georgia and Antarctica is up-close and low the ground. The low spreading nature of Miller’s solo legs was used on many locations around the world, as the tripods’ impressive range capacities provided an incredibly intimate perspective.”

Visit www.millertripods.com

Mojo Media Solutions and Achtel Launch TrueBlue Filter for RED Cameras MOJO MEDIA SOLUTIONS PTY LTD and Achtel Pty Ltd have together launched TrueBlue, a sophisticated optical filter that significantly improves separation of blue colours from unintended red contamination.

ACQUISITION

Pawel Achtel MSc, an Australian Scientist and multiple ACS Award Winning Cinematographer, has combined his skills in mathematics and optical science to create a custom designed optical filter that significantly reduces the magenta looking blue colours seen in imagery shot using the popular RED digital cinema cameras.

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In an un-modified camera, the problem is easy to see on bluescreen material, skies, under water, and anywhere where cool colours need to be preserved. The reason is that the red photo-sites on the camera sensor are also sensitive to blue light, as can been seen in the quantum efficiency graphs measured under controlled conditions at Achtel’s laboratory. This contamination gives rise to magenta looking blues and cool colours that cannot be removed, even in post-processing.

By adding Achtel’s TrueBlue filter in the RED camera itself, the problem is virtually gone.

Leaving the Cinematographer, Director and Colourist free to create beautiful looking images without constantly fighting to remove unwanted magenta.

RED Dragon Sensor Native Response

RED Dragon Sensor Native Response

The TrueBlue filter is supplied as a complete kit including an OLPF caddy, and is available for RED Epic and RED Dragon digital cinema cameras. It is simple to install or remove as required.

analysis and delivering measurable results. It does exactly what it says on the box. The day we announced TrueBlue’s availability via social media we had near immediate responses from the US and Europe, and took our first orders that same day.”

“Our partnership with Achtel and the global launch of TrueBlue marks a very exciting time for us at Mojo Media Solutions. As a Sydney based company we regularly do business into Asia, but the partnership with Acthel and launch of TrueBlue has now turned us into a Global supplier,” stated Stuart Monksfield, Managing Director and Founder of Mojo Media Solutions.

“TrueBlue is a genuine home grown Australian product created with passion, using scientific

Mojo Media Solutions will be showcasing TrueBlue during the SMPTE15 exhibition in Sydney [Booth D4], where customers will be able to review sample footage shot with and without the TrueBlue filter.

Visit www.achtel.com and www.mojomediasolutions.com

Cineline 70 System was awarded the best of show product in it’s category at NAB 2015.

ACQUISITION

Goldner Touch for ARRI ALEXA MULTI ACS award-winning cinematographer Edward Goldner recently made the decision to upgrade his camera arsenal to include a new ALEXA XT purchased from and supplied by ARRI Australia.

Goldner, recent winner of the John Leake OAM ACS Emerging Cinematographer Award, explained, “Purchasing a camera was a big decision for me and I spent a great deal of time weighing up. Being able to tailor an individual look for different projects is something I really value. I had to be confident that any equipment I went with would be malleable to the needs of totally different jobs. That said I quickly saw that the ALEXA XT was what I was looking for.”

Goldner started out shooting on film, something he has kept up even in recent years.

He continued, “I’ve always felt really comfortable with film cameras in the sense that they capture beautiful images whilst the cameras themselves are simple and feel like an extension of your body. The ALEXA has been the only other camera that has come close to this for me, in as much as I have a confidence in the format and don’t get too caught up feeling like I’m tethered to a computer. The XT in particular was also ideal for me given its different formats options.”

Goldner is a purist to his craft. The choice of camera was important but it was the look, feel and results that ultimately swayed him towards the ALEXA. He added, “For me, the ALEXA’s colour reproduction and latitude have always been its main selling point. My interest in a camera is more to do with good skin tones and being able to push lighting as opposed to having huge amounts of resolution.”

Goldner says that he most often shoots TV commercials alongside the occasional music video and movie and that most projects prefer to shoot 2K ProRes due to the quick turnaround and simple data management although he now sees an increase in shooting ARRIRAW adding.

“I have done a couple of TVCs and films this year on ARRIRAW, which is always my personal preference, ” he says. “With a bit of planning, I’ve found the workflow to be just as manageable as 2K ProRes. I shoot in

a broad range of environments and have found the camera handles everything well – often better than I do. I find that the ALEXA is very flexible when moving between structured and run-and-gun style projects. It’s generally just a case of selecting appropriate accessories to complement the project in question.”

For Goldner the flexibility of the ALEXA XT is something that initially attracted him to the camera but is now a necessity and one of his favourite things about it.

“The ALEXA XT accommodates a really broad range of job requirements,” he says. “For projects that are to be shown on a large screen or require a lot of post, I find that the RAW and 3.2K ProRes options are perfect. The camera’s 4:3 sensor is also great in that it allows for racking room along with real estate for post to stabilise and extend without having to majorly crop into the image. On the other hand, the camera’s 2K ProRes option is so manageable on a data level and quick to work with, that it’s incredibly helpful on jobs with a fast turnaround.”

Visit www.arri.com.au

Hocus Announces the Smart Roller HOCUS PRODUCTS HAS ANNOUNCED its new Axis1 thumb wheel focus control, the Smart Roller, for the MōVI, Steadicam, pan handles, moose bars, and more.

Hocus Products’, Peter Hoare, said, “The new Smart Roller is a device aimed at the brushless gimbal market to allow single operator focus control through a compact finger roller mounted on the gimbal handle bar. The Roller plugs into the Axis1 receiver with a single ultraflex cable and will control camera run/stop in addition to other functions. It can also be used on Steadicam gimbals, tripod pan handles or shoulder mount handle bars and could be used to control zoom instead of focus.”

The Smart Roller features a very high-resolution contactless magnetic encoder and micro controller to detect the roller rotation. The knob itself has no hard stops, which leaves many more options for control rather than a simple knob that is rolled with the finger. A haptic feedback (vibration) function adds a short sharp buzz to let the user know when the end of the lens range is reached.

ACQUISITION

There is also a button panel, which puts an array of roller and system settings at the operator’s fingertips. All of these buttons can be operated without ever moving your hands off the rig. The roller includes a very versatile clamp, which can be used to position it in the optimum place for comfortable operation.

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The Smart Roller has several buttons on the roller body, which are designed to be accessible and used by the same finger or thumb you use to operate the roller wheel.

There’s a run button to start and stop the camera so you don’t have to take your hands off the rig to start the camera recording before a take. The camera

run is handled through the Axis1 receiver, so can run pretty much any camera, including Red Epic and Canon C300/500 cameras, as well as Sony F5/55 and Arri Alexa cameras. There are also buttons for Direction (of lens rotation), Speed (low gear/high gear) and Limit (to use a part of the lens range).

Peter Hoare, adds, “The Axis1 is the most advanced single channel remote focus system out there, at any price. Our motor control and drive electronics surpass all the competition. Axis1 is designed specifically for the top movie production market where good design, reliability and ease of use are paramount. The system is built to be simple, straightforward, robust and easy to use– there are no silly features and nothing that you need to get the manual out for – rental companies and their customers love the simplicity.”

Visit www.hocusproducts.com

ACQUISITION

CANON HAS ANNOUNCED the launch of a new addition to the Company’s Cinema EOS System lineup of professional digital cinematography products, the EOS C300 Mark II digital cinema camera, capable of shooting 4K-resolution video.

The new EOS C300 Mark II employs a range of features, including Canon’s newly developed CMOS sensor and imaging platform technologies and, offering a significant upgrade in performance over its predecessor, enables the capture of 4K-resolution video and an expanded dynamic range to make possible high-image-quality video.

The EOS C300 Mark II incorporates a Canon-developed Super 35 mmequivalent approximately 8.85-megapixel CMOS image sensor and the Company’s latest imaging platform, Dual DIGIC DV 5, which offers exceptional processing power. In addition to newly employing Canon Log 2, the Company’s proprietary gamma setting, the EOS C300 Mark II is equipped with Canon’s new XF-AVC video format to realise an expanded dynamic range compared with its predecessor.

Visit www.canon.com.au

Sony Launches HXR-NX100 Handheld NXCAM SONY HAS ANNOUNCED the

Sony’s Wireless Solution Offers High-Quality Live Streaming at Low Cost SONY CONTINUES TO DEVELOP efficient, file-based wireless workflows to support the rapid response requirements of news production. Sony’s offerings include camcorders with built-in wireless capabilities, and wireless adapters that can relay video and audio directly from field locations via 4G/ LTE and Wi-Fi networks.

Sony’s new PWS-100RX1 Network RX Station serves as a core component of solutions that deliver efficient, low-cost and high-quality live streaming.

The PWS-100RX1 is compatible with XDCAM camcorders currently used by broadcasters throughout the world, and is very simple to connect and set up.

The compatibility means that broadcasters can continue using their XDCAM assets while gradually migrating to wireless workflows. For operational flexibility, the PWS-100RX1 is equipped with SDI outputs for concurrent dual video streams.

The PWS-100RX1 network RX system comes with pre-installed Connection Control Manager software, which enables easy connection to camcorders as well as routing to SDI outputs, and it delivers efficient handling of live video streams received via 4G/LTE, Wi-Fi and wired connections.

Sony’s wireless streaming solutions can be implemented starting with a camcorder, a 4G/LTE or Wi-Fi dongle and a network RX Station, PWS-100RX1, located at the broadcast station and the SNG/OB vans.

Visit http://pro.sony.com.au

HXR-NX100, the latest addition to its NXCAM range of professional camcorders with high technology and cost performance.

4K PTZ Camera from Panasonic

The HXR-NX100 features a 1.0-inch Exmor R back-illuminated CMOS Sensor with 20 megapixels. The sensor delivers high resolution, low noise and stunning picture quality even in low light conditions, as well as offering more depth of field contro. A fixed Sony G lens, offering 12x optical zoom from 29mm angle of view at wide end that can be increased to 24x with Clear Image Zoom, further ensures picture quality.

US InfoCOMM show, the Panasonic AW-UE70 integrated 4K PTZ camera delivers 3840 x 2160 resolution at 25p via HDMI, and is capable of 4K IP streaming and in-camera 4K recording.

Further extending the recording flexibility of the Sony NXCAM range, the HXR-NX100 is able to record in AVCHD, DV and XAVC S 50Mbps.

Visit http://pro.sony.com.au

Lemac Lets Aladdin Lighting Out of the Bottle LEMAC HAS INTRODUCED the new range of LED lights from Aladdin into Australia.

Heading up the range, the Bi-Flex light kit is not only thin & lightweight but also bendable, water resistant and tough enough to even walk on. In tight shooting conditions, the Bi-Flex can be moulded into almost any shape to enable it to be placed where traditional lights cannot go. This light can also be dimmed from 5% to 100% and has variable colour temperature from 3200 up to 6000K. It also has a CRI of 97 and enormous output for its size.

Also available from Aladdin is the A-Lite, a new style of LED on-camera light.

The A-Lite is dimmable between 5% and 100% and has variable colour temperature from 3200 up to 6000K. The smallest light in the Aladdin family is the Eye-Lite. As the name suggests, this light has been designed as a traditional ‘eye light’ yet is also the perfect light to hide inside vehicle instrument binnacles, on lecterns, behind furniture and more. It features the same ultra-convenient Micro USB charging and internal battery as the A-Lite and gives over two hours of constant usage.

Visit www.lemac.com.au

UNVEILED AT THE RECENT

The UE70 offers key features aimed at production such as genlock, Optical Image Stabilisation (O.I.S) and remote switchable ND filters. The camera comes with 3G-SDI as well as HDMI video outputs and incorporates a 1/2.3-type MOS sensor and advanced processing. It also boasts direct from camera audio/video streaming up to 2160/30p and in-camera video and audio recording to a microSD card at 2160/25p or 1080/50p.

IP, RS-422 and RS-232C in/out interfaces are included, as well as a built in web server which enables both browser control and IP-live preview, for up to 16 cameras, from PCs, Macs and mobile devices. RS-422 Serial or IP control is available using Panasonic’s AW-RP50, AW-RP120G controllers, AK-HRP200G paintbox and the AW-HEA10 control assist camera, as well as appropriately programmed systems from Crestron, AMX, Winnov, and other manufacturers.

The UE70 includes many other features that expand the capabilities of professional video system users. In addition to Panasonic’s Dynamic Range Stretch (DRS), advanced Digital Noise Reduction (DNR) and an ingenious High Dynamic Range (HDR) mode means good images, even in extreme contrast and lighting conditions.

The UE70’s Night Mode makes it possible to shoot in “virtually total darkness”, by automatically switching to high-quality, HD monochrome video with the use of an optional IR illuminator.

Visit http://pro-av.panasonic.net

ACQUISITION

New Canon EOS C300 Mark II Supports 4K

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ACQUISITION

Colourful 4K Shoots with Panasonic Varicam

By Keith Ford

The latest generation of the Panasonic Varicam comes in two variants – the super35mm 4K Varicam 35 and the 2/3type Varicam HS. Both have a modular design, which gives them flexibility in configuration, and the latest generation cameras also feature 14+ stops of dynamic range.

AMONG THE FIRST USERS in Australia to shoot with the new Varicam 35 was Noel Evans, a freelance Director and Cinematographer, who created a short concept piece called Colours of Melbourne.

“I was pretty keen to test out the VariCam in the early stages,” said Noel Evans. “It’s always fun to play with a new toy, but one of the things I really wanted to test was the ISO 5000, because I didn’t quite believe that it was going to do what Rob [Myers, Panasonic National Sales Manager Broadcast & Professional Video Division] kept saying.”

Perhaps the most unique feature of the Varicam 35 is the dual native ISO at ISO 800 and 5000, which allows for exceptional low light shooting.

During the shoot for Colours of Melbourne, Evans’ primary goal was to test the low light capabilities at ISO 5000 with only the first two shots being done in daylight and the remainder done at night on the streets of Melbourne.

“We used pretty much street lighting for everything,” said Evans. “There’s only some small augmentation with a 1x1 Dedolight Pro Felloni that I used just to give some separation when our lights were a bit similar colour to what we’re getting close to the background, so I just wanted to break that out a little bit.

Noel, along with Con Filippidis who acted as a camera operator, only had to spend a short period figuring out the camera’s setting. They did spend a bit longer playing around with the settings to see what the camera could do.

“Most operators could probably pick up this camera, go through the menus and understand probably in 15 minutes you’d be ready to go. So take that out of the equation, it’s really not something you have to worry about,” said Evans.

Not only did Con FIlippidis assist Noel with his project, he also had the chance to shoot something on the Varicam himself. Airing over the Easter long weekend, Con’s project, The Colour of Eden, saw him expand upon the learning he had already done on Colours of Melbourne.

“Rob asked if I wanted to have the VariCam over Christmas, if I wasn’t doing anything, if I wanted to have a play with it. I said ‘yes’ very eagerly.

So I quickly took up the offer to have a bit of play with it and then I found out Noel was doing some tests and stuff and I put up my hand, I wanted to be involved in that and that was a real revelation. I really enjoyed shooting with the camera and operating it,” said Filippidis. “Then this program came along and I said what a perfect opportunity to get this camera and actually put it on a real production, on a real drama shoot and put it through its paces and that is exactly what we did.”

ACQUISITION

Con also felt that the ability to shoot at native ISO 5000 gave him much greater flexibility, particularly in scenes where lighting was difficult to achieve for practical reasons.

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“I had just dressed the set, I go, ‘Wow, this is exactly the ambience I’m feeling, I would want to create if I was lighting it,’ and we have a steady cam shot that had to go around the bed. So if I was to put a HMI through the window it would limit the actor’s movement, you’d get his shadow on the bed,” said Filippidis. “I said, ‘No, I’m going to flick this to 5,000 ISO

and just go with available light. Basically two bedside lamps lit the scene and it just looked gorgeous. It saved a lot of time, we didn’t have to light it, and not because I was lazy or wanted to save any time, but because it looked great.

“The biggest thing I found with this camera that I enjoyed and I found a big plus, really was the 5000 ISO. It got me out of trouble so many times. The schedule was just nuts on this thing. Going into it we knew we really had to push and a lot of times the 5000 ISO just really helped us out a lot.”

The Varicam 35 is comprised of the 4K camera module with a PL lens mount and the recorder module. The recorder module is exactly the same for both the 35 and the Varicam HS featuring the HD camera module with a 2/3-type lens mount. The camera heads are icompletely nterchangeable to suit the application, or simply if the user is looking to upgrade to 4K. The camera head docks to the recorder without any need for a cable connection, allowing for easy docking and undocking.

The ability to pull the camera apart into two distinct sections also allows for some interesting capabilities, with the camera head and recording modules able to be placed in different locations and connected with a cable. This lets you mount only the camera head to a crane, thus adding flexibility to your camera work.

“I think it’s a great drama camera and I can’t wait to use it on another drama production or commercials,” concluded Filippidis.

Visit www.panasonic-broadcast.com.au

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

VSM as Control System for NEP Australia’s HD 11 VSM BROADCAST CONTROL and Monitoring System from L-S-B has been chosen as overall control and monitoring system in the newly built HD 11 of NEP Australia.

Professional Audio & Television, exclusive distributor for L-S-B in Australia, has been awarded to supply NEP Australia (formerly Global Television) with the VSM system and a large LAWO mc2 56 MKII console system, among others.

Once again NEP Australia has entrusted the control of the truck to L-S-B Broadcast Technologies’ VSM system (Virtual Studio Manager). The unlimited size matrix VSM system will be responsible for controlling most of the hardware in the broadcast trailer, including the Riedel Artist talkback system, LAWO VPRO8’s, LAWO mc2 56 MKII console system, LVM TV Logic Monitors, Imagine Technology’s Video Router, Sony MVS 8000, OpenGear equipment, and ROSS Video Frames. The system, which is currently custom configured by NEP Australia Engineers to their specific needs, also provides multiviewers for over 350 pictures and allows NEP to create, load and save presets including labels, crosspoints, GPO states, parameters and

panel layouts. Virtual Signals allow creation of “re-entries” without using physical router resources. VSM Pseudo devices enable NEP to link Video, Audio, Time Code and RS-422 signals into a switchable overall bundle, providing unprecedented flexibility to turn the trailer around between jobs and recall client specific production requirements.

NEP Australia’s Technical Services Manager, Milan Milenkovic, commented, “Once again we have deployed a proven formula to build the largest and most powerful truck in our fleet. Our long standing relationship with Professional Audio & Television allowed us to develop the system in close cooperation with L-S-B Broadcast Technologies and LAWO to build this industry leading HD super truck.”

“The close cooperation between NEP Australia and the PAT team will see us deliver one of the most sophisticated outside broadcast systems in Australia to date. To say we are proud and honoured to be involved with this project would be an understatement,” enthused Managing Director of Professional Audio & Television, Patrick Salloch.

Visit www.l-s-b.de and www.proaudiotechnology.com.au

NEP Australia and BT Partner with Nevion for Live 4K Cricket THE 2015 CRICKET WORLD CUP was the 11th Cricket World Cup, jointly hosted by Australia and New Zealand from 14 February to 29 March 2015.

Fourteen teams played 49 matches in 14 venues, with Australia staging 26 games at grounds in Adelaide, Brisbane, Canberra, Hobart, Melbourne, Perth and Sydney while New Zealand hosted 23 games in Auckland, Christchurch, Dunedin, Hamilton, Napier, Nelson and Wellington.

Broadcasting and international cricket history were made at the Melbourne Cricket Ground (MCG) on 29 March with the culmination of the world’s first live cricket broadcasts in 4K ultra high definition.

NEP Australia and BT Media and Broadcast teamed up to deliver seven key live-to-air 4K matches in the 2015 ICC Cricket World Cup for host broadcaster Star Sports India and its direct-to-home (DTH) partners.

NEP undertook all facilitation, production, and direction services for the seven live 4K broadcasts (two warm-up events; India’s four pool matches including the opener against Pakistan; one quarter final; one semi final; and the final).

BT provided its international fibre services to deliver the HD world feed for international distribution as well as the 4K fibre circuits between the Australian venues and India.

NEP and BT devised a hybrid 4K-HD technical and production solution, which allowed the Star India network to offer its world feed to DTH subscribers in both high definition and 4K. The tandem 4K-HD production meant material captured by 4K cameras could be integrated with the world feed production, eliminating the need for additional cameras.

SPORTSCASTING

NEP, BT and Star Sports India undertook thorough proof of concept testing prior to the events, culminating with a live run at the Australia v England One Day International in January.

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NEP Australia Project Director, Andrew Quinn, said, “When three companies with the experience and calibre of Star Sports, BT and NEP come together with the goal of being the first to deliver live 4K TV coverage of cricket into people’s homes in India, each and every person on the project was committed to it being a success. I would like to thank the teams at Star and BT who embraced this first-time concept and made it fly. With the NEP

worldwide network’s ongoing investment in 4K this style of 4K production and delivery can be offered to all of NEP’s clients.”

Sanjay Bhat, Head of Sales, Asia Pac, BT Media & Broadcast, said, “It’s been great to work with NEP and Star TV to provide this service. Broadcasting the cricket live in ultra-high definition 4K was a real success and brilliant for all the fans of the sport.”

BT Media & Broadcast used Nevion’s VS902 media gateways to provide IP encapsulation of the compressed 4K UHD signal and protection for the global transmission to three affiliate DTH sites in New Delhi and Star’s HQ in Mumbai. BT Media & Broadcast also used Nevion’s FCS1000 Plus to perform proactive network and remote 4K UHD signal monitoring in BT Tower in London, UK. “This is a very high profile project, with many eyes watching,” says Jonathan Wing, Global Sales Directorat BT Media & Broadcast. “We have been working with Nevion for many years so we knew we could trust the technology to deliver this world first.”

“Many people talk about live 4K UHD coverage, but few are actually doing it,” says Nick Pywell, VP Sales, UK, EMEA at Nevion. “This project shows that, with the right equipment and know-how, it is possible to take live sports events filmed in 4K UHD on one continent and transport them over IP to passionate fans on another continent, while monitoring the signals from even further away on a completely different continent.”

Visit www.globaltv.com.au, www.btplc.com and www.nevion.com

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NEP Australia introduces the power of HD11 featuring the latest solutions from

SPORTSCASTING

Handball to The P.A. People with Clear-Com THE SMALL BUT INFLUENTIAL nation of Qatar on the Arabian Peninsula earned the right to host the International Handball Federation’s 24th Men’s Handball World Championships this January and February, a massive event that saw 24 national teams compete in 88 matches to a total attendance of over 300,000.

The championships were held across multiple venues, with three purpose built just for the event, including the 15,300 seat Lusail Sports Arena. The Arena was the backdrop for the most important games of the championships, as well as the spectacular opening and closing ceremonies. Australia’s David Atkins Enterprises produced the celebrations, with technical assistance from Auditoria’s Scott Willsallen.

With experience earned on major sporting events around the globe including Olympic and Commonwealth Games, Sydney’s The P.A. People was chosen to provide communications services throughout the championships.

The P.A. People needed to be onsite as the Arena itself was being finished, carefully installing the communications infrastructure that would help the championships run smoothly. “The venue was still being built as we were installing,” explained Scott Davidson, Senior Systems Engineer – Event Communications for The P.A. People. “We had to pay close attention to detail, as our work not only had to run the event, but also stand up to the installation work happening around it.”

With reliability, functionality and flexibility as the key performance requirements, The P.A. People chose multiple products from the Clear-Com range of wired and wireless communications solutions.

