Content+Technology ANZ March-April 2023

Hybrid Powerhouse

Meet the next-generation HD and 4K platform in Live Production Switchers. The new Sony XVS-G1 with its hybrid architecture and all-new 4RU processor is designed to deliver high-speed realtime processing. And with its new web-based application you can now enjoy remote access to a powerhouse of features with a PC, laptop or tablet.

• 4 new control panels with 1 M/E or 2 M/E configurations and up to 16 or 24 source button layouts

• Up to 4M/E, 48 inputs and 24 outputs in HD/1080p mode or 2M/E, 24 inputs and 12 outputs in 4K(UHD) mode can be configured by adding optional I/O boards

• Optional graphics processing unit provides built-in clip player, 3D digital multi-effects, extra still logo keys and new multi-viewer functionality

• Up to 16 web browsers connected simultaneously for multi-menu, multi access setup or remote operation

For more information, please visit

XVS-G1 Switcher Processor

ICP-X1124/X1224 Control Panel

NABShow Preview... page 09.

03 NEWS+PEOPLE

People on the Move; PAT Joins the Partyline with Riedel; Magna, Arkona Sign APAC Partnership.

09 NABSHOW 2023 PREVIEW

NAB Show Celebrates 100 Years; Show Floor Exceeds 1000 Exhibitors; NAB Show Debuts ‘Programming Everywhere’ Conference; Training for Creative Professionals.

12 CAMERAS & LIGHTING

Blackmagic Unveils Studio Camera 6K Pro; Marshall Electronics CV730-BHN and CV730ND3 Cameras; Shotoku Introduces TR-XT3 Studio Control System; and more.

18 SPORTSCASTING

Gravity Media Partners with Supercars for Repco Championship; Gravity Frames FUJINON 4K Lenses for Supercars; OBS Holds First Broadcaster Briefing for Winter Olympics Milano Cortina 2026; Japan Rugby Football Union Chooses M2A Media; Pliant Brings New CrewCom Control Unit to NAB 2023; Game Review with Spiideo REPLAY Pro.

22 NEWS OPERATIONS

SBS Uses First Nations’ Place Names in Weather Forecast; Australia’s ABC and TimorLeste’s RTTL Sign MOU; Ticker News Enters the FAST Lane.

26

POST-PRODUCTION

AI Rendering on the Runway; Adobe’s Firefly AI; Autodesk Unveils New Workflows; disguise Collaborates with NVIDIA; Avid Media Composer 2022.12; Review Projects with Autodesk Moxion Rooms.

30 MEDIA IN THE CLOUD

Silver Trak Digital Accelerates Content Digitisation with AWS; Why Logistics Is the Next Frontier for the Interconnected Media Supply Chain; TYAN Boosts Server Speeds with Gen-4 Intel Xeon Processors; AI-driven Live Video De-noising and Upscaling at 4K; Mediaproxy’s Latest Version of LogServer; EditShare Boosts Connectivity and Workflows; Active Archive Maintenance.

36

AUDIO, RADIO, PODCASTING

The Scalable, Agile Facility from Broadcast Bionics; “Elasticity” Isn’t Stretching Things for Lawo; StreamGuys Empowers Video and Audio Workflow Conversions; SSL Advances System T Broadcast Audio Platform; AEQ VENUS 4 IP Audiocodec; Sound Devices at the Nexus of Wireless Audio; Calrec Brings Flexible Approach to Audio Mixing.

42

CONTENT DELIVERY

Head-end Project a WIN for MediaHub and Magna; New HbbTV Core Spec; Delay for New Sky NZ Satellite; PHABRIX QxP hybrid IP/SDI Waveform Monitor; LiveU Boosts Efficiency in Live Productions; Appear’s Quantum Leap in SRT Performance; Dielectric’s Breakthrough for Manifold Combining; Evertz Tackles Live Events, IP, 12G-SDI, Monetisation and REMI; Telestream Boosts Content Creation, Distribution and Monetisation; Edgio’s Uplynk Delivers.

CONTENT+TECHNOLOGY

ISSN 1448-9554 PP:255003/06831

Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 165 Surry Hills, NSW 2010, Australia www.broadcastpapers.com

PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com

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PRODUCTION MANAGER: Lucy Salmon Mob +61(0)412 479 662 production@broadcastpapers.com

DESIGN & LAYOUT Wide Open Media Mob +61 (0)419 225 348 https://wideopenmedia.com.au

PRINTING: SOS Printing, Sydney

COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.

DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

20 Years of Content+Technology

By Phil Sandberg

YES, 2023 MARKS 20 YEARS since the very first issue of our humble magazine, Content+Technology. Launched by myself, the late Hugh Salmon, and his wife Lucy, C+T’s mission was (and is) to provide an independent voice covering the technology and business issues affecting the media creation and distribution industries throughout Australia, New Zealand and Southeast Asia.

Volume 1, Issue 1 of C+T featured a behind-the-scenes look at coverage of the 2003 Rugby World Cup, held in Australia, with Rights Holders the Seven Network, TVNZ and ITV. We also looked at Southern Cross Broadcasting and what was then the biggest centralisation project in the history of Australian TV. The relatively new field of Asset Management (DAM, MAM and PAM) got a look in, as did TV Loudness, Digital Radio, and (now veteran) cinematographer Pieter de Vries ACS taking a “Panavised” Sony HDW-F900 CineAlta camera out for a spin with a Jim Frazier lens system to capture the world’s “Biggest and Baddest Bugs”. And, these were just some of the highlights amongst our coverage of local moves in production, post-production, standards and technology releases.

Our advertisers for that first issue, whose support helped get C+T off the ground, represented a cross section of both local and international technology providers.

Some are still with us, others merged or were acquired, and others opted out of the industry altogether. From cameras and tripods to post production and newsroom systems to archiving and asset management platforms to RF transmission and systems integration, the solutions they promoted reflected the “glassto-glass” focus of our magazine, one that continues today. Though, it is fair to say our latest issue features far fewer proprietary black boxes.

At the time, with our roots in covering the broadcast industry, we did debate whether the new venture should have had “broadcast” in its title, but even then - before YouTube and Netflix, before Facebook and Twitter, before mobile apps - it was apparent that the emerging new media world would not be restricted to one method of delivery. Thus, Content+Technology was born. Buzzwords and catch-phrases were as prevalent then as they are today. Many have come and gone, but “Content is King” has endured these past two decades, and so have we.

So, we’d like to thank the following current and former team members who have helped us along the way:

Adam Buick

Anthony Wyld (Wide Open Media)

Brett Smith

Daniela Huelsen

Brent Carswell and the team at Crunch Design

Gazel Kilicdogan, Michael Shultz and Joe Vassallo (Pegasus Media & Logistics)

Jason Maximo, Miriam Pizzoferrato (DAI Print, Singapore)

Amanda StephensLee

The Furbys

The Salmons

The Sandbergs

Keith Ford

Richard Visser

And, last, but also foremost, we’d like to thank you, the reader. The C+T community is vibrant, innovative, engaged and encouraging. We couldn’t wish to serve a more inspirational group. Long may it continue.

OUR NEW SHOW - CONTENT LIVE!

As part of our 20th Anniversary Celebrations, we are launching Content Live!, a brand new event for anyone involved in creating and distributing sports, news and live event content. With keynotes, workshops and technology exhibits, Content Live! will take place at Sydney’s Royal Randwick Racecourse over two days from October 25-26, 2023. You can sign up for updates at www. contentlive.com.au

‘ASIAPAC’

NAB AUSSIE-KIWI NIGHT

And for those travelling again to Las Vegas for the annual NABShow, let us know what makes it onto your tech wish list, or where there are gaps in the tech offering. Don’t forget to come and see us at the Paris on the Saturday night for a catch-up. We’re looking forward to it.