Running a closed fibre optic cabling loop and additional copper cabling around the Arena, The P.A. People deployed 32 V-Series key stations and selected expansion panels throughout control rooms and anywhere extensive comms monitoring and switching was required. Key stations with 24 digital pushbuttons plus expansion panels were stationed at show call and operations control, as well as with the artistic and technical directors. Other vital staff including broadcast, announcers and operations were provided with 24 button stations. The V-Series panels incorporate digital signal processing, 10-character displays, Listen Again memory, and native IP technology in an acoustically controlled housing that ensures every word comes through loud and clear.

An Eclipse-Median system frame fitted with 48 analogue ports sat at the heart of the Ceremonies system, its dual redundant processors and power

supplies ensuring that nothing would interrupt the shows. Three 32 port Eclipse-PiCo system frames also made the journey to Qatar and supported the matches themselves in the smaller venues.

To facilitate stage and artist management at the Arena’s entrances, ClearCom’s digital partyline HelixNet master stations were strategically located around the ground under bleachers. Event staff wore HBP-2X HelixNet Beltpacks cabled back to HelixNet HMS-4X four channel main stations.

In addition to the opening and closing ceremonies, the IHF also put on special concerts by international artists after selected matches, with the Arena hosting concerts by Gwen Stefani, Pharrell Williams, Jason Derulo, and a host of local artists. The closing ceremony raised the bar further with appearances by Kylie Minogue and Taio Cruz.

Further comms coverage was achieved with the use of Clear-Com’s Tempest2400 MasterBelt wireless beltpacks.

Clear-Com’s flexibility ensured that integrating The P.A. People comms system into other venue infrastructure was simple and effective. “The Arena was fitted with state-of-the art equipment in-house,” continued Scott Davidson. “It was easy to integrate with the Clear-Com gear. We also incorporated third-party UHF radios into the Clear-Com system.”

Visit www.jands.com.au, www.clearcom.com and www.papeople.com.au

Eyeheight Colour Correctors at Wimbledon 2015 EYEHEIGHT CC-2M COLOUR CORRECTORS and a DK-2 multi-rate linear downstream keyer will be operating live at the 2015 Wimbledon Lawn Tennis Championships.

Chosen by one of Britain’s largest outside broadcast service providers, the CC2M colour correctors and DK-2 keyer will be a central part of the infrastructure used to relay the content to television viewers around the globe.

SPORTSCASTING

“The DK-2 performed successfully at the 2013 and 2014 Wimbledon Lawn Tennis Championships,” says Eyeheight Sales Director, Martin Moore. “It will be used this year to add contestant identifier overlays which are faded in and out over the live action with a Eyeheight VP-10 video T-bar module. The keyer will be accompanied this year by six CC-2M colour correction channels housed in an ultra-compact 1U chassis. These will be deployed to ensure consistent quality from multiple feeds arriving in the OB control vehicle.”

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Compatible with all commonly used 625/525-line standard-definition, 720p intermediate-definition and 1080i high definition formats, the DK-2 incorporates background, fill and key inputs, wipe, matte and garbage-matte generation, independent main and preview keyers plus EDH reinsertion for the main output. It is fully transparent to SDI-embedded audio and other ancillary data. Mechanical relay bypass is available as an option. Features include 10-bit linear keying, manual or automatic transitions, a user-

selectable choice of additive, multiplicative and self-key modes, and AES digital audio voiceover.

Eyeheight’s DK-2 is equipped with inputs for slave fill sync, slave key sync and master input line sync plus independent programme and preview outputs. An RJ45 port allows connection of three GPI channels and tally as well as RS232-based on-board protocol control. It can be fully operated via Ethernet from anywhere in the world.

Designed for use in live television content creation, the Eyeheight CC-2M colour corrector allows a production team to ensure consistent colour matching when switching between multiple camera sources or making significant changes to camera angle. Operation is via a logical menu system that can be accessed quickly and easily from the front panel or remotely.

The CC-2M colour corrector allows independent real-time adjustment of red, green and blue component levels, master gain, lift, gamma and hue. A preview output provides a configurable split screen showing processed and unprocessed picture. Up to six plug-in modular colour correction cards can be accommodated in a 1 U intelligent chassis with easy channel switching.

Up to eight panels can be networked. The CC-2M system also includes a maintenance mode to assist installation.

Visit www.eyeheight.com

See us at infoComm booth 1325

MORE connectivity ... MORE exibility ... MORE MEDIORNET MEDIORNET MICRON

MICRON slips into any role you want: STAND-ALONE as a 12x12 router with MEDIORNET processing features POINT-TO-POINT supporting 24 SDI video signals / 2 MADIs / ETH (1Gbit) ROUTER as a central video matrix for up to 192x192 HD-SDI signals MESHED 2 as decentralized video routing application

www.riedel.net

SPORTSCASTING

Globecast Delivers Action from French Open GLOBECAST WAS ONCE AGAIN central to the coverage of this year’s French Open from the iconic Stade Roland Garros via services for MP & SILVA, the international media rights company.

As the second major of the year, following on from the Australian Open, Roland Garros is considered the pinnacle of clay court tennis. Globecast provided contribution and European satellite distribution services for coverage of the tournament. In total, more than 1400 hours of feeds were transmitted over the 15 days of the tournament.

For this year’s tournament, Globecast provided an end-to-end service, including encoding (HD MPEG 4), contribution and distribution services.

Live signals from each of the seven main courts at the stadium, as well as the international Super Signal of daily highlights and a number of unilateral ad hoc signals, were provided to MP & SILVA. Globecast also handled the aggregation and multiplexing of two muxes (one with signals from four courts and the other comprising three), an SCPC signal for the international Super Signal and the daily highlights. The latter was via its UK facility.

Contribution was supported via two fully redundant fibre paths; signals were fed through to Globecast’s national switching centre at Serte, Paris then on to the London teleport at Brooksman Park for satellite uplink. Globecast provided a full 72 Mhz transponder on Eutelsat 7B to maximise the reach of the distributed content.

Net Gains for XPression at Roland Garros ROSS VIDEO HAS ENJOYED a working relationship with pan-European sports broadcaster Eurosport since early last year, and the Ross XPression platform now powers all of Eurosport’s graphics content across 54 countries in 20 different languages.

This year’s coverage of the French Open from the Roland Garros stadium in Paris had a slightly different look and feel, and Eurosport took advantage of XPression’s 3D and augmented reality capabilities to create eye-catching content to complement the live tennis. ‘The Coach’ – a twice-daily segment in both English and French where a top tennis coach analyses the playing style of one of the day’s competitors – drew particular praise for its use of on-screen graphics that seamlessly blend with the physical set.

According to Eurosport’s Head of Graphics, Richard Lievre, simplicity and creativity have both been key factors for the channel. “We needed to evolve from our previous graphics system and we felt that XPression would be the right platform for us; it’s been easy to adopt, simple to use and augmented reality has opened up a great many creative possibilities for our team,” he said.

Patrick Jeant, Head of Post Production at Eurosport, agrees, “XPression allows us to work with one single graphics package across all of the different domains within Eurosport where graphics are required – set up once, deploy everywhere. We’ve been one of the first broadcasters in France to use Ross’ augmented reality solution.”

Visit www.rossvideo.com

The entire project was set up and managed by a dedicated team of Globecast staff, including four senior engineers and project managers to handle set up, pre-tournament tests and the provision of service for all the duration of the event. During the tournament, an additional team from the Serte MCR was assigned to the project.

Alessandro Alquati, Managing Director of contribution at Globecast, said, “Being involved in such an iconic event like Roland Garros is always an honour. As with every major tournament, there is the drive to deliver bigger and better coverage each year and this is what we helped MP & SILVA provide to its broadcast customers.”

Visit www.globecast.com

Production Analysis and Telestration Toolset CHYRONHEGO HAS ANNOUNCED the launch of Paint 6.0, a major new release of the company’s industry-leading analysis and telestration toolset.

Designed to meet the specific requirements of sports broadcasters, Paint 6.0 now includes a Mac OS X version designed to run natively on the MacBook Pro. In addition, the latest release includes a variety of upgrades and new features including movable players, editable clip export, and advanced in/ out effects.

SPORTSCASTING

“Paint brings game play to life by giving sports broadcasters the ability to generate dozens of telestrated clips that can be created live or stored at the ready for near-live replays or postmatch analysis. We call the resulting combination of replay, graphics, and analysis ‘Illustrated Replay,’” said Johan Apel, president and CEO, ChyronHego. “With version 6.0, we’ve made the Paint family even more robust and versatile. Its feature-rich toolset and sheer simplicity of use enable anyone on a sports production team to create high-impact telestrations that enhance fans’ understanding and enjoyment of a match.”

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The new movable players, or cut-out, effect within Paint 6.0 allows the commentator or operator to move players to different positions on the pitch or field. The players may be highlighted with a glow or removed from the field, and they can also be scaled in size.

In addition, Paint 6.0 includes an editable clip export feature that enables clips to be shared between Paint servers in an unflattened state.

Visit www.chyronhego.com

Thomson Enables Live 4K Streaming of 2015 French Open THOMSON VIDEO NETWORKS has announced that the company’s new ViBE 4K high-efficiency video coding (HEVC) encoder successfully enabled live 4K streaming of the 2015 French Open tennis championship.

Launched at the 2015 NAB Show, the ViBE 4K HEVC real-time encoding solution allows media enterprises to leverage HEVC for delivering an optimal video experience to consumers, with live compression of UHD sources at up to 60 frames per second (FPS) and in 10-bit colour for Ultra HD (UHD) broadcasting. At the French Open, France Télévisions in partnership with FRANSAT, the French DTH platform operated by Eutelsat, used the ViBE 4K to broadcast live UHD pictures in H.265 format on the Francetvsport Ultra HD television channel. The broadcast was available to any viewers with 4K-compatible displays.

“As the latest addition to our robust portfolio of UHD solutions, the ViBE 4K is also the industry’s most compact live 4K encoder at only 1RU. It’s the ideal complement to our ViBE VS7000 multi-screen and HEVC video encoder, which has already been deployed successfully by major global satellite operators as a file-based HEVC encoding and playout solution,” said Eric Gallier, vice president, marketing, Thomson Video Networks.

Visit www.thomson-networks.com

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SPORTSCASTING

South East Asian Games – All Angles, All Devices Held in Singapore from 5 to 16 June 2015, the 28th Southeast Asian Games featured over 7000 of the finest athletes from 11 countries in Southeast Asia competing in 36 sports across 402 events.

Organisers of the 28th Southeast Asian (SEA) Games unveiled several different digital platforms for the Games which offered a comprehensive digital experience for all fans no matter if they were at home, on the move or at the games venues itself. The digital platforms allowed the organisers to go beyond venue capacity and geographical boundaries and to reach out to the entire region.

THE 28TH SEA GAMES TV mobile application, a first in SEA Games history, could be accessed from any smart mobile device or tablet for iOS and Android. This second screen app was the first interactive multi-camera coverage app developed for any multi-sport competition. The multicamera experience used up to 16 cameras to showcase eight sports and offer an immersive viewing experience.

Developed in partnership with NETCO SPORTS, the app featured content from all 36 sports at the SEA Games, including swimming, boxing, rugby, cycling and table tennis, to name just a few.

A live multimedia production system provided by EVS enabled realtime ingest, multicam editing and metadata enrichment of live content, allowing the production of hundreds of hours of sports coverage. In addition to ingest, clipping and storage capabilities provided by the XT3 server and IPDirector asset management, EVS’ cloud based service C-Cast solution connected with the on-site production infrastructure, enabling delivery of the live, near-live content to mobile devices. Through the app, viewers could select and view multiple live games as well as on-demand replays and highlights with multicam experience.

The SEA Games were also streamed live via the official SEA Games YouTube channel, showcasing 17 different sports as well as the opening and closing ceremonies. Over 600 hours of sports competition were streamed live. Post event highlights and highlights of daily golden moments were also available on the YouTube channel.

28TH SEA GAMES ON MEDIACORP With a sponsorship deal to the tune of over SGD$14.6 million of cash and value-in-kind, Host Broadcaster and Media Partner, MediaCorp provided the largest sporting event coverage ever undertaken of any event in the history of Singapore.

Television viewers were able to view the Games on okto, a dedicated HD channel for SEA Games while viewers on the move could catch even more sporting action via live feeds on Toggle, MediaCorp’s over-the-top internet video service powered by the Tvinci/Kaltura platform.

SPORTSCASTING

Catch-Up videos were available on Toggle while News platforms such as Channel NewsAsia, TODAY, Radio stations and online platforms will provided extensive coverage including the latest scores, daily games updates and background stories.

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The catch-up videos on the Toggle service were powered by an Actus Platform monitoring solution supplied by SI partner Magna Systems and Engineering. Actus provided several components in one platform from ingest of live feeds with SEA content, through automatic or semiautomatic clip marking, and up to delivery of multiple profiles of clips in

SEA Games’ iPad app giving viewers the ability to choose the camera angles of their favourite events.

various bit-rates, resolutions, into various OTT devices, all in parallel.

Meanwhile, working as production partner of MediaCorp, HBS covered production, the International Broadcast Centre, venue operations, booking and broadcast information distribution.

On the production side of the project, live production – or extended highlights – were provided for 16 of the 36 disciplines included in the competition schedule. The remainder were covered by ENG teams and incorporated into daily highlights programming. An overall SEA Games event highlights show was also produced at the end of the event.

The International Broadcast Centre (IBC) was located a short walking distance from the Sports Hub cluster of venues and HBS’ construction team oversaw the allocation and construction of Rights Holding Broadcasters’ unilateral facilities as well as multilateral areas such as the Contribution, Distribution and Transmission Room (CDT), Central Equipment Room (CER) and the Central Information Counter (CIC).

Events covered live, or with extended highlights, at selected competition venues had unilateral venue services available managed by HBS at those locations. Broadcast Venue Managers handled all broadcast activities at venues, multilateral and unilateral, while access to bookable services such as stand-up and mixed zone positions and unilateral camera positions were managed by HBS venue staff.

In addition to MediaCorp, broadcasters covering the event included Radio Televisyen Brunei/Kristal-Astro; Radio and Television of Cambodia; Surya Citra Media/TVRI; Laos National Radio and Television; Sistem Televisyen Malaysia Berhad/Astro; Myanmar Radio and Television; Thailand’s National Television 3, Thailand National Television 5, Thailand National Television 7, Thailand National Television 9, National Broadcasting Services of Thailand Television and Thai Public Broadcasting Service; RTTL of Timor Leste; and Vietnam’s VTV. Thailand’s CAT Television employed ATEME Kyrion encoders and decoders to stream the 2015 Southeast Asian Games over IP. The Kyrion encoders feature an HEVC software upgrade option and support SD to HD to UHD, and MPEG2 to H.264 to HEVC. Visit the following websites: www.seagames2015.com www.youtube.com/user/SingaporeSports www.ateme.com www.magnasys.tv www.evs.com

NEWS OPERATIONS www.content-technology.com/newsoperations

MediaCorp Singapore Installs Octopus Newsroom, Expands LiveU Capabilities

Octopus was awarded the project after an extended period of testing to assess its core functionality, multi-lingual proficiency. This was particularly important as MediaCorp serves an audience that is exceptionally diverse.

Octopus Newsroom has native support for non-Latin scripts, making it suitable for multi-lingual environments. One key stipulation for the MediaCorp installation was support for a software suite that enables its journalists to create, edit, convert and publish Tamil content on Windows and Mac OS X operating environments.

Octopus is now integrated with the broadcaster’s other third party editing software, and MOS-compliant systems, including automation, graphics, subtitling, archive and video servers. Supplied, installed and integrated by Benchmark Broadcast Systems, the new system is now on-air. The Octopus7 system caters to its studio-based news journalists and operators. Mobile clients are also being supplied to enable remote production, publishing, and rundown access.

As a next-generation solution, Octopus has Twitter and YouTube connectivity, analysis and interactivity built-in. This will enable MediaCorp and its journalists to engage with audiences throughout the region both in terms of journalistic research and multi-platform delivery. The Singapore installation was also the first to benefit from Octopus’ enhanced Facebook connectivity which allows journalists to post stories and clips to Facebook pages and to receive status messages and updates from within the newsroom software.

Octopus Newsroom also gives MediaCorp users the ability to create a Quick

Imagine Upgrades Digital Production Facility for TNN IMAGINE COMMUNICATIONS has implemented an end-to-end newsroom solution built around its Nexio NewsForce platform for the Thai News Network (TNN), part of the True Corporation. TNN provides 24-hour rolling news coverage in the Thai language both in Thailand and to international markets. It also broadcasts news and feature programming from CNN. Working with local distributor B.E.C. Co. Ltd. and systems integrator Advanced Broadcast Corporation, Imagine Communications implemented the major upgrade which also included central storage for ingest, asset management and playout on a Nexio Farad high-performance online storage network with intrinsic mirroring for content security.

The project also involved the addition of Velocity editors, integrated alongside the existing Final Cut Pro edit suites. The workflow includes MOS playlist management, which will be integrated with TNN’s newsroom computer network. Content infrastructure includes a Platinum router, with an integrated Predator II-GX HD multiviewer for monitoring and control, and Selenio 6800+ and X50 signal processing including loudness control.

“Our original news platform was unreliable under pressure, so to expand our offerings we needed to look at a system that delivered complete robustness and stability,” said Vichai Sernvongsat, chief technology officer, TNN. “Imagine Communications was able to demonstrate a complete solution from a single vendor, with reference sites doing just what we needed."

Visit www.imaginecommunications.com

Story to add a news item to an existing rundown. With the rundown open, journalists can drag and drop a Quick Story to the rundown, without having to open, edit and manage the rundown.

While the newsroom solution maintains communication between online journalists, the system also enables users to send assignments, notifications, messages and story updates to offline users.

MEDIACORP EXPANDS REGIONAL LIVEU DEPLOYMENT Following on from its newsroom refit, Mediacorp is also increasing its groupwide deployment of LiveU solutions, based on its successful use of LiveU over several years.

MediaCorp is equipping all its news bureaus in the region, including China, Hong Kong, Japan, Korea and other locations, with LU500 backpacks as well as LU-Smart mobile apps. LiveU’s products are supplied and supported by LiveU’s Singapore partner Media Architects.

LiveU’s portable transmission technology is used extensively by MediaCorp’s news division, which produces programs for channels, such as Channel NewsAsia, Channel 8, Channel 5, Suria and Vasantham. Over the past year, MediaCorp has used LiveU for global news events coverage in the region, including the MH17 Air Asia plane crash, protests in Hong Kong and the passing of Lee Kuan Yew, Singapore’s founding father. In one of MediaCorp’s largest projects to date, LiveU was used to cover the vigil, the wake and state funeral of Lee Kuan Yew. LiveU’s global units and services are connected via the LiveU Central management platform for easy preview and remote control using any computer or tablet from anywhere around the world. MultiPoint is fully integrated into the LiveU Central cloud-based platform.

Visit www.octopus-news.com and www.liveu.tv

BBC World News Asia Selects Quicklink Skype TX for Broadcasts BBC WORLD NEWS recently chose the Quicklink Skype TX solution to be used in Asia. The Skype TX Solution will be located in South East Asia and will allow quality video and audio broadcasts to be sent through a single, integrated production grade system.

Quicklink Video have been chosen by Microsoft Skype to manufacture and distribute a high quality Skype hardware/software solution designed specifically for broadcasters. The Quicklink Skype TX is a 19inch 1U rack mounted hardware solution that converts Skype calls into a professional quality SD/HD video/audio signal.

Quicklink have recently released a free software named Bondio. Bondio delivers improved bandwidth by bonding a combination of internet connections together to create one super connection. Networks such as Wi-Fi, 3G/4G USB dongles, WiMAX and Ethernet connections can be automatically bonded together to enhance the video bandwidth connection. This can provide a more stable connection, resulting in better quality video/audio for a professional transmissions. The software is available to download free for use with a Windows 8.0 PC/ Laptop, when combined with purchase of the Quicklink TX. Visit www.quicklink.tv

NEWS OPERATIONS

SINGAPORE’S LEADING MEDIA COMPANY, MediaCorp, has selected Octopus7 to be at the heart of its multi-lingual newsrooms. The new production system went live in February 2015, replacing the previous ENPS system. The installation was overseen by Octopus and local distributor, Benchmark Broadcast Systems.

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NEWS OPERATIONS

Socialising with the News Desk Tony Shepherd, International Business Development Manager with SocialNewsDesk, gives the lowdown on TweetTalking audiences and not getting off your Facebook.

SocialNewsDesk is a social media management tool for news organisations which allows users to centralise control of social media accounts, making them secure, and enable their monetisation.

ACCORDING TO TONY SHEPHARD, International Business Development Manager with SocialNewsDesk, “You connect your social media accounts to our system. You have very robust strong passwords that make hacking virtually impossible, and then you allocate the users that you put onto the system to those accounts. And because you’ve made that connection between the accounts and the users, you can actually track who is posting. And, you can measure the success of those posts on an individual post basis, as well as over accounts.

So, it’s the only system out there that allows you to secure your accounts and to manage your accounts.”

How would you say it differs from something like Hootsuite?

NEWS OPERATIONS

TS: “Hootsuite is a similar sort of product. We have a similar dashboard, but our product is specifically designed for media. So, it’s a unique, secure package, and we have the whole package

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- the way of posting, the way of measuring. We have the applications that go with it, which is quite different to Hootsuite.

As well as that, ours is designed as an OPEX product. It’s not like a computer product where you add users and you add more cost or you add a particular App and you add more cost. We’re about selling you the system that is complete.

So, its unlimited users, unlimited accounts, and any new updates you automatically get as part of your monthly subscription service. It’s really designed for media use.

So, the analytics tools can help to refine social media posts or to see what people are actually clicking on?

“We have two levels of analytics. There’s a post level. You go into the post manager and you can see individual posts, both in Facebook, Twitter and Google+ - which are the three platforms we support – and you can see whether they’ve been re-tweeted if it’s a tweet.

“You get really good analytics on Facebook because they provide more of those to third party providers like ourselves. And then, we also have this unique feature which is once again specifically designed for media, which is a social news report. It takes a snapshot of a 24-hour period. So, it’s like an overnight ratings report. It gives you a breakdown of who your top post publishers are - if you’ve got multiple people over a network posting to your social media channels, you can actually see who’s posting the most.

“You can also see analytics such as what’s the most successful post, both in Twitter and on Facebook, what’s the best one in terms of impressions, what’s the best one in terms of click-throughs. So, it’s a really good snapshot for your manager to see if your social media strategy is working or not.

“Then, you can go into the detail, and you can actually see the details of the post and you can

NEWS OPERATIONS see this person’s done a really good post, this has got fantastic click-throughs and you can ask, ‘What did they do right?’ Let’s do that again.”

Can you also perform topic searches and pull up a range of tweets, for example, to re-broadcast on air?

“The second part of our product is SND On-Air. This is a way of taking a post. You select a post on your dashboard, whether it be a generic post that you’ve searched or whether it be actual user generated content from your users who are talking and engaging you on your social media channels.

“You can take posts, create a playlist and edit that playlist, so you can move those posts around. You can edit posts to remove content.

You can hide the Avatar. All the things you would need to do to a post before you put in on air.

So, what’s the approach to monetisation?

around that, which …”

“We run applications on Facebook that allow you to monetarise through advertising. So, you’d run a competition for giving away an iPad or giving away a phone or whatever, then part of that would be the advertising.