To register, visit bit.ly/3lMM4xj

Keep safe, and look after each other, Phil Sandberg – Editor/Publisher papers@broadcastpapers.com

+61(0)414671811

2023 C+T DEADLINES

AUSTRALIA/NEW ZEALAND EDITION

MAY/JUNE

Editorial Submissions: 02-05-23

Ad Bookings: 02-05-23

Ad Artwork: 27-02-23

ASIA EDITION

MAY/JUNE

Preview: BroadcastAsia, June 07-09, Singapore

Editorial Submissions: 09-05-23

Ad Bookings: 09-05-23

Ad Artwork: 09-05-23

For more information www.content-technology.com

+61-(0)414 671 811 Email: papers@broadcastpapers.com

The C+T (Time) Zone.

PAT Joins the Partyline with Riedel

PROFESSIONAL AUDIO & TELEVISION has been appointed as an authorised Riedel reseller in New Zealand and Australia for Riedel’s Intercom products, including ARTIST, BOLERO and the full range of SmartPanels.

Professional Audio & Television has already supplied two Riedel Intercom systems to customers in New Zealand.

The first was a Riedel Bolero Wireless Intercom system delivered to New Zealand company Theatrical Solutions, a provider of qualified technicians, from electrical and mechanical engineers, fabricators and electronics technicians to software designers and developers, project managers and theatre consultants.

The second system was sold to Whakaata Māori (formerly known as Māori Television). A Riedel Bolero Wireless Intercom system is capable of supporting up to 250 beltpacks and 100 antennas in a single deployment. Whakaata Māori’s Bolero10 beltpacks can be used as a wireless beltpack, a wireless keypanel, or – in an industry first – a walkietalkie. The Bolero low-latency, high-clarity voice codec provides both higher speech

intelligibility and more efficient use of RF spectrum, supporting twice the number of beltpacks per antenna for the same radio bandwidth as other DECT-based systems. Espen Brynildsen, the Technical Solutions Manager for Riedel Communications in Australia says, “We are delighted to have been

selected by Theatrical Solutions and Whakaata Maori. Partnering with PAT was an easy decision for us, as we needed a local and proactive partner who is customer focused.”

Email sales@proaudiotv.co.nz or sales@ proaudiotv.com.au

Stephen Game (PAT), Espen Brynildsen (Riedel), Patrick Salloch (PAT), Chris Johnson (Riedel) and Mike Heard (PAT) at Riedel’s Sydney Customer Training Centre.

Magna, Arkona Sign APAC Partnership

MAGNA SYSTEMS HAS SIGNED a technology partnership agreement with and will now represent arkona technologies GmbH, a provider of IP core infrastructure solutions for top-tier broadcast productions, in Australia, New Zealand and Indonesia.

Magna Systems & Engineering group CEO, Matthew Clemesha, said, “Having arkona onboard and representing them in Australia, New Zealand and Indonesia is yet another example of Magna’s commitment to having the very best IP core infrastructure solutions available in our portfolio for our clients. arkona has a very exciting roadmap ahead and they are a perfect fit for Magna, our clients and the future direction of our industry.”

Magna Systems’ group sales and marketing manager, Paul Maroni, will serve as the conduit between arkona and Magna, working with both teams to assess local requirements and opportunities and create strategies and marketing initiatives.

Maroni said, “arkona are at the leading edge of live IP technology with their software suite of live production apps under the BLADE//runner brand. We firmly believe that arkona’s current product range and future vision fits perfectly with Magna’s

approach.”

Wiggo Evensen, Partner Manager at arkona, added, “We are confident that Magna will be a tremendous commercial, operational and business benefit to our customers in the Asia Pac region as they guide them

through their journey to IP and provide the expertise they need to meet their objectives.”

Visit https://arkonatech.com

Magna Systems group sales and marketing manager, Paul Maroni, arkona sales and business development, Erling Hedkvist, Magna Systems group CEO, Matthew Clemesha and Magna Systems senior solutions specialist, Tim Banner.