Which keep changing?

And, independent of Facebook’s revenue stream?

“Absolutely. But, it’s certainly very successful. And that’s the other key thing about this is because this product has grown as the social media channels have grown. And, SocialNewsDesk in the US has a very unique position because it has so many customers. There’s 600 customers in the U.S. who are using this product. So, we have very good relationships with the social media companies because we need each other.”

“That’s exactly right. And there’s obviously rules

Visit www.socialnewsdesk.com

“It’s a good way of generating revenue, but it’s also a good way of generating a database. And, we have set up applications that you can just tick all the boxes about all the information that you need, and then that will be filled in by the viewer.

“So, you do all that on the web, and then you can output it in two ways - you can either create a full HD resolution, on-air graphic full HD on a computer. That’s just a full page of a web browser, if you’re a small broadcaster. This has been very successful with smaller broadcasters in the US who probably don’t have a big VizRT package Templates are available. You can position the posts however you like. You can change the background, with the keys all done internally within our system.

“The other way is you can output it via the normal file transfer to any one of the mainstream graphic systems. So, it’s a really simple way to create social media content for on air.”

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As the pioneer in IP-based live video services and solutions for acquisition, management and distribution, LiveU provides broadcasters around the world with award winning live video technology. From the industry-leading LU500 to the comprehensive LiveU Central Management system, LiveU delivers the ultimate in broadcasting workflow solutions.

Contact us today for a demo www.liveu.tv/contact_us

NEWS OPERATIONS

SEE LIVEU AT SMPTE: ONAIR SOLUTIONS – STAND E-04

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NEWS OPERATIONS

Ross Video Introduces Carbonite Black

axle Cam Introduces Simple Camera-to-Computer Workflow AXLE VIDEO, developer of media management tools for video production, broadcast, and news-gathering has announced the release of a new product that resolves the most persistent problem faced by videographers today: managing complex camera media.

Shown for the first time at InfoComm 2015, axle Cam is a low-cost camera ingest application that streamlines the process of acquiring, organising and sharing media from today’s most popular video cameras and DSLRs.

CARBONITE IS NOT ONLY ROSS VIDEO’S most successful switcher ever; it is the market leader in mid-size production switchers world-wide.

At NAB 2015, Ross introduced a new Carbonite family member – the Carbonite Black.

This new Carbonite switcher addresses the needs of larger productions at a low price point. The Carbonite Black frame is small – just 2 rack units and has 36 inputs and 22 outputs, perfect for those larger production environments. It also has AES outputs to play out audio from the internal Media Stores.

The 2RU Carbonite Black frame is available with 2 or 3 MEs, plus 4 MiniMEs and Multiscreen processing – in any signal format – including 3G, UHD (4K) (Quad link). Remarkably, when set to 3G modes – nothing changes, there is no reduction in switcher functionality whatsoever.

All of the Keyers, DVEs, MiniMEs and MultiScreen features remain. A 2 ME system can be upgraded to 3 ME. The Carbonite 3ME 32-button panel is a complete re-design with the styling concepts created for the Acuity series of switchers exported over to this new panel.

The CB3X panel has Acuity style faders and dedicated 32 button source select rows, it also has dedicated ME row selection buttons for instant control of any ME or MiniME on any row as well as 8 Custom Control bank select buttons.

Up to 256 Custom Control Macros can reside on the panel for direct selection at any time. The CB3X panel connects to Carbonite frames via Ethernet, which provides control over much greater distances.

For the first time, axle Cam affordably resolves organisational issues caused by multiple file formats, bitrates, file wrappers and folder structures. The software automatically detects, imports and organises camera media.

Users are then able to instantly access, edit and share files through a simple user interface that leverages axle’s radically simple media management technology.

The product supports DSLRs and HD cameras made by Sony, Panasonic, Canon, JVC, Nikon and GoPro. The company is developing specialised modules to support higher-end cinema cameras, though release dates have not been announced. “axle Cam is the missing link between the camera and the computer,” says axle Video CEO, Sam Bogoch. “It eliminates the countless hours video professionals now spend in processing and organising camera files before they can be used by others.” axle Cam is a comprehensive and versatile solution. During ingest, camera files are rewrapped with no reduction in image quality, and low resolution H.264 proxy versions of camera media are created for use in editorial and review.

The application also features a suite of integrated media management tools, including an interface for displaying media in browsers or mobile devices, a search function for technical and other metadata, and a dashboard grid layout that makes it easy to designate sources and select actions.

With 3 MEs and 4 MiniMEs, Carbonite Black effectively has 7 fully available MEs and a total of 23 keyers.

“DSLRs and video cameras generate dozens of files and folders, which, for the majority of users, are needless clutter,” notes Bogoch. “It leads to more workflow steps, more errors and misplaced shots, and less time for creativity.

The Carbonite series offers a choice of 5 different processing engines and 9 control panels to match a broad range of requirements. Carbonite and Carbonite Black components are interchangeable.

"axle Cam provides an elegant, automated solution. It cleans up incoming files, makes H.264 proxies, grabs the metadata, and displays it in a browser/mobile interface.”

Visit www.rossvideo.com

Visit www.axlevideo.com

NEWS OPERATIONS

AFP Launches Live TV Service

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AGENCE FRANCE-PRESSE (AFP), a global news agency delivering fast, accurate, in-depth coverage of world events from conflicts to politics, sports, entertainment, and the latest breakthroughs in health, science and technology, has announced the launch of “AFPTV Live”, a new service for television networks which offers more than 500 live videos a year.

in 2012. Dozens of hours of live video have been broadcast in 2015,

With this new offer, AFP significantly increases its live video production, which is tripled from June 2015. The service, available by subscription, meets the highest market standards for live feed transmission.

attack on the Bardo museum and the elections in Israel.

Thanks to the Agency’s network in 150 countries, subscribers will have real-time access to international news, major sporting and cultural events, as well as a selection of institutional feeds, for example during international summits and special events.

AFP’s live video coverage has greatly increased since the initial trials

including during the January events in Paris and after the March plane crash in the Alps.

Live broadcasts have now been extended to all countries, from the New Year fireworks in Hong Kong to the inauguration of President Muhammad Bihari in Nigeria, the demonstrations in Tunisia after the “The launch of AFPTV Live marks a decisive moment in the development of video, which is a strategic priority and the leading driver of growth for AFP,” said AFP Chairman Emmanuel Hoog.

“By continuing to meet the ever increasing demand for live content, AFP has yet again strengthened the quality of its service to clients and demonstrated that it has become a leading agency for video.”

Visit www.afp.com

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POST PRODUCTION www.content-technology.com/postproduction

Deluxe to Offer Virtual Reality and Immersive Entertainment FROM ITS BASE IN THE U.S., Deluxe Entertainment Services Inc., one of the world’s leading digital services companies, has announced a new slate of technology and services to develop content for immersive entertainment and virtual reality experiences.

Coinciding with this announcement, Deluxe has recently completed work on “Neuro,� developed with creative VR studio Kite & Lightning for GE. “For 100 years, Deluxe has been at the forefront of entertainment innovation. Adding a suite of virtual reality services is a natural extension of the company’s industry leading digital postproduction capabilities into this new high-growth content arena,� said Stefan Sonnenfeld, CEO, Deluxe Creative Services. “Deluxe has established a workflow precedent that gives our clients better ways to build high-res 360 content faster and more efficiently.�

Deluxe’s new VR services draw on the collective talent at Deluxe companies worldwide, including Method Studios and Company 3. Current and future customers can benefit from the company’s best practices and toolsets for optimizing immersive content creation workflows. “Building on our tradition of leading innovation, Deluxe will provide its virtual reality customers a premier pipeline for the processing and development of content in the virtual reality world, automating a process that can otherwise be very time and labor intensive,� said David Kassler, CEO, Deluxe Entertainment Services. “Neuro� is an entirely computer generated fiveminute immersive film, which is being shown on the latest VR headsets, and was developed using AMD graphics technology. With creative direction

by Kite & Lightning Co-founders Ikrima Elhassan

and Cory Strassburger, the team helped bring to life the video’s main character – a detailed digital model of Ladytron DJ/band member, Reuben Wu. To ensure an accurate likeness, special attention was paid to all aspects of his virtual alter ego. In addition to creating a photo-real digital model, his facial performance was captured and animated to match the narrated voiceover. Deluxe also provided ADR (automated dialogue replacement) for the project.

Visit http://www.bydeluxe.com/what-we-do/ post-production/colordigital-intermediate.html

Growth and Metadata App for Digital Production Partnership THE UK-BASED Digital Production Partnership (DPP), which was formed to guide content delivery standards and has been gaining traction on both sides of the Atlantic, has announced further growth to its membership base.

Among the companies most recently joining the DPP, which became a not-for-profit membership organisation on 1st April 2015, are Sky in the UK and Ireland, Irish public service broadcaster TG4, professional services provider PwC UK and IT services company Endava. There are several new post production members: Deluxe, Manor Production Services, Factory Studios, and Gorilla TV. Media management specialist Cambridge Imaging has become a member, along with data services company DataCentred.

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A number of trade bodies and not-for-profit broadcasters have also now become members: UK Screen, Production Managers Association, Institute for Training in Television, Institute for Professional Sound, British Film Institute,

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Community Channel and God.TV. In addition the DPP now has 34 Production companies as members, as well as numerous individual consultants, craft freelancers, production freelancers, educational bodies and not-for-profit organisations. “With Sky becoming a member, the DPP has the expertise of all the major UK broadcasters behind its work,� said DPP Managing Director Mark Harrison. “But the broadcasters are just one part of an extraordinarily diverse and vibrant membership community, featuring new and established companies and organisations of all sizes and specialisms. Together they will ensure the DPP can drive change for the benefit of the whole industry.�

The DPP has been engaging members with all its current work streams, which include major new guides, and the definition of a number of new standards, including one for Ultra High Definition programme delivery. The first members-only

report was released in May: File Delivery: The Story So Far charts the unprecedented change management that enabled the introduction of file delivery to the AS-11 DPP standard in the UK from 1st October 2014.

The DPP has also released a new version (v1.3.1) of its free-to-download Metadata Application for use in file delivery. Since the initial release of this Application in 2012, the DPP has been working with manufacturers to help them incorporate the functionality into their own products – and so v1.3.1 will be the final release of the DPP’s own Metadata App. The DPP has also recently appointed a General Manager. Dan Cherowbrier joins from Arqiva, where he was Head of Commercial.

Dan will manage the partnership’s business development, as well as taking responsibility for the day to day running of the DPP. He will report to Managing Director Mark Harrison.

Visit www.digitalproductionpartnership.co.uk

POST PRODUCTION

Iloura Creates a Toxic Storm for Fury Road

By Keith Ford

The making of George Miller’s reboot of his post-apocalyptic Mad Max series was a long one, even for a movie as ambitious as Fury Road. Providing the bulk of the visual effects work for the film was Australian VFX studio Iloura.

“IN LATE 2011 I was approached by Andrew Jackson, who’s the overall visual effects supervisor for Fury Road, and he told me Fury Road was back on and he was heading out to Namibia in May 2012, and would I like to join him on set as an additional supervisor, so obviously I jumped at the chance. So I headed out to Namibia and became the second unit visual effects supervisor, or – actually, during the shoot we called it the action unit, because it was just so much more descriptive, which was a wild ride,” explained Dan Bethell, Second Unit Visual Effects Supervisor and CG Sequence Supervisor at Iloura. “Once we wrapped principal photography, I was lucky enough to segue into a role at Iloura, which was the main visual effects vendor on the show, and I got to see some of the shots that I’d seen the genesis of, through to completion in post, which was a fantastic and somewhat unique opportunity.”

The ability to get a first hand sense of what was intended during shooting gave Bethell much greater insight when completing it came time to complete the VFX. This was particularly helpful when it came to stunts, an aspect of the film that Miller wanted to utilise practical effects as much as possible.

“I would say every department on this film, apart from being at the complete top of their game, got on so well. And every department had a real respect for each other, and the fact that some shots were going to be more visual effects-heavy; some special effects, some stunts; so to get specific with special effects guys whenever we needed photographic elements, they were always happy to provide us pyro or dust or flame throwers or bullet hits,” explained Bethell.

“Some shots that were very stunts-driven, I could advise which equipment would be best for post; and in other situations where I knew a CG element might be going in, I might work with the director to instruct the stunt performers where to fall or where to move your head, or you’re getting hit by a bullet from this side, so this is your reaction.”

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Simply looking at the number of effects shots, which came to over 2000 with 1695 completed by Iloura, would lead to a belief that the

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commitment to practical stunts had been abandoned in favour of CGI. This was definitely not the case.

“Apart from two key sequences that are very heavily CGI, the majority of the shots, they were complicated, but they were composites of, as much as possible, photographic elements. In order to give that sense of reality and that everything was captured in camera, we tried to – even when there were multi-part composites, and sometimes you do many, many layers, we tried to capture as much of every frame as we could in camera,” said Bethell. “Maybe not all at the same time, so a lot of my work was looking at the main photography that was captured, working out what background plates we would need to shoot, what special effects elements, and then going out later in the shoot with a breakaway camera unit to pick up these backgrounds, but we always tried to photograph as much as we could in camera, and then rely very heavily on compositing in post to bring all these together into a seamless shot.”

The two sequences that did require large amounts of CGI are also, perhaps not coincidentally, among the most spectacular moments in the film. The first of these is the ‘Toxic Storm’.

“It’s towards the end of the first act and the vehicles head into a massive sandstorm, which is so big it kind of generates its own electrical energy, manifested in lightning. It has these massive twisters with small twisters around them. The entire environment, even though it’s just a large expansive plain, had tonnes of atmosphere; sand and grit flying past the camera; it’s a very visceral sequence,” said Bethell.

“Through the shoot, we just captured, essentially, the vehicles on a large desert plain and did a lot of work at Iloura in post to bring the live action photography together with these massive smoke and particle simulations and heavy compositing work as well, to make everything sit together. It’s a beautiful sequence and one we’re very proud of.”

The second of the largely CGI creations is the Immortan Citadel, a large geological structure in the apocalyptic wasteland where Immortan Joe (Hugh Keays-Byrne, who also played Toecutter in the original Mad Max) set up his stronghold.

“We had to create these three large towers, and they had to look just like they were formed from the earth. And in order to do that Andrew Jackson (visual effects supervisor on Fury Road) actually took a helicopter up to the Blue Mountains and photographed loads of cliff faces, which through various techniques, including photogrammetry, we used to create these towers. So even though they’re fantastical, they’re really based in some form of reality, which goes for pretty much everything in Fury Road,” added Bethell.

Visit www.iloura.com.au

POST PRODUCTION

A Conversation with Eric Whipp Senior Colourist on Mad Max: Fury Road Eric Whipp was born in Auckland, New Zealand, and brought up in Australia. He started work as a colourist in the mid 1990s. Specialising in movies, he worked on the 2007 Academy Award winning Happy Feet. Today he is co-founder and senior colourist at Alter Ego in Toronto, Canada’s leading colour and VFX facility.

When not in his Baselight suite he is out making pictures. His still photography has won him commendation in the International Photography Awards, and his 2001 documentary feature Rainforest: Beneath the Canopy won him a gold Australian Cinematography Society award.

C+T How did you meet George Miller?

EW I first met George on Happy Feet back in 2005. I had never graded an animated film before, and was pleasantly surprised that we treated it as if it was a live action film. We just jumped in and started grading it.

I then worked with George again on Happy Feet 2, and at that point we started talking about Mad Max. What was the workflow?

Fury Road had a very unusual post-production pipeline in terms of colour.

We had the luxury of a very long post period which was great for look development and for the ability to re-visit grades.

I started setting looks on early cuts of the film in February 2014, with George in Sydney. I then essentially took the film back with me to Alter Ego in Toronto where I worked on it over the next year.

We would do interactive grading sessions with George over our StudioLink system. This worked amazingly well and enabled George to sit in a theatre in Sydney and interactively grade with me at Alter Ego in Toronto.

There were three Baselight systems set up at Kennedy Miller Mitchell, the production studio in Sydney. We have five Baselight systems at Alter Ego, so we set up a remote server where the project files could be stored and accessed in either city.

It meant that I could call on our team of colourists at Alter Ego to help rotoscope and track shots that were going to be complicated. I would then work on a scene and simply save it, and it could be opened in Sydney for review.

As the look developed, we realised that it was crucial to view VFX shots under the grade. George wanted a very stylised and pushed look for the film, which would often show up issues in VFX shots.

I tried to keep a current grade on the whole film even as cuts and shots were changing so that this process would work. The new Baselight for NUKE plugin is actually the perfect bridge between VFX and finishing, and it is definitely something we would implement for any future films like this.

How did you, director George Miller and cinematographer John Seale work together?

Fury Road was a colourist’s dream. I was given a strong brief from George Miller and the most amazing images from John Seale, and then a year to just play and grade the way I thought would work best for the film. Then we would re-group and tweak from there.

What was the look for the film? How much was done in camera and how much in Baselight?

The original Mad Max was one of the first post-apocalyptic films to be made.

For thirty years George has watched dozens of films in the same genre and noticed that they all seemed to use the same de-saturated, bleached look.

He was adamant thatFury Road should have a saturated, sharp and graphic novel quality to the image.

The challenge became how to get that rich graphic look out of essentially two colours: sandy beige and blue sky. All the art direction and costume design specifically put everyone in very neutral tones, removing saturated colours from the palette. It was difficult to push the image to appear vibrant without it looking ‘cheap’, and often we found that the key was to have a rich sky to contrast against the warmth of the sand and the characters.

Luckily, Cinematographer John Seale shot an amazing digital neg on the Arri Alexa with so much range.

What were the key challenges in creating the look?

Apart from the challenges in creating a hyper-colourful, rich and graphic look; John knew that lighting continuity wasn’t perfect. The shoot was over

Continued Page 46 

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MOST RECENTLY he has been re-united with George Miller, director of the animated Happy Feet movies, for a very different project – Mad Max: Fury Road.

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POST PRODUCTION Continued From Page 45

having to manually roto.

six months – and ran at a frantic pace – so the grading process was used to iron out some of the daylight differences between shots to help cut between a sunny day and a cloudy day, for example.

Was there a specific scene you found particularly enjoyable or challenging?

George is also a strong believer that an audience should focus on character’s eyes. We spent a lot of time ensuring that the attention in any given shot guided you towards the eyes or whatever the important action might be in the frame.

Tell us more about the day for night scenes.

The film features about half an hour of ‘day for night’, where the scenes were shot 2-3 stops overexposed in full sunlight. We dropped the exposure of the shot overall, gave it our stylised blue night look, but then dug anything we wanted out of the shadows without excessive noise and grain.

After that, we had to replace almost every sky. It required a lot of detailed roto work around characters and focal points, but the end result is a really interesting graphic night look.

You’ve worked on an incredible number of sky replacements…

I’m not sure of the total count, but we must have done hundreds of sky replacements in Baselight. To get the rich look, we often found that some kind of blue sky helped make the image more graphic, particularly when a cloudy shot is cut next to a sunny, blue sky shot.

Using the tracking in Baselight, I was able to add skies to so many shots with relative ease. The main reason for doing these in the grade instead of VFX is that the sky could be changed at any time and adjusted with the grade as the look was developed. This development began very early on in the postproduction process.

How did you find compositing in Baselight?

The compositing features on Baselight worked really well for sky replacements. I was able to key a sky, roto and garbage mask if needed, track the new sky to the shot and then grade and position the sky exactly where we wanted it.

There were some shots where there was almost nothing to track, just flat sand desert and a white sky, but the area tracker often surprised me with how it managed to lock to the movement of the shot.

How did you collaborate with VFX? The main VFX studio was Method in Australia, with another great team of artists under VFX supervisor Andrew Jackson at Kennedy Miller Mitchell.

With Baselight systems also at the production studio in Sydney, we found that the combination of VFX and colour worked really well together. Often we would come across a troublesome shot that we couldn’t get over the line, and working with George interactively in colour on the shot would solve the issue so we could move forward.

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We ensured that we got mattes for all VFX shots, so that I could adjust the elements in the grade. This was hugely beneficial, as once the strong, contrasty grade was applied, it would often crush away detail in the VFX. Using the mattes, I could control the elements and keep information without

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All of Fury Road was enjoyable to work on. The day for night was probably the most challenging, but in the end I think we have a unique look. I think almost every eyeball has been roto’d and tracked in the film too!

What were the deliverables?

The movie was delivered in 2D digital, 3D, IMAX and even good ol’ 35mm print.

The 3D was a post-conversion done by Stereo D. The work is quite amazing: not a cardboard cut-out conversion, but a very real-looking 3D. This of course meant that once we were finished with the 2D grade, we had our DI team rather painstakingly go back and offset every shape and keyframe on every layer for the 3D version.

What sets Baselight ahead of its competition?

The colour for Fury Road is not a basic balance. The stacks are huge and we went into great detail on many shots. It might be adding a tiny light ping to someone’s eyeball, or working with layers of mattes from VFX, all the way up to replacing and tracking in a new sky.

The Baselight grading system is probably the only system that could do what we wanted at the fast pace we needed.

Visit www.filmlight.ltd.uk

Shooting RAW Fury MAD MAX: FURY ROAD is the first digital film for cinematographer John Seale (Mosquito Coast, Witness, Dead Poets Society, Rain Man).

Seale and his crew chose to shoot principal photography with ARRI Alexa cameras and capture on Codex Onboard recorders.

Seale’s crew was outfitted with six ARRI Alexas and a number of Canon 5Ds, with the latter used in part as crash cams in action sequences. The Alexas were supported by 11 Codex Onboard recorders. The relatively large number of cameras and recorders helped the camera crew to remain nimble. While one scene was being shot, the next was being prepped.

In order to provide maximum image quality and flexibility for postproduction manipulation, Seale and his crew chose to operate the Alexa cameras in ARRIRAW mode recording onto the Codex recorders.

Shooting digitally with Codex offered an advantage over shooting on film as it avoided the need to reload cameras with film negative in the blowing winds of the Namibian desert.

RF interfaces were used with the Alexa cameras to transmit images to a command vehicle for monitoring by director George Miller. Miller was not only able to review shots, he could edit material to determine what further coverage was needed.

Visit www.codexdigital.com

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POST PRODUCTION

Adobe Unveils 2015 Creative Cloud Release ADOBE HAS ANNOUNCED the 2015 release of Creative Cloud which includes major updates to Adobe’s desktop tools, including Photoshop CC, Illustrator CC, Premiere Pro CC and InDesign CC; as well as new connected mobile apps for iOS and Android. The company also shipped Adobe Stock, a stock content service to be integrated directly into Adobe’s range of tools.

In addition, Adobe has announced an expanded Creative Cloud enterprise offering that includes enterprise-grade administration, security, collaboration and publishing services.

At the heart of Creative Cloud is Adobe CreativeSync, a signature technology that intelligently syncs creative assets: files, photos, fonts, vector graphics, brushes, colours, settings, metadata and more. With CreativeSync, assets are instantly available, in the right format, wherever designers need them – across desktop, web and mobile apps. Available exclusively in Creative Cloud, CreativeSync means work can be kicked-off in any connected Creative Cloud mobile app or CC desktop tool; picked up again later in another; and finished in the designer’s favorite CC desktop software.

With the 2015 release of Creative Cloud, Adobe magic and Mercury performance provide speed and technology breakthroughs across 15 CC desktop applications, including: Premiere Pro CC adds the Lumetri Colour panel for powerful colour corrections using intuitive sliders and other simple controls; and Morph Cut, which makes it easier to deliver polished interview content by smoothing out jump cuts in talking-head shots to create a cohesive, polished sequence.

After Effects CC now has Uninterrupted Preview to allow artists to adjust a composition’s properties and even resize panels without impacting playback.

Also, Adobe Character Animator brings 2D figures to life using a webcam to track facial movements, record dialog and apply movements in real time onto a pre-configured character.

Celebrating its 25th anniversary this year, Photoshop CC introduces Artboards, enabling the design of cross-device user experiences in a single Photoshop document and quickly preview them on a device; and a preview release of Photoshop Design Space, a new work environment focused on the needs of mobile app and web site designers.

Lightroom CC and Photoshop CC both gain the new Dehaze feature, which appeared first as a MAX sneak peak in October 2014. Dehaze eliminates fog and haze from photos, including underwater shots. Haze can also be added to a photo for artistic effect.

Illustrator CC is now 10 times faster and 10 times more precise than CS6.

Powered by dramatic boosts to its Mercury Performance Engine, users can now pan and zoom smoothly without delays. With the new Chart tool (preview), designers can also create custom charts and share them with others via CC Libraries.

InDesign CC gets its own Mercury performance surge with zooming, scrolling, and paging through complex documents now twice as fast. InDesign now also allows users to publish and distribute documents with a single click.

Dreamweaver CC has new responsive web design capabilities that let designers quickly lay out and build production-ready web sites that adapt to any screen size.

Adobe Muse now includes instant access to premium fonts from Typekit.

Since Creative Cloud was introduced in 2012, Adobe has championed the idea that mobile devices should be integral to the creative process, with free companion mobile apps working seamlessly with CC desktop tools. To that end, Adobe has released Brush CC, Shape CC, Colour CC and Photoshop Mix on Android for the first time, bringing connected mobile workflows to millions of creatives worldwide. Adobe has also updated many of its Creative Cloud mobile apps for iPhone and iPad, including Adobe Comp CC, Photoshop Mix, Photoshop Sketch, Illustrator Draw, Brush CC, Shape CC and Colour CC. In addition to these updates Adobe has debuted Adobe Hue CC which provides an easy way to capture and share production-quality lighting and colour schemes – for video, film and broadcast – by using an iPhone camera and then applying these light and colour moods into a Premiere Pro CC or After Effects CC project.

According to Adobe, its Creative Cloud is evolving into a “vibrant global marketplace”. Adobe Talent, introduced in 2014, connects the creatives with work opportunities from major brands and agencies; and now the company has launched Adobe Stock, the first stock content service to be integrated directly into the creative process and the tools that creatives use every day.

Now creatives can jump-start projects, with access to 40 million images, right within tools such as Photoshop CC, InDesign CC and Illustrator CC. Adobe has also announced it will offer “industry-leading” rates to photographers and designers contributing content to Adobe Stock.

Adobe has also announced major enhancements to Creative Cloud for enterprise: a solution for large commercial, education and government customers. This edition includes all the product features from the Creative Cloud 2015 release, plus expanded security options and deep connections with Adobe Digital Publishing Solution (DPS) and Adobe Marketing Cloud.

Two new security capabilities ensure protection of corporate assets, including customer-managed encryption keys and a new managed service hosting option, which offers dedicated storage behind a customer’s firewall.

Creative Cloud for enterprise also supports an upcoming release of DPS, empowering existing teams in organisations to rapidly design and publish mobile apps without writing code. A public beta of this major update to DPS is now available this week, with more information available at http:// blogs.adobe.com/digitalpublishing/dps2015-au. Content from Creative Cloud for enterprise also syncs with Adobe Experience Manager (AEM), a key component of Adobe Marketing Cloud, to accelerate marketing campaigns by streamlining creative-to-marketing workflows.

Visit: https://www.adobe.com/au/creativecloud.html

Grass Valley Unveils EDIUS 8 with Major Upgrades GRASS VALLEY, a Belden Brand, has announced EDIUS 8, the latest

POST PRODUCTION

version of its editing platform designed for production and broadcast news. Version 8 features multiple new capabilities, including refreshed GUI, Canon XF-AVC support, a new workflow clip management tool, accelerated 4K H.264 playback and an aggressive development program to introduce many new creative tools over the coming months.

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providing editors with super-fast H.264 export capabilities—great for dealing with smartphone footage and repurposing for uploads to social media channels, including YouTube—and amazing playback, even when editing 4K material.

EDIUS offers camera support to allow editors to concentrate on the story, not the technology. Plus, EDIUS 8 is the first nonlinear editing system to support Canon’s recently announced XF-AVC video format which is at the heart of the new 4K XC10 camcorder. EDIUS 8 also includes a new GV browser tool to manage video and still image content on your PC, prior to importing into EDIUS for editing.

EDIUS 8 will be available in two versions, EDIUS Pro and EDIUS Workgroup.

EDIUS Pro is targeted at production professionals looking for flexible editing that offers speed and the ability to handle any file format with a range of creative tools. EDIUS Workgroup is aimed at collaborative news and sports editing for broadcasters, and can be fully integrated with the GV STRATUS video production and content management system, or other third-party media asset management tools and server offerings.

EDIUS delivers exceptional performance using Intel’s Quick Sync Video—

Visit www.grassvalley.com

POST PRODUCTION

Free 4K Demo Footage HARMONIC HAS PRODUCED an array of HD and Ultra HD demo footage, as well as short downloadable 4K clips. Both are available without charge, to qualified companies, for commercial use.

Harmonic’s Demo Footage Center provides sample 1080p versions of content that is available in either HD or 4K Ultra HD format, and also provides details on how to obtain the footage.

The 4K Clip Center, meanwhile, includes various short Ultra HD test clips that are available for immediate download. Harmonic is inviting other companies to its Harmonic-branded footage for testing, internal demos, and external demos at trade shows and other venues. All footage is available in either HD or Ultra HD format, and reels are available in 25, 30, 50, and 60fps. Harmonic encourages the download of any or all of the its short 4K Ultra HD video clips for testing purposes. Each of the free Ultra-HD clips are 3840 x 2160, 30fps, and are licensed under a Creative Commons license.

Visit http://www.harmonicinc.com/resources/videos/4k-video-clipcenter#4k-clip-center

Alchemist OD Turnkey Solutions SNELL HAS ANNOUNCED that its Alchemist OD format and framerate converter is now available as a choice of fully configured, Snell-supported turnkey solutions, as well as continuing to be available as software-only.

The new turnkey systems combine Snell’s industry-leading media processing software with carefully selected, state-of-the-art hardware to deliver outstanding performance and reliability out of the box.

There are two choices of hardware configurations for Alchemist OD – Professional and Enterprise. The Professional package utilizes high-performance commodity components to create a highly cost-effective conversion solution for standard use; the Enterprise package incorporates enterprise grade components for heavy 24/7 usage, including data center applications. With additional features such as ECC memory, redundant power supplies and increased CPU processing power as well as the option to install a high speed host bus adapter, the Enterprise solution enables fast connectivity to remote NAS/SAN storage. Both systems are delivered in a versatile 4U chassis and come with Windows Server 2012, enabling support for the Apple ProRes family of codecs.

Alchemist OD turnkey solutions can be purchased via the worldwide Snell sales and reseller network or direct from the Snell online store website http://snellondemand.com/products/turnkey-solutions

Public Beta of Houdini Engine for Cinema 4D SIDE EFFECTS SOFTWARE and MAXON have announced the

use, speed and dependability.

availability of a public beta of the Houdini Engine for Cinema 4D. The Houdini Engine was introduced in 2013 on SideFX Labs and is designed to allow Houdini’s procedural technology to work inside other digital content creation applications. Studios can build custom effects using the Houdini Engine API and give access to artists using MAXON Cinema 4D.

Especially in studio environments, complex parts of the workflow are tasked to technical directors who create elaborate assets and define the required parameters for use by less technically-oriented artists.

This is where the integration of the Houdini Engine in Cinema 4D builds the bridges that help accelerate production and successfully complete production.

The connectivity of the Houdini Engine with Cinema 4D brings two applications together with individual strengths in different sectors and will significantly boost comfort and performance for all users. Houdini offers completely new possibilities for Cinema 4D users for simulations, creating and using complex digital assets and procedurals, and nodebased workflow. Houdini users will benefit from Cinema 4D’s intuitive workflow, interoperability with industry-leading applications, ease of

Optimised effects and objects for Cinema 4D are available for free from Side Effects in the Orbolt Store – the online marketplace for Houdini Digital Assets (HDAs). Artists with no experience working with Houdini can access these assets directly so they can see which possibilities this new integration has to offer.

Visit www.maxon.net/products/houdini_integration.html

Blackmagic DeckLink 4K Extreme 12G – Quad SDI

DeckLink 4K Extreme 12G has native 12G-SDI connections for working with the very latest high frame rate 4K equipment over a single, high speed SDI cable. Older, first generation monitors and projectors have quad link 3G-SDI connections that require 4 SDI cables. The new DeckLink 4K Extreme 12G – Quad SDI mezzanine card bridges the gap so customers can now have both high speed 12G-SDI connections and four 3G-SDI connections, all on the same card.

Now with DeckLink 4K Extreme 12G – Quad SDI a colourist working with DaVinci Resolve in a grading suite or theater can directly connect to older monitors and digital cinema projectors that have four 3G-SDI connections, without needing to buy additional external converters. In addition to Quad SDI support, the DeckLink 4K Extreme 12G – Quad SDI card also adds a built in hardware down converter for outputting 1080p60 video from 12G-SDI 2160p60 sources.

The new Quad Link SDI mezzanine card fits in the mezzanine slot on the DeckLink 4K Extreme 12G, replacing the standard HDMI card that normally occupies the slot. The mezzanine card is easily replaceable and can be installed directly by customers. Installing the Quad Link SDI mezzanine card gives customers quad link 3G-SDI capture and playback on their DeckLink 4K Extreme 12G card.

The DeckLink 4K Extreme 12G capture and playback card onto which the Quad SDI mezzanine card gets installed is an extremely fast, 8 lane PCI Express Generation 2 card that lets customers capture and playback dual stream video at resolutions up to 2160p60. This super-fast, high performance card allows dual stream 3D, as well as the capture and playback of simultaneous fill and key, even when operating in Ultra HD at 60 frames per second.

Blackmagic has also released Desktop Video 10.4.1 software update. This update supports DeckLink 4K Extreme 12G – Quad SDI, and also adds 12bit RGB 4:4:4 support for 2160p30, keying in 1080p60, and deep colour support.

Visit www.blackmagicdesign.com/au

POST PRODUCTION

BLACKMAGIC DESIGN HAS ANNOUNCED DeckLink 4K Extreme 12G – Quad SDI, a new mezzanine card that lets customers connect older Ultra HD and 4K equipment that use quad link 3G-SDI connections to their computer through their existing DeckLink 4K Extreme 12G video capture and playback card.

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MEDIA IN THE CLOUD, STORAGE & DAM

Motionlink Views Future with Space Storage Sydney digital media specialist company Motionlink has spent 16 years carving out a name for its ability to provide the latest, high quality digital deliverables for local and international clients.

As technology has advanced the company has moved through DVDs to Bluray and DCP files to Video On Demand and the latest streaming formats.

KEEPING PACE WITH THE STORAGE and networking demands of the production workflow required to process digital media files has led founder and managing director Grant Salinger to invest in GB Labs Space scalable shared storage systems.

“We used other storage systems including a SAN before adding a GB Labs Space system about four years ago,” said Salinger. “With the Space we just plugged it into the network and then used it as a NAS – you map a drive by the drive name or an IP address and after many years it is still the simplest, most effective way to work.

“The Space has been extremely reliable. We’re always upgrading workstations here and it’s been very simple to connect them to the Space – unlike a SAN, the great thing is that you don’t need IT people on hand all the time to manage it.”

His latest acquisitions complete a recent relocation and infrastructure upgrade designed to accommodate future needs for several years. The physical move into newer, more secure premises and external connection to a 100 Mbps fibre link were followed by a search to expand and improve networked storage.

LEAVING SAN TROUBLES BEHIND “Our SAN was a temperamental thing but there hasn’t been technology to replace it until recently. As well all our old RAID systems needed updating just for the safety of our data. I looked at all the available storage solutions before settling on GB Labs Space Bridge, Space LTO archive system and a new Space 96Tb unit.”

MEDIA IN THE CLOUD, STORAGE & DAM

The Space Bridge was connected to an existing RAID system refurbished with new drives so the SAN was converted into a NAS, with all the advantages of the Space CORE v3 software. The Space Bridge enabled data sharing between storage units and easy user collaboration without installing any client software or computer adapters. A 40GbE switch was also installed to maximise network operations.

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“So we were able to repurpose the existing RAID storage systems which are still very reliable and using the Space Bridge, our storage is now operating as a 96Tb NAS so it just becomes another drive mapped on the network,” explained Salinger.

“The other big advantage is that our storage works with our Space LTO tape archiving system which is fast and centralised on the network. We’ve used other backup systems but none are dedicated exclusively for media whereas the Space was actually designed for the BBC Archives and that is the exact type of use we want it for. The unit we bought has got four LTO drive bays and we’ve only populated it with one but soon we’ll have three drives so we can make AB copies, on-site and off-site copies, and one’s still free to be restoring at the same time.”

INTERFACE ASSISTS STAFFING AND NEW PLATFORM TECHNOLOGIES “We work with eight full-time staff including myself and often one person uses three or four machines to edit, render, or manage a project. Towards the end of each month we might have 20-30 hits on the Space at any one time or we’re hitting it very hard. I have tested the Space with one machine running 12 streams of HD on a Grass Valley Edius system in realtime, with effects, without a drop in frames and that didn’t affect anyone else working on the network.

“It’s fast,” said Salinger. “Most of the time, it’s Windows or the limitations of the device you’re using more than the actual connection speed now. We still do use local RAIDs for compiling but those local RAIDs can’t feed the network fast enough now. That’s quite an impressive statement.”

The Space interface enables any operator in the office to log in to the Space storage from a web browser and manage their processes using the Space internal file manager. The Space has got its own transfer protocol, which has full checks and its own verification built in so it’s not slowing down the network using Windows or Apple transfer tools.

The archiving system enables users to search and locate a file then put it in a network basket to bring the restored file back – Space will detail which LTO tape to load and then do all the work so no one person has to be assigned to manage the archives.

“You don’t need to be a IT genius to work out the simplicity of typing in the search word, setting criteria if you want a file extensions, file size or things like that. This is becoming very important now with all these streaming platforms becoming available as the studios are selling their older back catalogue libraries to supply these new services. Our archive is being hammered as we are retrieving this material for our clients.”

REWARDING RESULTS AND FUTURE PROOFING “We’ve been wanting to upgrade but there hasn’t been the combinations I’ve wanted and a reasonable price. It’s still a big outlay for a small company but you get so much more for your money now. To get the infrastructure with the amounts of storage, the speed of storage and connections that we have now, would have cost millions five years ago,” said Salinger.

“And there’s still a Space SSD upgrade path I can add as a buffering system that can virtually double the speed of the RAID. It’s good to know I have that capability but at the moment I haven’t come close to maxing out any of the equipment.

“In theory, with the 40 gig switch and its capabilities I’d say this is the first time in the history of this sort of equipment where we’re getting close to being future-proof. You will never be 100 percent because you don’t know what’s around the corner. But I stretched myself to include the new switch and with the longevity of the equipment we are well prepared going to the future.”

Perfecting the Media Experience CLOUD

HLS

4K VOD LIVE

DASH

VM

HEVC

Software-defined video processing and delivery solutions from Elemental provide flexibility, scalability and performance via turnkey, cloud-based and virtualized deployment models.

Pay TV operators, content programmers, broadcasters and enterprise customers around the world rely on Elemental to bring live and on-demand video to any screen, anytime – all at once.

See us at IBC in Stand 4.B80

www.elementaltechnologies.com

MEDIA IN THE CLOUD, STORAGE & DAM

Finding the Right Archive Partner in the Digital Age In light of the Fairfax Media photo library debacle, Adam Hodgkinson, Business Manager with DAMsmart offers advice for archivists on scrutinising digitisation service providers.

INCREASINGLY, CUSTODIANS OF physical audiovisual archives are under the pump. While media degradation has been the Achilles’ heel of media libraries a more menacing threat has been approaching and has begun wreaking havoc - technology obsolescence. Recorded media is wholly reliant on dedicated, proprietary technology platforms to enable replay of the content and manufacturers’ appetites for supporting legacy media technology has been in rapid decline. Beyond just parts, the skills required to maintain the equipment are fast disappearing and are already in short supply. In the introduction of IASA’s IASA-TC 05 standard it points to an available window of only 10 to 15 years for digitisation. Other factors such as Sony’s announcement to terminate the manufacturing of all VTRs early next year could make this window even smaller.

So, while degradation remains a significant ongoing concern, much closer attention must be paid to the rapid decline in the availability of professional playback equipment. Maintaining media in great condition is extremely beneficial, however, this may be a futile exercise if you cannot play it back and the cost to digitise becomes so prohibitive that only the most significant pieces of a collection can be digitised.

Custodians of physical audiovisual archives face an increasingly pressing question: how best to transform their ailing physical archives into secure and usable digital assets? While some organisations can digitise parts of their collection, few organisations have the in-house capabilities or resources to digitise their entire audiovisual archive. Therefore outsourcing of audiovisual digitisation projects is the most common solution.

So, we come to the second major conundrum facing these archives: who do we choose to digitise our content? This question is currently being faced by organisations of all sizes and with high-profile disasters like Fairfax, archive custodians have rightfully become more careful about who they are entrusting their valuable assets to. The experience of Fairfax Media,

who recently sent a collection of 8 million still image assets to the US to be digitised, but was let down by their agency in so many ways, highlights the importance of finding a trustworthy digitisation partner.

There is no point hiding the fact that there are risks associated with outsourcing digitisation. Risks can arise from a vendor’s failure to deliver, such as the case with Fairfax, or less obvious risks, such as the creation of corrupt or incorrect digital files that jeopardise the integrity of a collection, errors which may not be discovered until sometime into the future when it is too late.

Pricing can often sway many business decisions, however, archive custodians really need to look deeper into the capabilities, experience and offerings of any digitisation agencies they are looking to engage.

To achieve results that deliver a collection that is preserved in line with best-practice standards, a collection that is future proofed (as much as knowingly possible), a collection that is transmission-ready and available to be monetised, or just to ensure you get the best possible representation of the source content to guarantee the end consumer gets a great viewing or listening experience, requires specialised skills and infrastructure. The following points are offered as a guide to help inform archive custodians on what they should expect a digitisation agency should be able to demonstrate in terms of their capabilities, experience and offerings to minimise the risks of outsourcing.

Diverse range of legacy technology - A good digitisation agency should have a comprehensive range of legacy technology, because, for example, you need a different video deck for each different format you have and broad ranging digital technology to meet the needs of encoding, rigorous quality control and archiving.

Cost benefit - while we all want to get the most out of our budget, lowest price is not always the best option. While you may get more tapes digitised,

MEDIA IN THE CLOUD, STORAGE & DAM

Fujifilm Achieves Highest Capacity Storage Media

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FUJIFILM HAS ANNOUNCED that, in conjunction with IBM, a new record in areal data density of 123 billion bits per square inch on linear magnetic particulate tape has been achieved. This breakthrough in data density equates to a standard LTO cartridge capable of storing up to 220 terabytes of uncompressed data. 220TB is more than 88 times the storage capacity of the current LTO Ultrium 6 tape. A tape of this size can preserve the human genome of 220 people on a single cartridge. This is the highest capacity storage media ever announced, including HDD, BD, and solid memory NAND flash. This is the 4th time in less than 10 years that Fujifilm and IBM have accomplished record breaking storage capacities on tape.

by decreasing the magnetic particle size that is essential for high recording density. Fujifilm’s original Barium Ferrite (BaFe) synthesis method increases the uniformity of BaFe particle size and decreases 25% of the switching field distribution (SFD), which is an important magnetic parameter for high density recording. The lower SFD leads to a high quality signal output due to the uniform magnetic property of each recorded bit. To ensure the stability of the ultra-fine BaFe particles, Fujifilm improved the magnetic coercivity, yielding an archival life of over 30 years.

This record breaking demonstration was achieved using an advanced prototype tape incorporating NANOCUBIC technology developed by Fujifilm, with advanced tape-drive technologies developed by IBM.

A highly controlled dispersion process and newly developed chemical compound allows the BaFe particles to separate and disperse more uniformly and increase perpendicular oriented ratio. Perpendicular orientation technology with BaFe produces high signal to noise ratio and better frequency response. Enhanced NANO coating technology with super smooth non-magnetic layer controls tape surface roughness and achieves smooth surface of magnetic layer for high signal output. Fujifilm’s advanced servo writing technology decreases high frequency disturbance of servo tracks and enables a higher track density.

Fujifilm’s NANOCUBIC technology is enhanced to increase recording density

Visit www.fujifilm.com.au

Fujifilm Australia General Manager Recording Media Products Marc Van Agten said, “With high performance computing and cloud storage services on the rise, this data density achievement is significant.”

MEDIA IN THE CLOUD, STORAGE & DAM

Depth and breadth of service - make sure your digitisation partner supports the breadth of audiovisual formats, and can deliver the depth of digital outcomes available. For example, in preservation of digital video, uncompressed is sold by some as the only way to go, this is because they don’t offer alternatives, where as Lossless JPEG2000 is a default standard preservation format for many Australian collecting institutions and offers greater advantages. Make sure your partner offers unbiased recommendations so you have a choice.

Experience – ask the vendor to demonstrate their breadth and depth of experience. Have they successfully delivered many previous projects like yours and can they provide verifiable references? Look for a partner that is being used by a range customers types - from small to large.

And look at the calibre of the customers; are they servicing leaders in the respective industries, like national collecting institutions and broadcasters? This will minimise the risk of choosing a supplier who is not a good fit for your requirements.

Knowledge - knowledge is gained through experience. Whether it is knowing what brand of Betacam tape should be matched with which model VTR to get optimal replay, or how a file needs to be assessed in a file-based QC workflow to ensure it is broadcast legal, knowledge is paramount to ensuring the success of a digitisation project, large or small. Make sure the agency you choose to partner with has the highest quality of specialist staff. Are their staff highly trained and have demonstrable experience with a range of digitisation types? Asking this of an agency will further clarify how trustworthy they are to handle your precious assets.

Videotape, audiotape and film all have a shelf life, which is quickly approaching expiry. This means it is crunch time for making strategic decisions about digitising your valuable media archive. Digitisation, especially of time-based media, is not an exact science. Different formats, different brands, different ages, different outcomes all present as unique characteristics of an archive. By understanding this, and working with a partner that you can trust because they demonstrate all of the above will enable you to form a collaborative partnership and avoid the anxieties that Fairfax is no doubt enduring. Whether you have a small or large collection make sure you do your due diligence when choosing an outsourcing partner and ensure your content gets the future it deserves.

Preparing for digitisation? The following short checklist highlights some key points to get you started.

Understand the Why – knowing what you want to achieve from your project is the key driver for successful outcomes – monetisation, preservation, sharing, research, broadcast the list goes on. And these should not be either/or decisions, you should be able to achieve multiple outcomes from your project through the delivery of multiple codecs.