Introducing

Introducing the worl d ’ s most powerful HD live production switchers! ATEM Constellation includes advanced features such as DVEs, advanced chroma keyers, media players, multiviews and more! The built in Fairlight audio mixer includes a compressor, limiter, 6 band parametric EQ and expander on each input. Plus it includes the free ATEM Software Control for Windows and Mac.

Standards Converted 3G-SDI Inputs!

The ATEM Constellation HD family features models that have up to 40 independent 3G-SDI inputs, with each input featuring its own dedicated up and cross converter. That means it’s possible to convert any 1080p input source to the video standard of the switcher! That means each switcher SDI input can run a completely different television standard and it all just works!

Customizable 3G-SDI Outputs

The ATEM Constellation HD family have a massive number of fully independent 3G-SDI outputs. These SDI outputs are very powerful because you can independently route any SDI input or any internal source to each SDI output. That’s perfect for running independent feeds to stage screens, recorders and streaming processors. Plus all SDI outputs include RP-188 timecode, SDI camera control, tally and talkback.

www.blackmagicdesign.com/au

Constellation HD

Includes Multiview with Labels, Tally and Meters

The built in multiview lets you monitor multiple sources on a single monitor. All external SDI inputs, plus all internal video sources can be routed to any view. The multiviews are fully customizable and can be set to 4, 7, 10, 13 or 16 simultaneous views. You can also get a tally indicator, source label and VU meter overlay on each view.

Broadcast Transitions, DVE, Stingers and More!

ATEM Constellation HD includes a wide range of broadcast quality transitions such as mix, dip, wipe, and more. All transitions can be customized in the system control menus with adjustments for border color, border width, position, direction and a lot more! The ATEM Constellation switcher also includes a powerful digital video effects processor for DVE transitions.

Choose from 3 Powerful Models!

ATEM 1 M/E Constellation HD $1,569

ATEM 2 M/E Constellation HD $2,635

ATEM 4 M/E Constellation HD $5,749

Chris Oliver-Taylor Named ABC’s First Chief Content Officer

ABC MANAGING DIRECTOR David Anderson has announced the appointment of Chris OliverTaylor to the newly created role of Chief Content Officer.

This position will report to the Managing Director and be responsible for the new Content division created from the merger of the current Entertainment & Specialist and Regional & Local divisions.

Oliver-Taylor brings a unique skillset and experience to the ABC after a career that has established him as one of Australia’s most successful content leaders and producers. Currently Netflix’s Director of Production for Australia and New Zealand, he has been at the forefront of the screen industry, including previous roles at the ABC and BBC.

Since that time he moved into the independent production sector as Managing Director of NBCUniversal’s Matchbox Pictures, leading them to three SPA Producer of the Year awards as well as multiple commissions around the world. He then became CEO of Fremantle Asia Pacific, responsible for the creative output of one of the biggest production companies across the Asia Pacific.

David Anderson said the appointment to this unique role comes at an important time in the ABC’s history.

“Chris is one of the most experienced, both locally and internationally, content leaders in the

industry with a well-honed sense of audience expectations and creative trends across platforms and technologies,” he said. “The ABC Chief Content Officer is a role that requires leadership across all content platforms – screen, audio and digital – and must have the right creative approach to support the work of all our content teams and deliver for the Australian public.

“I am very pleased that a leader of Chris’ experience and calibre is joining us for the next stage of the ABC’s story.”

Chris Oliver-Taylor said: “This is a critically important role for the ABC and I am absolutely thrilled to bring my experience of leading incredibly talented people to the ABC at a vital time in its history.

“In a time of infinite choice across screen, audio and digital, we must deliver high quality and impactful content that resonates with all Australians, and I know to deliver this impact you can only do it with an amazing team.

“I am very much looking forward to working with David, the Leadership Team and all the talented people at the ABC to ensure the ABC continues to be trusted, relevant and valued into the future.”