Stakeholders Engagement – quite often there is more than one stakeholder involved. Getting everyone on board early makes for an easier journey. Outsourcing the digitisation is the heavy lift, from physical to digital, but that is not the end of the line. Ownership questions like who will quality check the collection on return, how will it be managed going forward, where will it be stored, who will use it, who is responsible for the archive all need to be addressed early on.

Understand Your Collection – the more you know about your collection the easier it is to engage a partner. Knowing everything about your collection is near impossible, especially if you have tens of thousands of tapes. However, the more you know the more transparent the process can be. There are so many variations that impact pricing, time lines and required capabilities. Consider 2” videotape, a fully manual process that requires a VTR that is nearly 40 years old. The implications of this format v a digital betacam tape are significantly different.

Cost Benefit Analysis – when you are looking at the investment you are going to make for digitisation weigh-up the costs of inaction. AV Preserve provides a great tool to help with assessing the cost of inaction. There are a range of indirect costs that are often overlooked such as the cost of access and storage of physical media. You might actually be saving your organisation money by digitising.

Consider Staging – digitisation is often looked at as an all or nothing outcome. If you choose the right partner you can establish a longer-term digitisation roadmap that enables you to digitise in stages based on criteria such as value, media type, age and so on.

Don’t Wait for Perfect – digitisation projects are often delayed due to related decisions like MAMs or storage, or waiting for the perfect file format. These things are often an illusion on the horizon, always just out of reach. To help future proof your content, seek out standards based outcomes such as XML or open standards codecs. This will make integrating your digital collection with future technology significantly more manageable. And importantly, enable you to act now.

DAMsmart provides dedicated audiovisual digitisation and preservation services. Contact Adam via adam@damsmart.com.au Visit www.DAMsmart.com.au

Mediaproxy 21-Input, HD-SDI Server Platform

SGL Speeds Up Archive and Retrieval

MEDIAPROXY PTY. LTD., a provider of solutions for broadcast compliance logging, content monitoring, and transport stream analysis, has introduced its new high-density HD-SDI server platform in 2RU form factor.

SGL, A LEADING provider of content archive and storage management

The new highly power efficient platform offers unprecedented scalability for all HD-SDI based LogServer systems. A total of 21 baseband inputs are now supported in a single 2RU LogServer platform, drastically reducing cost for expanding environments. The new platform is shipping now and available for all LogServer Baseband systems.

The LogServer platform provides 24/7 SD and HD multi-channel recording and live monitoring of video, audio and real-time data sources. Contents may be reviewed and managed ‘long after the event’ for legal and commercial compliance requirements and competitive analysis.

software for media and entertainment, has introduced Direct Connect for use within the SGL and Avid ISIS shared storage environment. Direct Connect allows users to quickly transfer high resolution material providing significant benefits when working with longer form content.

The advent of HD, 4K and 8K formats has made a huge difference in terms of clarity of image but the sheer size of files can cause bottlenecks, reducing transfer times and hindering system performance. Now, using Direct Connect, clips or sequences over several GBs in size can be archived and retrieved significantly faster, as can shorter clips with high bit rates such as HD trailers and commercials.

Mediaproxy’s leading edge user interface allows for extensive search, export and content retrieval across multiple distributed servers. In addition to traditional baseband sources, the unique LogServer engine also supports multiprogram transport stream sources via ASI or IP, providing powerful options to log both proxy and native MPEG formats in parallel. LogServer greatly enhances content management and QoS whilst lowering overall operational costs.

“Traditionally content passed between SGL FlashNet and Avid ISIS is sent via Avid’s archive provider. In the past when file sizes were smaller this worked well but for high-resolution file-based content this method has some performance implications. Direct Connect enables FlashNet to connect directly to the ISIS storage system using 1/10 GB Ethernet,” explains Lee Sheppard, SGL’s Director of Product Management.

Visit www.mediaproxy.com

Visit www.sglbroadcast.com

MEDIA IN THE CLOUD, STORAGE & DAM

the resulting quality and flexibility can be compromised and you might have to go through the entire process again in the future. It is false economy to choose solely based on price.

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MEDIA IN THE CLOUD, STORAGE & DAM

EditShare Presents New “Enterprise-Class” Storage THE EDITSHARE SMPTE15 SHOWCASE (Stand B-59) presents the latest solutions for managing media from ingest to archive. Headlines include XStream EFS, the company’s new distributed, redundant “scale out” storage system that brings enterprise-class features to a broad range of facilities at breakthrough prices, and the latest release of the company’s integrated media asset management platform, EditShare Flow 3.2.

New to EditShare’s shared storage product line, XStream EFS is an affordable enterprise-class, distributed and redundant “scale out” storage platform, offering unmatched performance and resiliency for real-time workflows.

XStream EFS gives mission-critical media workgroups an open storage platform with smart collaboration features, such as project sharing, combined with blazing-fast performance, multiple levels of redundancy and tremendous scalability.

EditShare Founder and CEO, Andy Liebman, comments, “In addition to EditShare’s core high-bandwidth architecture, the new XStream EFS system offers multiple layers of redundancy that can tolerate the failure of multiple drives, even an entire node. With XStream EFS, you have an intelligent, highly scalable media storage platform that’s rock-solid and affordable – the best of all worlds.”

Based on EditShare’s proven media management tools, the new EditShare XStream EFS solution was specially architected to support high-bandwidth, high-volume media ingest, transcoding, online collaborative editing and multiplatform distribution of HD, 2K, 4K and beyond.

Flow media asset management platform provides a powerful toolset for the creative control of all files during the production process, and is included with every EditShare XStream storage solution.

The latest Flow 3.2 release features new format support, remote collaboration and automation capabilities, a “High Availability” database option, and other enhancements that help facilities build a more efficient production pipe. Topping the robust feature list are: expanded support for 4K codecs and single-file-per-frame formats such as DPX and CinemaDNG; download capabilities that expand the remote collaboration power of AirFlow, the web-based portal into Flow; and fully automated transcoding and delivery workflows.

Visit www.editshare.com

New Version of Catapult from XDT THE LATEST VERSION OF XDT’s flagship Catapult suite of products includes simplified fast access to cloud-based storage via NFS and CIFS.

MEDIA IN THE CLOUD, STORAGE & DAM

Catapult Bridge offers direct access to cloud-based or remote storage via NFS and Samba protocols. Eliminating the use of custom client applications or watch folder workflows to transfer data over WAN networks, Catapult Bridge provides a seamless path over latent networks.

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Catapult Server is a powerful solution for corporate, broadcast and post production users, and is in use at such post-production facilities and broadcasters such as 20th Century Fox, EFilm Australia, Deluxe, Method Studios, and OmniLabMedia.

It offers a fast and secure software-based data transfer application that works over any existing WAN and LAN network; allows highspeed transfers to remote locations or cloud based storage; provides a comprehensive feature set for syncing, data migration, backup and disaster recovery; and offers support for Windows, Mac OS X and Linux operating platforms across all server and client applications. It is a perfect fit for all frame-based workflows with its sequence-aware transfer protocol.

Visit www.xdt.com.au

Viaccess-Orca Shows New Voyage Console VIACCESS-ORCA’S vision to engage viewers starts with protecting premium content, continues with enabling smooth delivery of content to users — at any time, on any device, while personalising the content according to users’ preferences, and ends with an immersive user experience.

Viaccess-Orca’s anti-piracy solution helps content service providers protect their TV services against new forms of piracy, such as Web streaming and peer-to-peer content redistribution. Eye on Piracy includes a suite of services targeting TV content on illegal sites and the illegal redistribution of live events, such as major sports matches, providing smart analysis of pirated content and helping service providers and content owners in the fight against piracy.

Viaccess-Orca’s new backend management console for TV Everywhere, Voyage Console, enables service providers to manage multiple users, device types (e.g., smartphone, Android tablet, iPad, PC, TV with STB), and content rights and offers (e.g., VOD, SVOD, live TV, nPVR, movie cards) through a single unified system that supports all delivery networks.

The console includes advanced search and filtering capabilities that enable operators to track issues easily and perform bulk actions. For example, if content preparation of media files starts failing, the console can be used to filter through the content library and locate assets whose preparation has failed. After identifying such files, the console simultaneously retries the content preparation, allowing for a speedy resolution.

Voyage apps, powered by Viaccess-Orca and Zenterio, enable seamless synchronisation between devices, extending the personal experience from a mobile device to the TV. Through the apps end users can easily interact with content, switching between a second-screen device to the TV screen, in addition to viewing advertisements on second screens.

Visit www.viaccess-orca.com

ETERE Teams up with FileCatalyst ETERE HAS ANNOUNCED a partnership agreement with Filecatalyst for accelerated transfer speeds inside ETERE workflow. The ETERE system handles high volumes of large format media files. Users may encounter difficulties sending and receiving bigger files and large file quantities can become very slow or unreliable to send, especially over large geographical distances. To transfer files at the highest speed possible, says Etere, there is therefore the need for an integrated and workflow-driven solution.

The integration of Etere and FileCatalyst enables users to send files at maximum rates, without being impeded by network impairments, such as latency and packet loss experienced with TCP/IP. The FileCatalyst integration accelerated file transfer protocol offers incredible speed versus traditional methods, allowing user transfers faster than FTP. The FileCatalyst-Etere MAM integration takes advantage of the advanced accelerated file transfer capabilities offered by FileCatalyst, allowing for more seamless media workflows while minimising the impact on network bandwidth.

This integration is capable of intelligently triggering and monitoring FileCatalyst-driven transfers between storage locations, based on workflow occurrences and decisions within the Etere MAM system. The result is the efficient management of digital content that is stored at an accelerated pace, thus enhancing productivity.

Visit www.etere.com and http://filecatalyst.com

MEDIA IN THE CLOUD, STORAGE & DAM

NETIA Releases New Version of Media Assist Software Suite NETIA HAS RELEASED a new Media Assist software suite, which builds on the strengths of the company’s product portfolio to provide a complete solution for managing workflows from ingest through to delivery.

The NETIA Media Assist software suite unites the unique functionality of NETIA’s radio broadcast automation and media management products with a SQL database to provide a cross-media-production asset management system with a full complement of dedicated tools. With this powerful new solution, users can manage all types of content, in any format, on any platform, from anywhere and at any time.

New media-sharing features in Media Assist not only enable the publication or export of content or media assets to cross-media platforms, but also facilitate the sharing and exchange of content across multiple sites within a broadcast operation. To enable convenient use across a facility or organisation, the Media Assist software suite provides both a rich-client platform and a Web-based interface that can be displayed on a simple Internet browser. Both GUIs have been designed to assure effective ergonomics.

The option of working through a browser-based interface allows journalists and reporters to go fully mobile while maintaining their ability to access, search, edit, and repurpose content. Integrated audio and video editing tools enable such users to edit and deliver pieces from the field. NETIA has already released Media Assist modules engineered for smartphones and tablets.

Media Assist is based on a service-oriented architecture, so it offers all of the additional advantages of a client-server model of computing.

Key benefits to operations include increased modularity, optimal scalability, and third-party connectivity through a Web services API. New supervision and monitoring tools give users even greater flexibility and confidence in managing valuable media assets.

Visit www.netia.com

Tedial Evolving the Media IT Platform TEDIAL HAS LAUNCHED EVOLUTION, an enhanced version of its Media IT platform. Tedial Evolution significantly extends MAM functionality with advanced search/indexing tools, new services to surf/explore archives, and improved integration between archive and workflows engines to reinforce a collaborative environment.

The user experience of Tedial Evolution has been built on the existing tried and trusted Tedial platform including HTML5 and is designed to speed both manual and automated workflows. The design philosophy of the new user interface surface is to improve efficiency and performance through reducing keystrokes and menu interactions, as well as keeping frequently used tools on the screen.

True multi-screen (Smartphone, Tablet, etc.) and multi-platform (IOS, Android, Windows, etc.) operations allow users to manage tasks, validate media or monitor workflows status from mobile devices, a key element in an collaborative workflow environment where not everyone can be guaranteed to be at a fixed workstation.

The interface is fully customisable for individual preferences or work assignments, including different metadata views and screen configurations, with an integrated activity monitor and unified view of archives, workflows and business processes. And the new interface features a configurable ”logging” board with shortcuts for actions and actors, specially designed for sports and live events.

The Tedial Evolution Search/Indexing engine has been extended to organise/ search collections and other object related entities, to index very large databases via shared indexes, and to automatically tag descriptive metadata based on scoring of texts using stop words.

It offers new methods to surf the MAM through “departments” using an “Amazon.com style” facets category and/or group entities. The system can also auto-tag, relating assets based on most relevant tags.

Harnessing the power of the existing true Object Relational Database, a new set of tools provides a service to manage group entities, a multi-level classification schema (collections, albums, series, projects, rights, delivery packages, etc.) based on dynamic, changing relations.

Visit www.tedial.com

Sony and Memnon Archiving Services Announce Partnership Services, a leading digital preservation provider responsible for digitising, restoring and preserving more than 2,000,000 hours of audio-visual archives for numerous cultural institutions and broadcasters around the world.

such as Sony’s Optical Disk Archive, have prompted many organisations to consider large scale digitisation projects.

Similarly, increased asset utilisation and new commercialisation opportunities have enhanced the business case for customers making this investment an immediate priority.

Sony’s Media Lifecycle Services and Memnon will jointly offer their technology and industrial workflow proficiency and experience to customers, based upon their combined expertise of delivering large-scale digital preservation projects involving audio, video and film content.

“Our research suggests that only 21% of broadcasters have completed digitisation of their tape libraries, and that the average organisation which hasn’t digitised will store more than 100,000 legacy tapes on-site,” said Baku Morikuni, Head of Sony’s Media Lifecycle Service.

Memnon’s customers include Danish Radio, the British Library, Bibliothèque Nationale de France and Indiana University, while Sony digitally converts and distributes over 150 million files for organisations such as BBC Worlwide and Sony Pictures Entertainment.

“As a result, many content owners have assets that are literally depreciating, yet simultaneously have increased opportunities for reusing and monetising their digital content, once it is made readily accessible.”

Michel Merten, CEO Memnon Archiving Services, said, “The partnership will combine our expertise in handling and digitally preserving large volumes of sensitive, precious content of all media types (incl. audio, video, and film) with Sony’s strong heritage and world-class knowledge around broadcast and audio-visual technologies.

"Together, our global project delivery capabilities will support customers as they embark on the pressing task of preserving their most valuable asset: their content.”

Organisations’ needs for large-scale digital preservation have accelerated due to the continuous physical deterioration of media carriers, alongside ongoing interoperability and technology support changes. Lower digital storage costs and the development of stable long-term digital storage formats,

Sony launched Media Lifecycle Services in August 2014 to help content owners protect and maximise the value of their legacy content assets.

Sony’s managed service offers a single point of contact, supporting customers to not only preserve and realise the commercial value of their content in the immediate term, but to also further develop value from their assets for the future.

“The time to tackle this challenge is undoubtedly now, but any successful digital preservation project is reliant on proven technological and operational expertise. We believe that large-scale digitisation is a distinct discipline that requires industrial processes and methodologies for high efficiency and consistent quality. By partnering with Memnon we’re excited to bring that expertise to even more customers,” concluded Baku Morikuni.

Visit http://pro.sony.com.au

MEDIA IN THE CLOUD, STORAGE & DAM

SONY HAS ANNOUNCED A PARTNERSHIP with Memnon Archiving

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www.content-technology.com/audio

Sound Devices Goes on a Wild Ride with ‘Mad Max: Fury Road’ dubbed the Osmotron. “Instead of having sound carts traditionally…that wasn’t going to cut it on a road movie traveling at 80- or 90-miles an hour across the desert. Nobody was going to keep up, so we built into his vehicle huge racks of radio mic receivers.”

“It was lucky that I had all SSD 788Ts,” Osmo said. “So, even though most of the filming was off road, they performed exceptionally well under extreme vibration.” Separately, a 744T was suspended in a pouch so it could absorb the shocks of the Namibian desert during the six-mouth-long production schedule. “They never skipped a beat, especially when travelling and recording on very bumpy and dusty terrain.”

AS THE TITLE IMPLIES, Mad Max: Fury Road is a mad and furious, high-action post-apocalyptic film set in a desert wasteland. The plot calls for a warlord’s harem to race across the sandy landscape in a desperate, high-speed bid for freedom from his ruthless henchman. Both escapees and their pursuers form an “armada” of armoured vehicles. Hidden within that sandstorm were members of the audio crew, trying to capture every bit of dialogue and sound effects, all while in motion. Faced with such a monumental challenge, veteran Production Sound Mixer Ben Osmo and Vehicle FX Recordist Oliver Machin turned to Sound Devices’ 7-Series of digital audio recorders.

“I used four 788T-SSDs plus four CL-8s, and did mix down to each recorder, plus a two-track mix down to a 744T for dailies,” said Osmo. “I also had a 788T rigged in my sound cart and kept that in a larger truck for a couple of months, next to video split.” In addition to that equipment, Oliver Machin brought a sixth 788T in a bag to record extra vehicle FX when necessary.

Osmo said, “The use of multiple 788Ts became necessary when the challenge was to record multiple tracks under extreme conditions. The 788Ts were very versatile. As well as ISO tracks and mix downs, we were able to set up mix minuses with AUX sends into a monitor mixer. We had available 42 channels of radio mics. This was because of the repeater systems and different RF blocks in play, so we could pre-rig vehicles ahead of time, and in my van, I would then cross over to the correct receiver blocks once they were in action.”

Machin said, “It was kind of ridiculous trying to keep track of that many transmitters. We were planting mics on the vehicles…and Mark Wasiutak would also travel with a boom mic to grab the slates and sync effects at the time with the shots.”

There was also a separate action unit sound team, using a more simplified system, still pursuing the action and providing usable guide track dialogue for future automated dialogue replacement (ADR).

Microphones were hidden in the cabin and on the principle cast, in the engine bays, near exhausts, on top of the “War Rig” (the main characters’ get-away vehicle), and on a vast number of supporting cast members in other vehicles. Capturing all of that audio would be a major task on a normal sound stage, but portability requirements for Fury Road would not allow for a typical film-studio audio setup, so the crew had to get creative.

“As we travelled long distances, the walkie talkie repeater towers were often out of range,” Osmo said, “so I was asked to provide my comms in the Lectrosonics radio mics and IFB systems to Director George Miller and First AD and Co-Producer, PJ Voeten, as they also often were great distances apart—at least 500 metres to 1.5 kilometres—and they were able to have hands free communication. Cinematographer John Seale and two of his operators were on this system, and the first AC camera people, as well.”

Comms were also used to feed audio to IFB receivers for cast members. As sound mixer, Osmo also had to feed a musical mix to musicians armed with ear wigs to aid them in keeping time to the beat while riding atop the “Doof Wagon” vehicle, and playing instruments, such as drums and a flaming guitar.

When the action call came, only the camera tracking vehicles, SFX, and the lonely sound van were in pursuit. Mark Wasiutak, key boom operator, travelled on the hero vehicles when cameras were on board. He was able to troubleshoot with assistance from the rest of the sound crew whenever the armada was stopped for checks.

“It was like a whole armada,” Machin said. Once it stopped, “Every department was jumping in their 4x4s and travelling to assist. I mean literally they would be going five, six, seven kilometres across the desert, turn around and come back again, or go farther.” The whole unit relocated to new technical base camps, then waited for the cue to go again. “It was quite a feat to make that happen.”

Another benefit of the 788T is its reliable timecode jamming capabilities, making it right at home in complex multi-camera sync-sound productions like Mad Max: Fury Road. Although the 788T has an on-board, high-accuracy Ambient timecode generator, while on location for Fury Road, the crew used Ambient master clocks with GPS antennas set to Greenwich Mean Time. All cameras were supplied with Lockit boxes and Deneke slates with Ambient Lockits.

Osmo said, “My 788T recorders and the 744T were jammed from the same Ambient master clock. All the recorders synched up beautifully and never missed a beat.”

Visit www.sounddevices.com

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“We had a 4×4 vehicle,” said Machin, describing Ben Osmo’s van they

Adding to the complexity, the cast members were essentially in a rusty box, so RF reception had to be rethought, making repeaters sometimes necessary.

The crew set up three multiplex systems (which Ben designed with assistance of RF experts) with RF combiners and high-powered transmitter boosters to maximise the range of 1-to-3 kilometres, not only for recording purposes but also to aid communication behind the scenes.

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Stud

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23/06/2015 11:48 am

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Syncing Mad Max: Fury Road Timo Klinge interviews Ben Osmo, Production Sound Mixer and Oliver Machin, Sound Department Coordinator & Vehicle FX Recordist about Ambient Lockits getting put to the test in the desert of Nambia, Africa during the production Mad Max: Fury Road.

MAD MAX: FURY ROAD is one of the most successful features this year. Without telling too much about the story, we can say that it is a hell of a ride with a lot of fantastic war cars chasing each other through a post-apocalyptic desert.

Timo: How much fun was it to deal with all those special effects?

Ben: Most of it was purely visual. There were some real TNT explosions with rocks, which was a huge day for the action unit, but a lot of the action scene explosions were mainly just pops, except for the real crashes. So it was really more trying to get the dialogue while establishing and maintaining the communication, which was our mantra. At the end of the filming in Namibia, Oliver went on with a crew on his own to do dedicated car sound recordings.

For all this work, the Ambient gear was invaluable because often times cameras could’ve been 3-4 kilometres away from where we were. Particularly when I was travelling in a small van, the Lockit boxes placed on each camera were irreplaceable. Oliver set them up in the morning, and it was set and forget.

unexpectedly ran out during the second day of use it was not a disaster. As it was they seemed to do two full days without issue providing I remembered to change the batteries or they didn’t get left on over night!

Timo: You really had Lockit boxes on the slates?

Ben: Yeah, we had Lockit boxes on the slates as well. I had Denecke slates as it was requested by the camera department for some strange reason (laughing). I think, they had already made the templates, but I already owned three Denecke slates anyway, so we just had to buy one more for the production. Knowing that we won’t be able to resync them during the day, we placed a red Lockit Box (ACL203) on each slate so they would constantly be in sync with the rest of the system.

Oliver: Additionally, some camera units sometimes didn’t shoot for hours, so with a Lockit box

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So often we were so separated that once we’d set up, we were hoping to God that the gear was still going. We were also a bit over enthusiastic about battery changes in the morning, but I can’t even remember if we ever had to change batteries on the Lockits, did we Ollie?

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Oliver: No, we were using Energizer Lithium batteries and were initially a bit overly conservative with them. So I made tests and found out that Lockits work at least three full shooting days on one set of AAs. The old ACL203 Lockits were a bit thirstier, so I put them on the slates so that if the Lithium Energizer batteries

At the end of the day Oliver collected all Lockits again and double-checked with the controller if the timecode was still good, just in case that somebody switched it off or something else happened. This way, we would have known exactly which camera on which shooting day had what issue or drift. Luckily that never happened.

Timo: So Ben, you were not daisy chaining all 788Ts, but you simply jam synced them all in the morning, right?

All units departed and were sometimes kilometres away from each other during the day, so there was no chance to react if something went wrong.

We placed Lockit boxes on each camera so they were constantly synced from external. This way camera department could change batteries and even shut off the cameras for several hours.

As soon as they repowered the cam, it was back in sync without having them to do anything.