Anna Mallett, Netflix VP Production for APAC/ EMEA/UK said: “Chris is hugely talented and has made significant contributions leading our studio in Australia and New Zealand since joining

Netflix. We are enormously grateful to Chris, wish him every success for the future and look forward to working with him again as a content partner.”

Anderson acknowledged and thanked Jennifer Collins, who has acted as the ABC’s Director, Entertainment & Specialist for the past nine months.

“Jennifer is an outstanding leader and has done a wonderful job,” he said. “Chris and I both look forward to Jen performing a significant senior content role in the newly merged Content division, leading the content strategy into the future.”

He also acknowledged and thanked Warwick Tiernan and Lee Glendinning for their excellent work acting as Director, Regional & Local since Judith Whelan took up the role of Editorial Director earlier this year.

Both Jennifer and Warwick will continue in those roles, reporting to Oliver-Taylor when he commences in late March, until the new Content division comes into effect from 1 July 2023.

Visit https://about.abc.net.au/

Nine Appoints Memo Hayek Chief Info & Tech Officer

NINE HAS ANNOUNCED the appointment of Memo Hayek to the role of Chief Information and Technology Officer (CITO).

In this expanded role, Hayek will be responsible for the vision, strategy, planning and delivery of technology across Nine. She will work closely with Chief Product Officer, Bec Haagsma, to deliver a competitive advantage for Nine through its consumer experiences and commercial products.

Hayek is a highly experienced technology leader, with more than 30 years’ industry experience. She has thrived in some of the most complex technology environments, both domestically and globally, most recently serving as General

Manager, Group Cyber Transformation and Delivery at Commonwealth Bank.

Trained as a systems programmer at Macquarie Bank, Hayek’s first 10 years were deeply technical in a complex trading environment. Her subsequent roles in technology across organisations such as CBA, NAB, Westpac and Credit Suisse, saw her lead all parts of technology, including cyber, infrastructure, data centres, and divisional CIO, providing an exceptionally well rounded experience set for her role as Nine’s CITO.

Of Hayek’s appointment, Chief Digital Officer, Alex Parsons said: “Memo is an exceptional technology leader with a proven track record

Riedel Names Guillaume Mauffrey Sales Director APAC

RIEDEL COMMUNICATIONS has appointed Guillaume Mauffrey to serve as sales director APAC. In this new position, which Mauffrey assumed on Jan. 1, he is responsible for Riedel’s business growth across the entire Asia-Pacific region.

Commenting on Guillaume’s appointment, Jens Miedek, Executive Director of Global Sales at Riedel, said: “As a former COO of Ideal Systems,

one of the biggest system integration companies in Asia and a key Riedel partner in Taiwan and Hong Kong, he is already familiar with the company’s product portfolio and our footprint in the region. Guillaume is an ideal fit for this new role, and it will be great to work with him as part of the Riedel team.”

Mauffrey joins Riedel following nearly nine years with Ideal Systems Asia Pacific Limited where

Andy Kay Leaving Seven, Vikki Friscic Named Adelaide MD

SEVEN WEST MEDIA HAS ANNOUNCED the retirement of Andy Kay, General Manager of Seven Network Adelaide and the group’s Head of Olympics and Commonwealth Games, effective early April.

Vikki Friscic, one of the most highly regarded media executives in Adelaide, will join Seven Adelaide as Managing Director in April.

Mr Kay joined the Seven Network in 1984 as a sport reporter in the Adelaide newsroom. During his time at Seven, Mr Kay has overseen production of 10 Olympic Games, the AFL, the Australian Open tennis, the Melbourne Cup, three Commonwealth Games and many other

programs, as well as playing a key role with the 7NEWS Adelaide bulletin.

Seven West Media Managing Director and Chief Executive Officer, James Warburton, said: “Almost four decades at Seven is an incredible achievement and Andy has created a strong, enduring legacy of success and excellence. When Andy told me in September last year about his plan to retire, I was of course disappointed but understood his decision. Everyone at Seven will miss Andy a lot and we wish him and his family all the very best for their next adventures.