Even if they would have been closer, once they were on the camera we couldn’t get access to them. Most of the cameras were either on the edge arm vehicles, which is like a techno crane on top of a 4-wheel drive with a remote head, so you put the Lockit on that camera and away they go. They’ll just go anywhere directed via radio communication. So they could get tracking shots behind the armada a few centimetres above the ground travelling at 60-70 km/h, then ramping up to 80-90km/h, and then going around to the side of the vehicle to get a close up on the driver while capturing the dialogue.

with Oliver setting up the three Controllers to sync to GMT time via GPS during our 30min pre-call. In the meantime we had breakfast.

Afterwards, he passed one to me, and one to the action unit. Everybody jumped into their drive and off everybody went in all directions. I then used mine as master-clock in the sound vehicle to jam-sync all recorders. Ollie synced up all the Lockits and placed them on the cameras and stayed with the main unit. The VFX unit, who often were with the action unit, were developing a GPS positioning logging device that was mounted on each camera. For this reason the VFX department wanted the camera to use the UTC time information from the GPS satellites to as the time reference for the time code on the pictures so that the GPS positioning data could be cross referenced with the pictures. Thus, we needed to establish this three-Controller workflow as we had the technical base camp 2-3km away from the main unit. The action unit left every morning often to different locations than main unit. Thus, Ollie stayed with his controller with the main unit while I was working with the technical unit.

Ambient's Lockit timecode & sync generator.

attached to it, they could simply switch off the slate for that time. Also, if they run flat on batteries, they didn’t have to come to us to re-jam it.

Ben: Of course, we had Mark Wasiutak, our boom operator travelling with the war cars. He was our long arm to the set. So if anything was with the wireless, lavs or slate, he often was able to solve it while we were kilometres away. In fact, I often didn’t even have a picture, and if I did, it was about 2 seconds delayed. So we all had to rely on wireless audio. So having a setup not needing permanent monitoring was crucial.

Timo: I saw the picture of a huge amount of Lockit boxes. Can you recall how many you used in total?

Oliver: I was trying to work that out because the picture is just showing half of them.

Ben: We had 4 on the slates, 1 on each of the 11 Alexa cameras, some on the additional crash cams. So I reckon that we probably had about 18 Lockits and 3 ACC501 controllers each equipped with a GPS antenna.

Timo: Wow, together with the four Sound Devices 788T and one 744T, that makes a total of 26 synced Lockit circuitries.

Ben: We set up a certain workflow, which started

Ben: Yes and they were dead perfect, never had a problem. It was just fantastic. We had a great crew of post people with us who were constantly checking and giving us feedback. The worst they ever reported was a quarter of a frame difference between our up to 26 individual running units after a full shooting day, which still was incredible. They found out afterwards that it was not because of us but because of some cameras working off speed. Anyway, we double checked the tuning and never heard another word from them about sync, and they were happy as Larry.

Timo: That might have been a great production for the ACN network which was implemented with Firmware Version 3.0, but I think it was not out yet.

Ben: No, the ACN firmware was still in development. It definitely would’ve been great to have full remote control of all Lockit units, and I guess VFX and Post would’ve loved the line sync accuracy between all devices and the great new metadata workflow– but the circumstances made it impossible to use the ACN anyway. As said before, camera units were sometimes 7 kilometres away in another valley. The air was filled with desert sand containing metallic parts, additionally decreasing wireless range – Not to forget that some cameras were dug deep inside the full metal cars.

That’s why we decided to use the Lockits in first place. I used to wirelessly transmit my timecode before, but this is such a better system.

Oliver: If we get the chance to do another Mad Max, I would love to implement the full ACN network with the new Master Lockits on the Alexa.

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Metadata is becoming increasingly important in feature productions. Now that we can start to electronically link all metadata produced by Sound and Camera with the metadata created by Script, Continuity, DIT, VFX, I can see that the ACN and LockitNetwork will be the glue, that brings all this information together and speed up postproduction workflows.

Thus, editors, post-production mixers and VFX artists can spend less time going through paperwork and spend more time making creative decisions.

Timo: So with all the nasty environment & weather conditions, did you ever face any issues with the system?

Ben: No, never. They never skipped a beat they were fantastic. Of course, we were pretty meticulous and gave them a dust off and cleaning every evening. The only thing we had to exchange afterwards were the leather pouches, as the plastic look through front part cracked thanks to the dry desert heat.

Timo: Did you do any particular preparation on sync before you started the production?

Oliver: Yes. The benefit of using an Ambient Lockit system is that you can recalibrate or tune all devices to one speed. As we used Lockits from different generations and Sound Devices recorders, it was a must for what we wanted to achieve in accuracy to tune them before we started. This was even more important as all of these circuitries were tuned in different temperature zones before, so it was pretty realistic that the different units would have drifted against each other.

To avoid that, I tuned the ACC501 controller to the atomic clock of the GPS satellites. Now I used this as the time reference, and tuned all other Lockit circuitries on set to the same time reference. I know it sounds complicated, but the truth is it’s an easy 5 minute job to tune all 28 units, and it can prevent hours of work if something goes wrong.

Timo: Did you get any feedback from post after you finished on Mad Max? Ben: I know from the editor, Margie (Margaret Sixel), that with sometimes 12 cameras for one shot, they ended up with 250 hours of footage.

So it would’ve been a major problem if only some of the material would not have been in sync. But as said before, they were all as happy as Larry with what we delivered.

DOP John Seale on location.

Lockit network diagram.

The “Osmotron” van equipped with huge racks of radio mic receivers.

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Visit http://ambient.de

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Audio Post Production Sounding Sweet with ASP880

CEDAR Launching Cambridge Series IV TO MEET THE ever-increasing desire for greater efficiency and faster throughput, CEDAR Audio has announced CEDAR Cambridge Series IV, which comprises two new versions of its CEDAR Cambridge hardware.

An 8-core system with 16GB of RAM provides all the power of the previous Series III models, while an expanded 16-core version with 32GB of RAM will be even better suited to batch processing large bodies of audio, as well as for use in forensic laboratories that use extended chains of processor-intensive adaptive filters. Both versions will support multiple instances and multiple users more efficiently than before and, depending upon the number of processing paths and the number of processes running in each, this can lead to significant increases in productivity.

SOUNDING SWEET STUDIOS has chosen to upgrade to the Audient ASP880 8-channel mic pre “…because they sound so clean”. Post production sound engineer and studio co-owner, Ed Walker can’t stress this enough, “It’s difficult to explain, the Audient doesn’t sound clinical. It’s a high-end mic pre, which sounds really musical somehow, whilst being incredibly accurate.

That’s what I get when I use Audient.”

Sounding Sweet has recently been shortlisted for a Develop Award in the category of ‘Creative Outsourcer – Audio’ for their contribution to racing game Forza Horizon 2 for Xbox One, which was released late last year.

Something of a specialist in the genre, with GRID, DiRT, and F1 also on his CV, it’s not unusual to find Walker out on runways recording the sound of highend super cars. “It’s only in recent years that we have had the ability to play back truly cinematic high fidelity sound in games, the future of game audio is incredibly exciting,” explains Walker.

“I don’t do that much music,” he adds. “Most of my work is audio post production for Computer Games, Film and TV – including ads. I tend to use the Audient mic pres for ADR and Foley. The AS880s are perfect for this type of recording as the signal often needs to be really clean.”

Sounding Sweet boasts a 7.1 surround sound dubbing suite with two big voiceover booths, which double as Foley studios and music recording spaces when necessary. Walker has used the Audient mic pres to record various actors for the RSC’s recent CD and BluRay releases, and in addition to this, the studios’ film and television credits include: Postman Pat: The Movie, American Dad, and Family Guy, as well as the #epic Money SuperMarket ads featuring Patrick Stewart on voiceover.

“I’ve dabbled with various bits of equipment in the past, and I shouldn’t have messed about. Go for the jugular: get a couple of Neumanns and do the right thing from the start,” concludes Walker.

Visit www.audient.com

TASCAM Introduces DP-24SD Portastudio TASCAM HAS INTRODUCED the DP-24SD, a 24-track Digital Portastudio that’s simple to use to keep musicians creative. The latest model records to rugged solid-state media – economical and expandable SD Cards. Eight XLR mic inputs with phantom power provide enough preamps to record a full band, and each input has available compression and limiting during recording. A colour LCD display, channel control strip, and a range of effects make the DP-24SD the ultimate production station for musicians.

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Built into the DP-24SD are three types of effects. Up to eight dynamics effects can be routed to any or all inputs during recording for polishedsounding tracks. A multieffects processor provides amp simulation, delay, chorus, and more, ideal for using with the direct guitar input.

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Visit www.tascam.com

The expanded CEDAR Cambridge Series IV will (with additional video cards) support up to six DVI monitors, which makes it even easier to set up, view and control multiple instances of CEDAR Cambridge on the same host hardware, with all of their signal analysis, processing paths, metadata, and report generation windows comfortably laid out and visible simultaneously.

Visit www.cedaraudio.com

Audio Tests Made Simple with dBbox2 THE DBBOX2 FROM CTP SYSTEMS allows monitoring, metering, and generation of analogue, AES/EBU & SPDIF audio from a pocket sized box with cable tester and 4 wire interface. The unit features a simple five key menu interface to make any test as simple as possible.

It allows you to monitor mono or stereo line level analogue inputs with the use of an in-built speaker ¼ inch or 3.5mm headphone jacks. Undertake meter readings using either PPM or VU scales, which can also be achieved with the stereo phase meter. Monitor AES/EBU balanced or unbalanced inputs using the built in speaker or headphones. Meter using -18dBFS, -20dBFS, PPM or VU scale with stereo phase meter.

The unit also allows you to monitor microphone level analogue inputs, with or without 48v phantom power, using the built in speaker or headphones.

Run meter tests using either PPM or VU meter scale with stereo phase meter.

The AES analysis sample rate feature enables the user to check status and data errors.

Tone generator frequency is adjustable in third octave steps, with level from +10 to -60dBu in 1dB steps. Generate steady tone, tone sweep, GLITS, EBU, left only, right only, on both analogue and AES/EBU outputs.

The Audio tester allows the user to generate pink noise and send to left/ right/both outputs in both analogue and AES/EBU with a choice of levels in 1dB steps from +10dBu to -60dBu. The unit can send its external mic to analogue and AES outputs with gain adjust and phantom power. The MIDI receiver has an identifying channel, note on/off and note number.

The dBbox2 can be used as an analogue to digital or a digital to analogue converter with adjustable gain in 1dB steps, a limiter and HF, LF and Midrange equalisation.

The unit also includes a mono or stereo microphone amplifier with 48v phantom power and analogue, AES/EBU or SPDIF output. This includes adjustable gain in 1dB steps, a limiter and HF, LF and Mid-range equalisation.

CTP Systems are working on software to allow the dBbox2 to be used as a ‘test hub’ allowing it to be controlled by both PC and Mac software with test sequences and results available on the computer screen.

Visit www.papeople.com and www.ctpsystems.co.uk

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New OMNEO-Based Keypanels from RTS RTS HAS INTRODUCED its new keypanel series with OMNEO on board into Australia and New Zealand. The KP-Series keypanels set a new milestone within the RTS product range, combining HD colour displays, improved single key operation and full compatibility with all existing RTS matrices in a modern design. KP-Series keypanels are suitable for a wide range of intercom product customers such as broadcast production studios, theatre and sport venues, houses of worship, and outside broadcast (OB) vans. The new keypanels can be ordered through RTS’ Asia Pacific partner Magna Systems and Engineering.

The new KP-Series family from RTS includes three members the KP-5032 – two-rack unit keypanel with 32 operation keys, the KP-4016 – one-rack unit keypanel with 16 operation keys and the EKP-4016 – one-rack unit extension panel with 16 operation keys.

Features include: First keypanel family with OMNEO IP technology on board + Dante compatibility provides high-quality sound and ultimate flexibility + High resolution colour displays + Multi-function levers allow simple one handed operation + Fully backwards compatible with all existing RTS matrices Other features include: + OMNEO technology on board. The KP-Series from RTS is the first keypanel series with OMNEO technology developed by Bosch on board. OMNEO is based on two key technologies – the media transmission component Dante from Audinate Pty, Australia and the system-control component OCA (Open Control Architecture). OMNEO enables a secure set up at competitively low system cost due to the use of standard IT components and lower installation as well as maintenance costs. + Each keypanel features a full-colour HD display offering superior colour, contrast, resolution, and viewing angle.

+ Intuitive single hand operation by ergonomically designed four-way levers providing talk/listen and volume. The KP-Series of panels now offer as standard a full range of external connections for GP-I/O and ancillary audio functions, which were previously optional.

The RTS KP-Series range will be available in the second half of 2015.

The Bosch OMNEO architecture allows the transport and easy control of audio, video and other data over IP networks satisfying highest levels of sound quality as well as synchronisation whilst ensuring lowest levels of latency in a highly reliable and secure set up at competitively low system cost due to the use of standard IT components.

Additionally, OMNEO comes with specific advanced features to even allow for mission-critical and life safety system applications. The technology provides a number of options for the interconnection of equipment from different manufacturers also outside of the traditional audio or intercom applications. An OMNEO media networking architecture can be scaled to include up to 10,000 nodes and can interoperate across multiple IP subnets and long distance for complex network designs and applications.

The KP-5032 and KP-4016 keypanels as well as the new ADAM-M matrix including OMNEO cards and the latest TM-10K trunkmaster and V-link system that interfaces smart devices to the talkback will all be on display at this year’s SMPTE 2015 exhibition in Sydney on Magna Systems and Engineering’s stands O-03, P-01 and P-03.

Visit www.magnasys.tv

SUMMA. THE WORLD AT YOUR FINGERTIPS. SIMPLY BEAUTIFUL. Inspired by the simplicity and intuitiveness of tablet technology, Summa is designed for a broad range of operator levels, with an easy-to-use touchscreen interface which uses established finger gestures to navigate the system.

Leading-edge Bluefin2 DSP and the same highperformance Hydra2 router technology featured on the Apollo and Artemis consoles means Summa is fully integrated with the wider broadcast community. Lean, refined and simple – more reasons why the world’s most successful broadcasters rely on Calrec.

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calrec.com

Designed for live broadcast applications, with a focus on instinctive operation, Summa simplifies even complex workflow tasks with common procedures that are just a touch away.

127x190mm_C+T_Summa.indd 1

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Premiere at the Eurovision Song Contest 2015: ORF Scores with Lawo IP Infrastructure AUSTRALIA WAS REPRESENTED at the Eurovision Song Contest for the first time with Guy Sebastian selected to perform. While the former Australian Idol winner was unable to replicate his last vocal contests result, a fifth place position isn’t bad for a non-European nation.

While equally unsuccessful on the stage at the recent Eurovision Song Contest, Austria and Germany achieved full marks behind the scenes.

Austrian host broadcaster ORF marked the 60th anniversary of the world’s oldest and most successful televised song contest not only as a perfect host, providing a spectacular TV and stage show, but also with a technically innovative production concept.

More than 200 million viewers in 80 countries witnessed Sweden’s Måns Zelmerlöw outscore his 26 co-finalists, but would have been unaware that all of the contest’s audio signals were routed via a RAVENNA/AES67based IP infrastructure for the first time at a Eurovision event. Both the Lawo Nova 73 audio matrix – including all connected DALLIS I/O systems used by ORF’s broadcast supplier, VideoHouse – and the video and audio distribution of the Lawo commentary solution were based on IP networking technology.

All of the audio signals were collected by a central audio router, and then distributed to all of the event’s suppliers and OB vans. This setup minimised equipment and cabling requirements while significantly increasing the flexibility of the installation. The central audio infrastructure was based on a Lawo Nova 73HD audio routing core, which formed the heart of the audio operation. Ten DALLIS I/O systems were connected

to the core via RAVENNA Audio-over-IP technology, allowing decentralised collection and distribution of all signals in the venue, including 96 Sennheiser wireless microphones, 32 Sennheiser in-ear systems and a Pro Tools playback system. The Lawo infrastructure also enabled distribution of all of the sync and timecode signals needed for the production.

In total, the Lawo Nova infrastructure routed more than 6,600 audio signals to six OB vans, as well as to the FOH and monitor consoles inside the hall. All OB trucks – including three vehicles from ORF and three from VideoHouse – were equipped with Lawo m² 66 or mc²56 digital mixing consoles. In addition, the VideoHouse trucks were equipped with Lawo V__pro8 video processing systems for audio embedding, deembedding and format conversion. A VSM system from L–S–B was used for managing and controlling the whole installation.

The Lawo commentary system used by ORF was also based completely on IP networking technology. The 14-member Lawo crew equipped 45 commentator cabins with Lawo LCU commentary units, which were networked via RAVENNA/AES67 with the Commentary Control Room and the Commentary Equipment Room. Here, the signals were forwarded to the Prodys ISDN and IP codecs connecting broadcasters worldwide with the venue. The Lawo commentary system was developed in collaboration with HBS for the 2014 World Cup, and HBS also supported the setup in Vienna with equipment and personnel.

The video signals for the 90 video screens in the Eurovision commentary boxes were streamed to the commentary boxes via Lawo V__link4 Videoover-IP systems. These video screens provided additional information for the commentators, in addition to what they witnessed taking place in the hall.

The project was managed by Lawo as a turnkey solution. This included developing the technical concept, implementation, on-site support, and equipment from Lawo’s rental partner, Audio Broadcast Services (ABS). In total, ABS delivered 15 tons of Lawo equipment to Vienna.

Visit www.lawo.com

Sennheiser Apps Make Custom Sound Adaptation Possible THE NEW VERSIONS of Sennheiser’s MobileConnect and CinemaConnect apps for accessible streaming allow users to not only adjust volume but also to adapt speech intelligibility and sound quality to their particular requirements for the first time. Audio specialist Sennheiser, in close collaboration with the Fraunhofer Institute for Digital Media Technology, developed these features.

In developing the enhanced technology for the streaming apps, audio specialist Sennheiser drew on the expertise of the Oldenburg Project Group for Hearing, Speech, and Audio Technology at the Fraunhofer Institute for Digital Media Technology (IDMT) and the Oldenburg Hearing Center.

The process for personalising the audio signal settings is very intuitive, with no need for a prior hearing test. To make adjustments, the user draws their finger over a touch-sensitive field built into the app until they get the optimal sound pattern for their specific requirements. The user can make further audio adjustments at any time during the event they are attending.

Moreover, with MobileConnect, wearers of hearing aids or cochlear implants can connect the live sound of the event directly from their smartphone to their hearing aid. To develop this technology, the scientists reduced the complex signal processing strategies used in hearing aid technology to a limited number of typical presets.

The apps are intended for users with early-stage hearing loss who have no

Visit www.sennheiser.com and www.idmt.fraunhofer.de

AUDIO

With the new, updated versions of both Sennheiser’s MobileConnect and CinemaConnect apps, users will be able to adjust not only the volume but also the amplification and dynamic range of high- and low-frequency audio content. Along with better speech intelligibility, users will also benefit from generally improved sound quality tailored to their specific needs.

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hearing aid as well as hearing aid wearers with early-stage hearing loss or a slight hearing impairment. Dr. Jan Rennies of the Fraunhofer IDMT comments, “In several studies, we were able to demonstrate that test subjects with slight to moderate hearing loss who had difficulty with speech comprehension with the unprocessed sound, detected a distinct improvement with the apps’ signal processing.”

AUDIO

New Showroom for CEDAR in Singapore TO COINCIDE WITH BROADCASTASIA 2015, CDA Pro Audio Asia, CEDAR’s dealer in Singapore, announced the opening of slick new streetlevel showroom premises in the Luzerne building on Bendemeer Road.

Located close to the Boon Keng MRT station, the showroom was remodeled under the direction of CDA’s General Manager for Singapore, Joel Shia.

CDA’s Managing Director, Rick Dowel, says, “The industrial side of our business is based nearby in Sim Lim Tower and, for many years, we ran an audio showroom alongside this. But with the recent growth in the markets for CEDAR and our other pro-audio products, it was time to offer our customers the opportunity to a transact their business in a much more spacious and comfortable environment.

“Joel has described the new showroom as ‘more like a lounge where

customers can evaluate audio equipment without being intimidated by hovering sales staff’, and that’s exactly how we want it to feel. Of course, we’ll be providing full demonstration facilities for potential customers and support for those who already own CEDAR products, and people are welcome to come to visit us to try out the CEDAR Cambridge system and dialogue noise suppressors that are permanently available in the proaudio suite located on the first floor.”

CDA Pro Audio Asia supplies CEDAR’s commercial products to the post, broadcast, live sound, archives, and educational sectors in Singapore, and service the law enforcement and security sectors with CEDAR’s dedicated forensic systems.

Visit www.cedaraudio.com

Radial’s Decoder MS Interface Now Shipping RADIAL ENGINEERING LTD. has announced the Decoder, a self contained MS (mid-side) interface, is now shipping.

The Decoder makes it easy to create stereo imaging when combining a stereo mic with a second middle microphone. Radial Product Specialist, Ryan Juchnowski explains, “When we started working on the Decoder, we knew full well that a savvy engineer can pull together an MS patch using a traditional console, but we felt that there are a number of users who would prefer to have a simple ‘plug and play’ kit to do the job. Once we got started, we had so much fun during audio tests that we became convinced this would be a real treat to use for those with smaller studios where patching facilities may be limited or for those who plan to Reamp using pre-recorded tracks.”

The Decoder begins with three XLR inputs with input-1 for a centre mic, and input-2 (a) for a single output figure 8 mic or 2 (b) for those using two cardioid mics. Individual on-off switches and level controls for all three inputs are located on the front panel. A recessed 48V phantom power switch may be activated to supply DC for condenser microphones. A high-pass filter may also be engaged to eliminate excessive low frequency rumble and improve stereo focus. When using two separate microphones to create a figure 8 pattern, a 180° switch is engaged to reverse the polarity of mic 2B. Top mounted selector switches enable the Decoder to be used with microphones or line level sources when applying MS imaging to prerecorded tracks.

Visit www.radialeng.com

5.1 Surround Sound from 2 channel sound capture

How much more impressive and emotional are sports broadcasts that also convey the spirit and atmosphere of the venue.

The solution is Sennheiser’s ESFERA, the surround microphone system that enables you to generate and broadcast 5.1 surround sound using two standard audio channels.

AUDIO

ESFERA - contact us for further details www.sennheiser.com.au/esfera

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RADIO The original broadcast media

www.content-technology.com/radio

It’s a Lawo ‘Crystal Set’ for Macquarie Uni’s Radio Department WHEN IT COMES TO EDUCATION, Macquarie University in Sydney has long been known as one of the leading teaching facilities in the country. When it comes to radio broadcast, LAWO has long been known as one of the leading broadcast manufacturers in the world.

So, it made sense to select LAWO technology when refitting the Faculty of Arts, Radio Studios at Macquarie University.

Macquarie has some of the best radio facilities of any Australian university. The newly refitted studios include an On Air studio with a LAWO’s 12 fader crystal broadcast console, an on air production control room, production booth and digital outside broadcast facility to allow for location broadcasts. Live broadcasts are made possible via a broadcast link to community radio station 2-SER FM, which also has studios in the

Y3A building at the University. This allows for close collaboration between the University and 2-SER. Radio is becoming increasingly multiplatform and so the facilities tie closely to the Media Futures Lab and creative media platforms for integration across broadcast and online contexts.

In close cooperation with Macquarie’s Radio Facilities Manager Peter Ring, Professional Audio Television recently supplied the LAWO crystal MKII console with a crystal frame to replace the ageing infrastructure. After a lengthy evaluation process the University settled on the LAWO crystal system paired with VisTool control and visualisation software.

Due to the flexible and intuitive customisation possibilities LAWO offers with the VisTools software, Mr Ring took it upon himself to do

GatesAir Appoints Omnicast as an Australian Distribution Channel GATESAIR, the developer of wireless, overthe-air content delivery solutions for radio and TV broadcasters, has appointed Sydney-based Omnicast as an Australian distribution channel effective immediately. Omnicast will partner with GatesAir with an emphasis on delivering complete systems and guiding broadcasters through challenging transitions — notably migration to DAB+ digital radio systems.

RADIO

Omnicast is a systems integrator and distributor specialising in radio, television, cinema, and satellite systems. Led by industry veterans Mario Fairlie (managing director) and Ian McKenzie (engineering director), the company provides a full array of services across systems design, equipment supply, project management, installation and commissioning, as well as ongoing maintenance services.

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“GatesAir’s recent introduction of liquid-cooled TV and radio transmitters will deliver a twoyear payback for broadcasters in Australia — particularly within the major cities where annual site rentals can exceed $100,000 in U.S. dollars,” said Fairlie. “And having worked in the broadcast industry for more than 40 years, I can unequivocally state that GatesAir makes the highest-performance transmitters in the business.

Their ability to deliver that long-term reliability and operational cost-savings will be especially valuable as the DAB Radio transition extends outward from the main cities.”

The DAB Radio transition has taken shape in the cities of Adelaide, Brisbane, Melbourne, Perth, and Sydney, with approximately 3 million listeners to date. Omnicast expects the DAB+ digital radio migration to spread into “regional areas” over the next few years, eventually covering most of the country’s 22 million residents. GatesAir’s IP-networked DAB+ architecture is ideal for national rollouts, bringing together its Maxiva VAX transmitters with ETI/EDI transport for multipoint signal distribution. Omnicast’s position against competitive DAB/DAB+ suppliers is especially strong given its ability to provide complete DAB Radio headend solutions along with highefficiency GatesAir transmission systems.

Moving forward, Mr. Fairlie expects to transition radio networks to GatesAir networked studio systems, and sees numerous opportunities to migrate AM/FM broadcasters from legacy to IP transport networks with Intraplex IP Link codecs.

“I am particularly pleased to appoint Omnicast as a key channel partner in Australia, especially given Mario’s long professional association with the Australian broadcasting industry and successful 30-year history with supplying and integrating Harris Broadcast over-the-air TV and radio systems prior to our transition to GatesAir,” said Darren Frearson, vice president, southeast Asia and Oceania for GatesAir. Visit www.gatesair.com

Macquarie Uni Radio Facilities Manager, Peter Ring, with new LAWO crystal MKII console.

most of the custom configuration.

PAT’s Engineering Manager Adam Langham commented: “Macquarie Uni certainly made the right decision in providing students with a technology platform they will encounter in the real broadcast industry. It was a pleasure to work so closely with Mr Ring to deliver a state of the art cutting edge studio for one of the leading educational facilities in Australia.”

Visit http://mq.edu.au, http://proaudiotv.com.au and http://lawo.com

Fellowship for Oz Radio Journo with MediaCorp Singapore MULTI-AWARD WINNING RADIO NEWS journalist Glenn Daniel, recipient of the Brian White Award at the 2014 Australian Commercial Radio Awards (ACRAs), has recently completed a fellowship exchange at Mediacorp, Singapore’s largest broadcaster.

Daniel, from Smoothfm in Sydney, is a respected industry veteran with a pedigree of more than 30 years in commercial radio across WSFM, 2SM, 2DayFM and Triple M. Glenn Daniel said, “The fellowship exchange with MediaCorp is a wonderful opportunity to see what Singapore’s largest broadcaster is doing with news and information across a range of radio formats. It’s a chance to exchange ideas on new ways to reach audiences in a constantly changing market, while maintaining the foundations which have made radio news a leader for decades.”

Joan Warner, Commercial Radio Australia CEO, said, “The prestigious Brian White Award enables radio professionals to forge valuable connections and exchange ideas internationally. We’re pleased to continue our partnership with Mediacorp to develop this invaluable opportunity.”

This year’s ACRAs will be held at the Gold Coast Convention and Exhibition Centre on 10 October.

Visit www.commercialradio.com.au

RADIO

UK Trials ‘Small Scale DAB’ UK REGULATOR OFCOM has announced that around 60 stations will begin broadcasting on digital radio for the first time using ‘small scale DAB’. This new approach could provide a more affordable way for smaller stations to broadcast on DAB digital radio.

The trials, a further step in the development of this new technology, are designed to test how it operates and understand how smaller radio stations could work together.

If the trials are successful, UK listeners could benefit from hundreds more local and community radio stations on digital radio in the future.

Ofcom has awarded ten trial licences for radio ‘multiplexes’ – discrete chunks of the airwaves used to broadcast several radio services. This will enable groups of community, online and local commercial radio stations to work together and bring new stations to local areas from Norfolk to Glasgow and Cambridge to Manchester.

The stations are expected to begin broadcasting on DAB digital radio from the summer for a period of nine months. Each successful applicant has 12 weeks to launch its multiplex. Ofcom will then work with Government to decide on the next steps for the new approach to radio broadcasting.

Currently, the cost of broadcasting on DAB is beyond the reach of many small radio stations.

But, a new approach, pioneered in the UK by Ofcom engineer Rashid Mustapha, means that small scale radio stations could start broadcasting on DAB radio for a fraction of current costs.

The new approach is cheaper than current systems because it uses software freely available from opendigitalradio.org and equipment that costs around £6000 (AUD$12,300). While stations also have to budget for running costs – such as site rental, maintenance and electricity – small scale DAB is a much more affordable way for smaller stations to broadcast on digital radio.

The UK’s first experimental small scale DAB multiplex was set up in 2012.

Ofcom engineer Rashid Mustapha was granted a test licence and installed a low power digital radio transmitter on a Brighton roof-top.

The test successfully delivered a reliable, high quality digital radio broadcast. The test transmission was an audio track of squawking seagulls.

The UK Department for Culture, Media and Sport is funding Ofcom’s work on how small stations could access DAB digital radio and the equipment available for these trials.

Almost half of UK adults (48.9%) say they now own a digital DAB radio set and 39.6% of all radio listening is digital. The first national commercial DAB multiplex, operated by Digital One, now carries 14 digital radio stations, and a second, national commercial DAB multiplex is expected to launch early next year. The BBC also operates its own digital multiplex, carrying the BBC digital stations.

As well as increasing the capacity for national digital radio, Ofcom is supporting the Local DAB Expansion plan, which will bring local DAB radio services from commercial broadcasters and the BBC to even more UK homes.

Visit www.ofcom.org.uk

Remote Encoder Lite for Low-Cost Content Management STREAMGUYS, a pioneering content delivery network and streaming media provider, has unveiled a low-cost, multi-format encoder for the streaming of radio broadcast and in-store media content. Branded as Remote Encoder Lite, the feature-rich software-as-a service provides a simple platform for ingest of file-based content, and creation of live linear channels.

StreamGuys developed Remote Encoder Lite as an alternative to expensive encoding solutions that are suitable for large stations and networks, but overkill for more modest streaming operations. Remote Encoder Lite trades off the bells and whistles of “premium” encoding solutions for a less expensive solution that retains the most important features for professional, broadcast-quality operations.

Remote Encoder Lite supports a variety of formats for content ingest (m3u, RSS, etc), transcoding content for output as Ogg Opus, ACC+ and other high-quality codecs. The system additionally supports direct ingest from file directories without the need for a pre-established playlist. In either configuration, Remote Encoder Lite automatically reloads playlists as new playlists or files are uploaded. This feature is suitable for retailers,

supermarkets and other businesses with in-store media streams that lack live audio segments or are not continuously curated.

Remote Encoder Lite integrates cleanly within StreamGuys’ cloud-based architecture, and interoperates with the company’s dynamic, server-side ad insertion service for automated placement of targeted ads; as well as its innovative SGrecast platform for the creation of side channels. The tight integration of SGrecast with Remote Encoder Lite ensures high-quality yet low-cost encoding and playout for multiple live and on-demand streams, which are created for immediate playout on the fly; or for later playback on a scheduled basis.

While Remote Encoder Lite offers a low-cost alternative to more expensive systems, the feature set remains impressive on a technical level. Broadcasters are assured that playlists are updated with useful metadata if native tags are missing or require an override, eliminating the time-consuming process of manually entering detailed annotations for each file. Furthermore, enhanced digital signal processing offers normalisation and limiting filters on every generated stream, whether the configuration is single- or multi-channel.

Visit www.streamguys.com

Frontier Silicon Signs Co-Development Deal with Google

RADIO

RADIO RECEIVER DEVELOPER Frontier Silicon has signed a codevelopment agreement with Google which will see the inclusion of Google’s Cast-for-Audio technology in Frontier’s next generation connected audio solutions – due to ship in the first half of 2016.

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Cast-for-Audio is an online content delivery platform which allows users to stream music services, such as Deezer, Pandora and Google Play Music, directly from the cloud to Cast-enabled speakers – all controlled by the user’s mobile device. The key advantage of the system is that it allows users of multiple music services to stream audio through any set of Cast-enabled speakers, without being tethered to the mobile device. Cast-for-Audio uses the same technology which supports Google’s established Chromecast video streaming platform and is a key component of Google’s home media

streaming strategy.

Frontier Silicon’s turnkey technology solution allows consumer audio brands to build connected audio devices, such as Wi-Fi speakers and soundbars, quickly and easily. Reliance on in-house engineering teams is reduced and speed to market is improved. The inclusion of Cast-for-Audio in the company’s next generation solutions is a significant addition to its product portfolio.

The market for Wi-Fi connected audio devices is expected to grow nearly threefold in the next three years – from 14 million units in 2014 to 40 million in 2017. From 2016 onwards, a growing number of consumer audio brands will include Cast-for-Audio in their devices. This agreement will enable Frontier Silicon to address this market directly.

Visit www.frontier-silicon.com

RADIO

WinMedia 2015

“We’ve merged WinMedia Radio 2012 and WinMedia TV 2013 to create a single platform able to encompass Radio, TV, Web and Social Media.

WinMedia 2015 is an open and integrated platform for managing media and workflows in a convergent world. With the capability to manipulate any type of digital object, including audio, text, and graphics, the possibilities are endless” says Philippe Castell, Development Director, WinMedia Group.

“No need to piece together applications and live with the shortcomings of integration workarounds as WinMedia 2015 covers the entire production chain and facilitates fast content delivery to multiple devices,” added Stéphane Tésorière, CEO, WinMedia Group.

“WinMedia 2015 boosts productivity and optimizes operational resources by promoting collaboration to produce richer content even in multi-site environments. Furthermore, it is completely scalable, enabling businesses to start small and expand to an enterprise-grade solution.”

WinMedia 2015 is a full-featured solution that manages TV, Radio and digital content production – all within a single system. MAM-based, it covers every aspect of content creation – from ingest through automated playout, archives, multiplatform delivery and interactions with social media sites.

WinMedia 2015 features Include: + Revised graphic user interface – new colour scheme and customization options

+ New WinMedia Web module - a new solution for creating website and mobile applications + New WinMedia Visual Radio module – a fully automated solution which allows broadcasters to turn radio shows into visual productions + Optimized audio & video quality – the new audio/video engine eliminates the need to transcode media from incoming video feeds, assets and files + Added security – thanks to advanced on-air blank detection + Improved visibility - real-time data provides extensive reports for business reporting + Time zone management + Automatic sound clips creation – for easy repurposing WinMedia 2015 is fully compatible with all other WinMedia solutions, including: + WinBizz, which optimizes business management and real-time online ad booking as well as TV and radio sales + WinPublish – a cost-effective solution that streamlines publishing on multiple platforms and provides a complete suite for the creation and playout of high-quality graphics. WinPublish also adds an amazing new interactive dimension to TV and radio programs by expertly managing social media content.

Visit www.winmedia.org

RADIO

WINMEDIA, THE PROVIDER OF software-based solutions for media organizations, has announced the release of WinMedia 2015, which enables customers to produce and distribute content to both traditional and new media channels with unprecedented flexibility for their businesses. Powered with several key new features and applications, including a new graphical user interface, WinMedia Web and WinMedia Visual Radio, this major update allows broadcasters to manage their Radio, TV, Web and Social Media activities from a single platform.

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

Deadline Reached for Digital TV Switchover for 119 countries THE DEADLINE FOR THE SWITCHOVER from analogue to Digital Terrestrial Television (DTT), set at 00:01 UTC on 17 June 2015, heralds the development of ‘all-digital’ terrestrial broadcast services for sound and television for 119 countries belonging to ITU Region-1 (Europe, Africa, the Middle East, and Central Asia) and the Islamic Republic of Iran.

The 17 June deadline for switching off analogue television broadcasting in the UHF band was set by ITU Member States at the Regional Radiocommunication Conference in 2006, known as the GE06 Regional Agreement. Several countries that are party to the GE06 Agreement, as well as many who are not, have already made the transition.

The new digital GE06 Plan provides not only new possibilities for structured development of digital terrestrial broadcasting but also sufficient flexibilities for adaptation to the changing telecommunication environment.

“Today, 17 June, marks a historic landmark in the transition from analogue to digital television broadcasting,” said ITU SecretaryGeneral Houlin Zhao. “The process, which began in June 2006, has re-envisioned the way the world watches and interacts with TV and opened the way for new innovations and developments in the broadcast industry.”

Visit www.itu.int

TELSTRA HAS LAUNCHED two new Digital Media solutions designed to enable organisations to be more successful online. The new products, Online Video Solution and Content Delivery, offer customers platforms to help achieve a better end user experience and maximum business results when providing online services, video and applications.

Ooyala, a leading video innovator and Telstra subsidiary, powers Online Video Solution. It combines Ooyala’s video publishing and analytics technologies with a number of Telstra value added services. For customers deploying their online video strategy, it creates a simplified content distribution method to web, mobile and social channels – whether it’s live or on-demand content – while analytics optimise viewer engagement and ad placement in near real time.

The second offer, Content Delivery – powered by Akamai, brings to life a new strategic partnership between Telstra and Akamai. The scalable platform offers customers a comprehensive suite of optimisation and security technologies to accelerate their online service and website performance for end users, while also protecting against online threats that can cause downtime and data theft.”

Visit www.telstra.com.au, www.akamai.com and www.ooyala.com

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NBN Reaches One Million Premises THE NATIONAL BROADBAND NETWORK (NBN) has reached an historic milestone, having reached more than one million serviceable premises across the country.

Since bringing in new management for nbn, the company has begun to achieve its rollout targets. The company is on track to meet its rollout forecasts set out in both the 2014 corporate plan and the 2013 Strategic Review.

The focus on increasing the number of serviceable premises has both reduced delays in customers being able to place orders and has increased revenue being collected by the nbn.

The Government has also released a consultation paper on proposed amendments to telecommunications carrier powers and immunities. The proposed amendments would help nbn complete the national broadband network faster and at lower cost.

Telecommunications carriers have some powers and immunities to install and maintain certain low-impact facilities, such as using power poles to deploy overhead networks. These changes enable them to operate under a single streamlined national regime. The proposed changes would extend these rights to nbn’s multi‑technology rollout strategy.

Existing protections under the Telecommunications Act such as obligations to notify land owners and occupiers about planned work, minimise damage, and restore sites after work is complete would continue to apply.

Re-Allocation of Regional 1800 MHz Spectrum Band THE AUSTRALIAN GOVERNMENT has announced that an additional 2 x 60 MHz of spectrum in regional Australia will be made available to support mobile broadband services.

A re-allocation declaration has been issued for the regional 1800 MHz band, which will enable the Australian Communications and Media Authority (ACMA) to replan the spectrum to accommodate mobile broadband services under spectrum licensing arrangements. ACMA is planning to hold an auction for the spectrum in November 2015.

The Government has directed the ACMA to set competition limits on the upcoming auction. The maximum amount of spectrum in the regional 1800 MHz band that can be purchased by an auction participant will be 2 x 25 MHz. As part of the re-allocation process, current users will need to vacate the spectrum. It is expected that the majority of the spectrum will be vacated by June 2017. ACMA acknowledges concerns from users that it may not be possible to relocate all affected services by June 2017, and will work with those users to identify where relocation may be delayed.

Visit www.acma.gov.au/1800mhz

> Professional Broadcast & AV Solutions Signal Distribution

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Visit www.nbnco.com.au

Telstra Deepens Digital Media Capabilities with Ooyala and Akamai

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www.content-technology.com/delivery

Switching & Conversion

Patching Systems

Optical Fibre AV Transport Systems Bulk Cable

1800 00 77 80 Cable Assemblies

Racks & Cable Management

av@madisontech.com.au

SMPTE 2015 Stand #C-45

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Madison Technologies to Distribute Opticomm-Emcore MADISON TECHNOLOGIES has signed a distribution agreement with Opticomm-Emcore for the sales, support and national distribution of their range of fibre optic transport and switching systems for video, audio and data signals.

General Manager – Broadcast & AV, Ken Kyle said, “We’re very enthusiastic about adding the Opticomm-Emcore range to our offering of Professional Broadcast and AV products. Madison is keenly aware of the demand for reliable HD distribution solutions – and we expect the Opticomm-Emcore

Rohde & Schwarz Storage Solutions

range to answer that demand.”

Opticomm-EMCORE provides solutions for IP encoding/decoding, fibre and CATx transport, switching and conversion for 4K UHD, 3G HD, DVI and HDMI for applications in Broadcast, Cable and Professional A/V markets.

Product lines include Optiva and openGear platforms, JPEG 2000 and H.264 encoding/decoding, and HDBaseT extension.

Visit www.madisontech.com.au

Versatility meets performance Contribution-to-Distribution-Format Transcoding APPEAR TV, the developer of video processing platforms for broadcast and IP television, has released the High Video Quality Contribution-toDistribution-Format Transcoder Module. This new module bridges content delivery throughout the broadcast chain.

SpycerBox Family - The perfect storage for your media SpycerBox Cell - Scalability at its maximum SpycerBox Flex - High-availablity storage synchronizations SpycerBox Ultra - is a SAN and NAS solution

The Contribution-to-Distribution-Format Transcoder Module is in keeping with the “any-input-to-any-output” tradition of Appear’s range of transcoder modules while offering the capability to decode and transcode contribution feeds for redistribution. It supports MP2/4 420/422 8/10-bit contribution decoding that transcodes for redistribution MP2/4 SD/HD 420 8-bit format, without the need to decode the primary broadcast to baseband. This allows Appear TV’s solution to streamline the operational efficiency and maintain the high video quality essential for linear TV throughout the broadcast chain.

“In contribution applications, speed and high-quality video are key elements

Forofmore information: sales.australia@rohde-schwarz.com a successful broadcast,” says Carl Walter Holst, CEO, Appear TV. “Our new solution eliminates the need to have separate hardware devices to decode and then re-encode contribution feeds for redistribution, maintaining the

highest video quality possible. Removing this step not only helps to speed up the process, it significantly reduces operational costs, and adds additional safeguards against piracy, as the feed is kept compressed in the IP domain and not decoded to baseband.”

Each Contribution-to-Distribution-Format Transcoder Module supports 1HD or 2SD MP2 or MP4 primary 420/422 8/10 bit profile contribution services for transcoding to 420 8bit HD/SD profile redistribution providing a high density of 12 channels per 1RU or 32 channels per 4RU in its XC5000 Series Video Processing Platform.

The Module is part of Appear TV’s modular concept, which gives users the ability to select from the different modules covering various distribution formats and processes to create a solution custom-tailored to their needs.

Since the system is modular, multiple distribution format processes can originate from one chassis, saving on hardware space and making it easy to add and upgrade as new formats and transmission technologies arise.

Visit www.appeartv.com

Rohde & Schwarz Storage Solutions Versatility meets performance

SpycerBox Family - The perfect storage for your media SpycerBox Cell - Scalability at its maximum SpycerBox Flex - High-availablity storage synchronizations SpycerBox Ultra - is a SAN and NAS solution

For more information: sales.australia@rohde-schwarz.com For more information: sales.australia@rohde-schwarz.com

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For more information: sales.australia@rohde-schwarz.com

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Media Links: Fibre in the Diet

By Brad Watts MEDIA LINKS is an innovative developer and manufacturer of broadcast network infrastructure solutions. The company offers broadcasters, network service providers, and sporting event hosting companies’ cutting edge technology, enabling them to economically convert transport and manage the complete suite of broadcast signals. Whether it’s video, audio, data, or all three, onto their multi-service networks.

Media Links’core technology is being deployed for high profile sporting events not only here in Australia, but with other global companies including a major US telecom video network in the US, along with players in Europe, Japan, South Korea, Mexico, South Africa, and South America. The Media Links media over IP technology has been the backbone of the last handful of Soccer World Cups, winter and summer Olympic events, major US American Football events, and Incheon Asian Games, and many other high profile global sporting events. In each case, the Media Links solutions actualise broadcast signals out from these events on a global scale.

visibility, and their own ability to manage their component of the network.

I recently enjoyed the privilege of meeting the people at Media Links Australia, and was shown around the Media Links labs. Here I witnessed what is becoming a mainstay in the evolution of broadcasting media transfer.

With high bandwidth media transport, Media Links piggyback on fibreoptic network infrastructure belonging to major telcos. Organisations usingTelstra’s new Digital Video Network in Australia will have the technology built-in standard. Utilising video over IP transport technology, the company’s solutions offer next-to-zero latency and a 99.99% quality of service (QoS). The Media Links equipment adheres to SMPTE-2022 videoover-IP standards allowing interoperability between different vendors, and at the same time providing a future-proof platform as the field develops. As more vendors jump aboard the standard, we’ll see proprietary systems fall by the wayside. In support of its pioneering work, Media Links was awarded a 2014 Technology and Engineering Emmy Award for Standardisation and Productisation of JPEG2000 (J2K) Interoperability.

The beauty of the system allows a cameraman to plug into the Digital Video Network via Media Links’ extremely space and cost effective MD8000 series hardware. This feed can then instantaneously traverse the network to any other site or tenant on the platform such as a television studio in Melbourne or disaster recovery centre in Sydney – all in real time.

There are two streams of video, and if one stream goes down the other will continue to feed that video.

Consequently the system is managed nationally by the telco’s fibre network. Customers can call into a help desk and schedule services from one point to another at a particular point in time. Alternatively, carriers can offer a multi-tenant arrangement where each customer has the ability to switch services to and from wherever they want within the service framework that they’ve purchased from the telco. Customers have their own screen and control software provided by Media Links, their own

With such immediate transportability provided on site, it raises the question of whether this could spell the end of outside broadcast appliances. The Media Links team doesn’t believe so. The team sees this as part of a transformation, because the OB crew is still an important creative production endeavour. Producers still need to control how the game unfolds and how the story is told. There are possibilities for new, creative tool-sets within a broadcaster. They could, for example, shoot the whole field in one camera and view it at a remote studio or location and actually see the action clearly. You could probably even do some sort of logging of the whole game remotely instead of being there. Economically, the system negates the need for a satellite uplink. Utilising existing optical networks decimates costs, all without the latency inherent with satellite transfers.