Mr Kay said: “Never in my wildest dreams did I think I would be afforded such extraordinary

in driving digital transformation and innovation in large organisations. Her passion, enthusiasm and expertise will provide a significant step forward for Nine, as technology continues to play an expanding role in our organisation’s future growth and success.”

Memo Hayek will report to the Chief Digital Officer and will be a member of the Executive Leadership Team and Digital Leadership Team. Her role commences on 27 March.

Visit https://www.nineforbrands.com.au/

he managed global operations for the group and its 12 offices in 10 countries. He earlier held sales leadership roles with communications and IT services provider SpeedCast. Visit https://www.riedel.net/

opportunities or spend almost 40 years working with some of the most amazing people in broadcast. I will be forever grateful to all of them and to Kerry and Ryan Stokes, James Warburton and Kurt Burnette in particular.”

Ms Friscic joins Seven from the media agency Carat Adelaide, where she was Managing Director. She is also a former Managing Director of The Media Alliance, which was one of Adelaide’s most successful independent agencies, and has held roles at Network Ten and Central Television.

Visit https://www.sevenwestmedia.com.au/

AJA’s ColorBox is a compact, highperformance converter designed for broadcast, live events, and on-set applications that supports SDR, HDR, and WCG signals with unique color processing pipelines.

ColorBox offers processing pipeline modes from Colorfront, NBCU LUTs, AJA Color Pipeline, & licensable upgrade of the ORION-CONVERT engine.

In-line HDR/SDR Algorithmic &LUT Color Transforms

Hyperconvergence Endless Production Possibilities

it weighs, the more efficient you are in terms of your shipping costs and everything else. Also, the more you can put into a single box, it simplifies maintenance and troubleshooting. It allows you more flexibility to get productions up and running more quickly.”

So, this approach suits the world of remote production or REMI?

“Yes. It’s been wildly successful in areas like that, but even in a fixed facility, it’s a good thing. When you go into a traditional equipment room and you have two or three rows of racks, if that can be streamlined down to one or two racks, there’s pretty substantial savings in day-to-day operations.”

What are the advantages of a Hyperconverged approach versus the cloud?

that would get thrown down and a lot of different ways we would build out the signal flow of that particular product.

According to Todd Riggs, Ross Video’s Director of Product Management for Hyperconverged Solutions, “It’s basically combining what were formerly multiple independent products

into a unified software-defined package that works together.

“An analogy we like to use is that of a smartphone. When you think about what you and I used to carry around on a business trip, you’d have your Garmin, Tom Tom GPS to get around, your laptop, maybe one or two cameras, etc. Now, most people just carry around a smartphone and it’s got everything you need in a single device and it’s unified in terms of a workflow, an ecosystem.

“What we’re doing at Ross Video is moving that type of thought and that type of workflow into the production area.”

Do production functions then become apps on a platform?

“That’s really what it is. What’s driving this for us is the components we are using are becoming more capable. The way we used to design, let’s say a multi-viewer, or signal processing for video and audio, the way you would build out those cards or platforms, there would be a lot of different chips

“What’s happening now is some of the devices, the chips, whether it be FPGAs or CPUs, etc., they are actually becoming more and more integrated with what they can do. What that allows us to do is we can create products and they can be a lot of different things, or they can have features added to them because the components we’re using are a bit more powerful and a bit more flexible. So, we can use a common hardware platform to perform multiple functions and those functions can be done by adding software licenses or changing a firmware load or something of that nature. Traditional functions that you would expect in a production environment - video and audio routing, signal processing, monitoring, some multi-viewers, switching, mixing, etc - can all be done from a common platform. It provides a tremendous amount of capability with a very simple form factor and gives users a lot of capability and flexibility.” Could you call it a multifunction appliance approach?