During SMPTE15, Media Links with be demonstrating various aspects of the system, including 4K high bandwidth delivery, ‘Live to File’ workflow, and H.264 compression codec for distribution. With 4K delivery, Media Links utilise what’s known as ‘square division’, which is basically four 3G signals with those signals stitched together. A single 3G signal would be 2048 by 1080, with those four quadrants stitched into a single image at the receiving end. Proof of concept runs have already been instigated within Victoria and New South Wales. ‘Live to File’ allows workflows to remain completely within the IP domain, negating the need to convert to serial digital video and then back to IP until final delivery.

The Media Links team is looking toward a future where the postproduction process will be an end-to-end IP environment. With the SMPTE 2022 standard allowing broadcasters to transition toward becoming ‘IP islands’ relaying capture instantaneously to relevant destinations. The 20-strong Media Links team are seasoned industry players that have come from parts of the broadcast field and the telcos. It takes this mature understanding of the field to apply such an evolution to the established industry. But so far, the economic, physical space consideration, and sheer versatility aspects of the system put Media Links at the forefront of broadcast media distribution.

Visit www.medialinks.com

Focused on quality so you can focus on content production and delivery

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Visit us at: Stand# C-59

Jul 14-17, 2015

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AV Group Evolution AV Group Technologies’ new owner Adrian Chespy discusses the next phase of the company’s development.

A year after taking over the reins, and ownership, from founder Peter Rolston, AV Group Technologies head Adrian Chespy, has set about set about refining the company’s focus and building upon its 27-year track record.

RECENT WINS for the company include the delivery to Sydney Teleport Services (STS) of the first Decimator Design DMON-16S Multi-Viewer shipped in Australia. Installed in STS’ MCR for this year’s Cricket World Cup, it allowed the company to monitor incoming feeds from all competition stadiums in Australia and New Zealand.

C+T: How has the transition been during this first year?

“We’ve been going through a lot of audio monitoring upgrades for presentation and master control, a lot of equipment refreshes for people like Globecast as far as wireless technology goes. Then there’s Tallyman for studios. There’s been a lot of new desks going in and new routers which has required building a lot of Tallyman platforms that are already out there and re-evaluating what they do.”

AC: “For me it’s been a crazy ride. And, it’s been a lot of fun, but we’ve come through it and we’ve done everything that I expected.

You mentioned the Abekas with the racing applications, are you seeing a lot of activity in the sports area?

“We’ve gone through a bit of organic growth, so we’ve built on the brands we had from the beginning, we’ve added a couple of new ones, Junger Audio, DVO and Cobalt Digital and we’re slowly building them up to be as strong as some of the other brands we’ve got.”

“The Abekas Mira Digital Video Production Server has really found its niche in horseracing and harness racing in the southern states, so Adelaide, Melbourne and Tasmania. Where it’s been deployed by numerous people in truck support and those things, it fits very nicely there, as far as performance goes, and it’s got a good pedigree, being in an Abekas box.

What are some of the other changes that have happened?

“So, we’ve had the rebranding exercise, a sort of a slight name change, we’ve redone the website, we’re currently looking for the new team member to join us and build on the sales team.

“We’ve had the strength and support from a lot of the suppliers we actually represent. They’ve been very supportive, and we’ve done some good projects with the like of TSL, Cobham, Decimator, and Abekas.

“We’re working with on Abekas for horseracing applications, which is going very well, and Abekas has been going into the Channel Nine studios around the country for replays.

“Captioning still continues to be a big thing for us. The Wohler card and we’ve been very supportive for all the networks with any issues they have as far as captions and triggers and all that sort of stuff.

And, you’re also representing some product lines a bit further afield in the region?

“Decimator has been the main one. So, we do that for Australia and New Zealand and in Asia and we just build on the footprint from there because they’ve recently gone through a big growth themselves and sales are starting to come through to justify doing that in other markets.”

In terms of different areas of infrastructure, what’s in the refresh cycle at the moment?

They went through a bit of a phoenix from the ashes process, didn’t they?

“Yes. I mean Abekas has been around for a long, long time in various forms or another, but the beauty of Abekas today is they still seem to do the same thing as from day one. So, as I’ve said to a few customers, you take the box off an Abekas Mira and straight away you can see it’s an Abekas because it’s always been that quality and robustness.

Moving on to SMPTE, what can the visitors expect from you guys?

“At SMPTE, mainly the focus will be on what new products that are coming from our vendors. We have the new QX platform from Phabrix, a true 12 Gbps testing solution. That’s being developed now and we should start seeing shipping probably around September, but we’ll have the platform at SMPTE. As well as that we’ll have a couple of new things from Cobham, TSL and Wohler. We’ll be building on what we normally show and focussing mainly on new technologies, emerging technologies, emerging products.

So, what else is notable for you from these last 12 months?

“At the end of the 12 months, Peter will be retiring and the most notable thing probably has been the support and mentorship he’s given.”

Visit www.avgroup.com.au

Media Links Drives Video Over IP Innovation at SMPTE 2015 4K TRANSPORT H.264 COMPRESSION

BOOTH: A-03

CONTENT DELIVERY

LIVE-TO-FILE

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CONTENT DELIVERY

Satellite Resists C-Band Spectrum Crunch The future of C-band spectrum will head agenda items at the World Radiocommunication Conference 2015 (WRC-15) in Geneva, Switzerland, from 2 to 27 November 2015. Under pressure from the increasing spectrum demands of International Mobile Telecommunications, the satellite industry is itself banding together to resist changes to the existing regime.

C-BAND COVERS parts of the electromagnetic spectrum, including wavelengths of microwaves, that are used for long-distance radio telecommunications. The IEEE C-band (4 to 8GHz) and its slight variations contain frequency ranges that are used for many satellite communications transmissions, some Wi-Fi devices, some cordless telephones, and some weather radar systems. For satellite communications, the microwave frequencies of the C-band perform better under adverse weather conditions such as rain fade in comparison with Ku-band (11.2 GHz to 14.5GHz) frequencies.

Speaking at the recent CASBAA Satellite Industry Forum in Singapore, Ethan Lavan, Director of Orbital Resources with satellite operator Eutelsat, describes the impending standoff between the two industries as one “… which has major consequences for the daily lives of hundreds of millions of people.”

According to Mr Lavan, “There is the battle for C-band, but behind the battle for C-band there is the battle for all our spectrum, which the IMT industry would gladly take away from us.”

The Eutelsat Director of Orbital Resources says he has seven messages for the satellite industry, the IMT industry and delegates at WRC-15.

“First message - we have to fight invasion, but let’s be clear, we are not fighting mobile services. In fact, it surprises some to hear that mobile operators in tropical zones, including here in Southeast Asia, widely use C-band satellites for back-hauling, in order to extend their networks. So, ironically satellites in C-band and satellites in general are key enablers of mobile communications worldwide. “We are not so obtuse as to dispute the fact that demand for mobile services is expanding rapidly worldwide.

What we are challenging is the simplistic assumption that mobile growth automatically implies the need for an additional spectrum.

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“Second message - in most of the world, including in Asia, less than 50% of the spectrum already identified by the ITU for IMT has been licensed. At the minimum, we are talking here of hundreds of megahertz of unlicensed spectrum, spectrum that is just sitting there useless, not used. Actions must be taken to make it available. Also, less than 80% of the spectrum licenced to mobile operators is actually providing services to users.

In other words, IMT has abundant room to grow before anyone starts lobbying more spectrum.

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“Message number three. The car industry offers a powerful analogy. Those of you who remember the time when there were more and more cars, cars were larger and larger, and used more and more gas. Then came the oil crisis and the two oil shocks. Since then, major R&D efforts have enabled car manufacturers to develop and market cars that are much, much more gas sober. This is the kind of improvement that IMT can generate if it puts its best brains on how to use less instead of more bandwidth.

“Fourth message - we are not fighting with the ITU. Satellites are essential for helping the ITU achieve its core mission, which is to connect the world.

Satellites connect remote areas in Asia and many parts of the world where

terrestrial gives up. And, our sector keeps investing billions to do this better and better. As you know, C-band plays a tremendous role in this connectivity.

“Today, more than 180 geostationary satellites with more than 2000 C-band transponders provide services. More than 60% of the satellites active in Asia carry a C-band payload. And, the fill rate of C-band satellites in Asia is over 80%. So, my fourth message is that the ITU and satellite operators have the same ambition, connect the world.

“Message five - there isn’t a dollar value to the social benefits of irreplaceable services provided by satellite C-band. In other words we are not just talking here about business. Many critical communications in Asia, Africa and elsewhere, and not only in tropical zones, rely heavily on satellite C-band. What is the value of lives saved as a result of communications re-established by satellite within hours of an earthquake? The tragic earthquake in Nepal is a recent and vivid reminder of this. Taking a decision in WRC based on pure mercenary considerations would be short sighted and a shocking disservice to humanity.

“Message six - for decisions to be made on spectrum and location in WRC to a one size fits all principle would be a huge mistake. A solution which is appropriate for one part of the world like Europe where C-band is not intensively used, is inappropriate for other parts of the world like Africa and Asia, where many vital communications heavily rely on the unique characteristics of satellite C-band. Geodiversity must absolutely be taken into account in the decision making process of the WRC. “Message number seven - in order to reach the right decisions at the WRC, we need to ensure two elements. One is ITU neutrality. We truly understand that the ITU cannot advocate for a no change position on the C-band which is akin to the satellite position. However, we do have the right to expect the ITU to avoid appearing to favour the IMT community by making public speculations on possible WRC outcomes such as country footnote locations or compromises, similar to what were reached at WRC-07.

“The second condition is that we must build the highest level of awareness by decision makers in all the ITU member states we can reach. Each will define his position. Some states are still hesitating on spectrum allocation issues. We must do everything we can to ensure they are alerted to fallacious arguments by which it is claimed that each administration will maintain its sovereign right to choose between satellite and mobile in adopting new footnotes identifying IMT spectrum in C-band.

We must ensure that the choice for satellite C-band is protected for the countries and regions that rely on it. Again, this means, let me be clear, no more footnotes identifying IMT in C-band, and especially not in the 3.6, 4.2 gigahertz band.

“This isn’t someone else’s challenge. It’s our collective challenge as an industry, and if we don’t fight it well today, then we’ll only be back for more tomorrow.”

Visit www.itu.int and www.casbaa.com

CONTENT DELIVERY

Grass Valley Integrating Playout with iTX

By Keith Ford TAKING PART IN AN OCEANIA TOUR for Grass Valley is Steve Hassan, Product Manager for iTX. He has been taking the iTX playout solution across Australia and New Zealand demonstrating how iTX works, how it could work with clients’ systems, and how it could work for different solutions in the playout space. “iTX is an integrated playout solution as opposed to a discrete playout solution or a channel in a box. While channel in a box and while discrete have their own reasons for existing and are still strong in the market place, an integrated playout solution gives you the best of both and gives you a much higher level of redundancy across the system while achieving the sort of capabilities and the functionality you can achieve by bringing the solution, by bringing the external functionality into the solutions playout,” explained Hassan.

“Now we can support all sorts of levels of functionality from AFD to router interfaces, Dolby, decodes, encodes, caption insertion, and rich real time graphics. We manufacture a standalone traditional graphics device called a Vertigo XG. It’s 3RU, but we can reproduce it in software inside in our 1RU box across two channels.”

The basic architecture of an iTX system all starts with the Framework Server, which host the database on three servers (Principal, Witness, and Mirror) for redundancy. There is also a shared contents store, for instance a K2 SAN, as well as a method for bringing file delivered content into the system (FTP watch folders, integration with LTO tape archives, etc.).

“On the output side, it’s the 1RU output server supporting up to two full HD channels. Everything is done through the client workstation. When the user log on, the client workstation knows what role you’re there to do, so it presents you back the tools and the screens to perform that function,” said Hassan. “When you want to grow the system, you simply add more outputs. So the architecture has been done in such a way that none of the services for running a channel are located in the framework, they’re all located within each output server. Each output server has its own individual automation engine, it has its own caching engine and holds it’s own graphics.”

Graphics are an area that has become increasingly more important in the broadcast market, moving from simply letting the viewer know what channel they have found their way onto, to becoming a tool for audience engagement and retention.

“All of that is possible and capable from within the iTX system itself. We can have Twitter feeds through a moderation service direct into the iTX solution and populated real time through your channel without any other thirdparty systems,” said Hassan. “The real icing, as it were, is something we’ve called playlist aware monitoring. And being a part of a larger organisation such as Grass Valley, which has a number of products that span across basically the broadcast infrastructure, we can integrate with the controller monitoring systems and feed them the playlist and do some intelligent alarming based on errors that, really, you need your operations to actually react to rather than reacting to false triggers, for example.”

Scalability is another important feature of the iTX system, with the only additional equipment needed to add channels being the output servers.

Sie doesn’t matter with the iTX system, allowing a two channel operation to double in size with a single new output server, or a large client operating 250 channels to throw in an extra couple of movie channels.

Whatever the need is, often more operators aren’t even necessary. There is also the ability to upgrade with a simple license key.

“The software is a basic channel that comes with, obviously, the ability to play back video and audio and basic loading graphics, still all animated. If you want to then move on to the rich graphics or you want to add Dolby audio processing, for example, we simply send you a new license file, which enables that function, you configure it and you start using it. There’s not any new hardware, there’s no new software to install, it is all there from day one,” explains Hassan. “As much as you can start with an SD channel today, tomorrow you get the requirement to do an HD channel, you don’t even need to change over the media because it will up-convert on the fly all your SD content to be HD as it comes out of the box.”

Visit www.grassvalley.com

Grass Valley at SMPTE15

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SMPTE15 WILL SEE GRASS VALLEY hosting demonstrations of their product offerings, from iTX through to their camera solutions.

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“We’ve got a nine by nine stand at SMPTE and we’re building a stand around the breadth of the portfolio. So we’ve got a full camera stage that we’ve set up which will show all our full camera range from the new Focus 70 which is the new low cost studio camera, through the fully integrated pedestal with robotics system and our compact camera with our partnership with Telemetrics, through to the Universe, which is our camera that is six speed software upgradable to 4K,” said Greg de Bressac, Bids & Proposals Manager - APAC at Grass Valley.

On other sections of the booth Grass Valley will be showing their full

STRATUS news production and production asset management systems, along with with their non-linear editor, EDIUS. The brand new Kerrera K-Frame will be on show, which is the new smaller form factor model.

GV Director, the low form factor switcher that’s a non-linear production system will also be on show. Also being demonstrated will be the iTX playout solution.

“At every position we’ll have demonstrations and we’ll have experts from right around the world, including our local team, our local experts, and regional experts coming down from Singapore and other parts of the business to be able to show people how a system works and answer any questions,” added de Bressac.

Visit www.grassvalley.com

Are You a Media Technology Vendor/Developer with Existing or Planned Business Interests in China?

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Following social practice with China Central TV Network (CCTV) and Zhejiang Satellite TV Network, Nancy worked with Fujian Satellite TV Network for five years as an Audio Engineer.

In 2005, Nancy took on the role of Marketing Coordinator in the International Marketing Department of manufacturer Miller Camera Support where she built strong relationships with dealers and broadcast professionals alike and travelled extensively to visit Chinese customers and help extend Miller’s business in the China market.

PHIL SANDBERG Phil Sandberg has spent over 25 years reporting on technology and policy issues affecting the TV, radio and recording industries throughout Australia, New Zealand and Southeast Asia.

He is the founder of Content+Technology magazine and Broadcastpapers.com

She currently divides her time between Australia and China.

His other credits include TV Technology & Production magazine, Broadcast Engineering News, Internet World Australia, the IBC Daily News, Radio World, Production Solutions, Pro Sound News Asia, Personal Investor magazine and The Australian newspaper.

Nancy can be reached via chinameiti@gmail.com

You can reach him via papers@broadcastpapers.com

In 2010, she completed a Business Marketing course with TAFE NSW and graduated with Distinction. She has also undertaken online marketing for the SMPTE Australia Section.

CLASSIFIEDS + EVENTS Position Vacant – Sales Consultant Account Manager WE ARE LOOKING for an experienced and motivated sales professional to join our highly successful Sydney sales operation.

The role consists of servicing existing clients and acquiring new business primarily selling digital media solutions to the film, video post production and broadcast markets. This role will suit an IT or other sales professional with a strong technical background who is looking to extend their knowledge of the digital media market and the technologies deployed whilst providing significant scope for advancement.

The primary responsibility of the role is to service and support selected and allocated accounts within the digital media market. As a Sales Consultant you will be required to create and develop ongoing business relationships with both clients and key vendors whilst achieving revenue targets and gross profit goals.

This is a solutions focused B2B role and will require you to acquire a detailed working knowledge of our core markets and products and the solutions that we provide. Of equal importance is the ability to develop and nurture meaningful business relationships with clients that extends our overall value propo-

sition to them and makes us an integral part of them achieving their goals.

Our business is about providing and maintaining high-level technological solutions through consultation and expert service. A key part of this role is coordinating these functions and ensuring the successful engagement of all stakeholders.

DESIRED SKILLS AND EXPERIENCE Proven ability to establish and nurture solid commercial relationships

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Position Vacant – Business Development Manager ASTRALINKS is one of Australia’s leading providers of satellite uplink services to the TV broadcast industry, delivering live coverage of Sport, News and Entertainment events from all over Australia.

We currently have a vacancy for an energetic, self-driven and technology savvy Business Development Manager, working from our Mount Kuring-Gai base, in the north of Sydney.

To be considered for this vacancy you must fulfil the following criteria: + Have a proven track record of sales and/or business development within the Australian broadcasting industry; + Have a working understanding of satellite transmission infrastructure; + Understand the commercial requirements and challenges broadcasters face on both outside broadcast and live news delivery; + Have a keen eye for marketing and understand the importance of engaging your target audience via social media, advertising and trade shows;

Advertiser Index

Please send your CV, including a 1-page cover letter, addressing the above criteria and stating why you are the right person for the job, to recruiting@ astralinks.com.au No Australian visa sponsorship will be offered, and NO agencies please!

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......................................................... 7,23

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Elemental...........................................51 Grass Valley, a Belden Brand........38 IHSE GmbH Asia Pacific.................... 6 IBC 2015.............................................77 Imagine Communications......... OBC Interra Systems................................70 IRT Communications......................10 Jands...................................................57 Lawo....................................................29 LiveU....................................................39 Lumina Broadcast Systems...........17

+ Be able to manage the entire sales cycle and build long lasting relationships; + Be self-motivated with excellent communication and presentation skills; and + Have a current Australian driver’s license, your own transport and the right to work fulltime in Australia.

We are a small team of high achievers and each team member is highly respected and regarded in their chosen field. To become part of our team, you will not only need to fit in, you will need to bring the drive and determination that is necessary to drive the business forward. If you are the right person for the job we can offer the right remuneration in relation to your experience and the results you deliver.

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210x

RAI Amsterdam Conference 10-14 September : Exhibition 11-15 September

IBC2015 Discover More

IBC stands at the forefront of innovation, drawing more than 55,000 creative, technical and business professionals from over 170 countries.

It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected, peer reviewed conference that helps to shape the way the industry will develop.

Also, take advantage of a variety of extra special features included as part of your registration at no extra cost: • Touch & Connect IBC’s simplified networking tool for all attendees, structured to keep you connected year round • IBC Awards celebrating the personalities and the organisations best demonstrating creativity, innovation and collaboration in our industry • IBC Future Zone a tantalising glimpse into the future of tomorrow’s electronic media

www.ibc.org IBC Third Floor, 10 Fetter Lane, London, EC4A 1BR, UK t. +44 (0) 20 7832 4100 f. +44 (0) 20 7832 4130 e. info@ibc.org

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• IBC Big Screen Experience providing the perfect platform for manufacturer demonstrations, ground breaking screenings and insightful, free to attend conference sessions focusing on the latest developments in digital cinema • IBC Content Everywhere Europe Featuring: - IBC Content Everywhere Hub - IBC Content Everywhere Technology in Action Theatre - high quality exhibition

at r w no giste r te g/re s i r g Re ibc.o w. w w 01/06/2015 20:54

INDUSTRY FOCUS

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TIME shifter Hail Furious Maximus!

By Phil Sandberg

FOR AN AUSTRALIAN FILM FRANCHISE, the original Mad Max series created an international impact rivalled only by Paul Hogan’s Crocodile Dundee. It not only launched Mel Gibson’s Hollywood career, but also laid the base for George Miller’s varied and accomplished directorial career.

It also had a huge impact on audiences and imitators alike (this writer’s high school muck-up day, entitled Year 12 – Beyond a Joke, took its lead from Beyond Thunderdome ) and redefined the post-apocalypse sci-fi genre.

The origins of the series were humble, indeed.

A reported budget of AUD$300,000, a lead actor reportedly paid $15,000, edited in George Miller’s house with George Miller editing film in the kitchen and collaborator Byron Kennedy editing sound in the lounge room culminated in an Australian release for Mad Max on April 12, 1979, with UK and U.S. releases following soon after. It went on to earn AUD$100 million worldwide, the highest cost-to-profit ratio for a feature film in any country for over two decades.

Shot predominantly in Victoria (with one dramatic scene shot in the Sydney suburb of Campbelltown), cinematography duties on Mad Max were undertaken by David Eggby ACS who, in 2001 was named Cinematographer of the year and, in 2012, was inducted into the ACS Hall of Fame.

The film went on to win three Australian Film Institute (AFI) Awards in 1979, including:

TIME SHIFTER

+ Best Achievement in Editing – Tony Paterson/ Cliff Hayes

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+ Best Original Music Score – Brian May (legendary conductor of the ABC’s Adelaide Big Band and Melbourne Show band). + Best achievement in Sound – Gary Wilkins, Byron Kennedy, (Soundfirm supremo) Roger Savage and Ned Dawson.

Whereas Crocodile Dundee traded on the idiosyncrasies of the Australian accent, the first Mad Max film was dubbed entirely into “American” for its U.S. release. This writer witnessed its stilted, B-grade intonations while in a Havana hotel (where Australia’s other best known cultural export was super-marsupial, Skippy the Bush Kangaroo).

The success of the first film, of course, gave rise to the sequels, Mad Max 2 and Mad Max: Beyond Thunderdome.

1981’s Mad Max 2 (known as The Road Warrior in the U.S.), with its reported budget of $2,000,000, saw Mel Gibson again take on the role of Max Rockatansky, this time reluctantly championing the cause of an isolated community besieged by a marauding gang intent on killing everyone and stealing the outpost’s reserves of fuel.

Shot around the western NSW city of Broken Hill by Oscar and BAFTA winner Dean Semmler ACS, the film’s opening U.S. weekend alone the eclipsed worldwide takings of its predecessor with some USD $2,527,864 in earnings.

Of course, Max’s Interceptor (a 1973 Ford Falcon Coupe V8) shot into the stratosphere with 1985’s Mad Max: Beyond Thunderdome with Mel Gibson pitting his wits against soul music legend Tina Turner as the ruthless Aunty Entity. Shot again by

“Look, I don’t need another hero!” Tina Turner clings on in Beyond Thunderdome.

Overlooked for the Booker Prize, the Mad Max 2 novel, adapted by Australian pulp fiction legend, Carl Ruhen.

Dean Semmler ACS,, the film’s reported budget of $12.3 million dollars garnered this second sequel a gross of some $36.2 million in U.S. theatres alone.

With all signs pointing to success for the fourth film in the series, Mad Max: Fury Road, it could just be that director George Miller has cemented the post-apocalyptic figure of Max Rockatansky as an anti-hero with Batman-esque reboot potential for years to come.

Time will tell.

Before he turned his fury on the Jewry, Mel Gibson channelling Billy Ray Cyrus.