“Yes, that is a good way to think about it. It can be as feature-rich or as limited as you may want. The pieces that we are building on give us the ability to change it, so over time, because of that, it can be something different. This is one of the core things that Ross, as a company, is really focused on. Instead of very specific applications, specific products, because these products can do different things, they can change as a business changes and if you are using it for one job now, it could be something different in the future.”

What range of functions are up and running now?

“Some of the traditional functions. We’ve got your video and audio routing systems, which are the core of a facility. We’ve got multi-viewers, all kinds of signal processing for video. We’ve added audio mixing recently. We’ve added production switchers as well. Those are the big blocks - and there’s more coming.”

What savings does this approach deliver?

“It’s pretty substantial. When you think about the high end, you’re talking about a dozen racks or more shrunk to less than a rack. You’re going from about 10,000 cables down to a couple of hundred. In terms of power, the power savings alone are massive. So, when you start to talk about cooling, weight, moving equipment around with trucks or flypacks etc., there’s a tremendous value. The less

“Well, they are not necessarily mutually exclusive. At Ross, we have different tracks of development we are working on. One is an on-prem product portfolio, and that’s really where Hyperconvergence fits. Obviously, there’s incredibly low latencies, there are a lot of efficiencies there. But, we are also very focused on cloud, and I think the right answer to this is that even going ground-to-cloud or cloud-to-ground, you are going to need an on-prem platform. You’ll need to get content in and out, to and from the cloud and that’s where these technologies can actually work in tandem. Because this platform can do so much, you’re really maximising the value of this on-prem hardware. Where we want to go, as a company, is a unified interface so these technologies can work together.” You’ve already applied Hyperconvergence to Ross’ Ultrix Router.

“When we launched Ultrix, it had some of these features in it already, but over the last little bit we’ve started adding more things. You’ve seen, recently, the ability to have our mid and large production switchers - Acuity and Carbonite, for instance - integrated into the Ultrix platform. One of the nice things about the Ultrix platform is it’s all UHD native. So, when you start to think about adding more products, you’ve got a UHD platform that can handle multiple signal transports, whether it’s SDI, or SMPTE 2110, etc. You have access to multiple different transport types, and then you can add more of these functions into the box, which expands the Hyperconverged portfolio. So, Ultrix is key to it as we move forward.”

And, what is on the roadmap going forward?

“The roadmap is very full. When you think about where we are as an industry and what Ross makes, there’s a lot of things we do. There is a need for more and more processing, video and audio processing, specifically. There is a need for more transport types.

“Ross produces a wide range of solutions. Cameras aren’t going into something like this, there are a lot of other technologies in a production and playout environment that could provide real value as part of a hyperconverged platform and work as a single, unified system. There are real workflow benefits from this Hyperconverged approach where you’re not dealing with disparate products and I think it really has resonated within the industry.”

As versatile as a smartphone, Swiss Army Knife, or Batman’s utility belt, Ross Video’s one platform/endless configurations approach, Hyperconvergence, is not just changing facilities and workflows, but the way production professionals are evolving their businesses.

NAB Show Celebrates 100 Years

The National Association of Broadcasters (NAB), the premier advocacy association for America’s broadcasters, and NAB Show, the preeminent global trade show driving the evolution of media and entertainment, are celebrating their centennial year in 2023 with activities, events and a commemorative website.

THE 2023 NAB SHOW Centennial Celebration, April 15 – 19, in Las Vegas, commemorates 100 years since the first NAB Show in 1923 and offers opportunities for attendees, exhibitors and stakeholders to share their memories, participate in interactive engagements and enjoy exclusive onsite parties and events.

“This year marks our century-long legacy of advocating on behalf of America’s broadcasters and driving global innovation and industry growth through NAB Show,” said NAB President and CEO Curtis LeGeyt. “We invite the entire NAB community, including broadcasters and content professionals from around the world, to join us for the Centennial Celebration as we honour our rich history, recognise our

unparalleled impact and celebrate our next 100 years.”

NAB has launched

“Celebrating 100 Years,” a comprehensive website that provides an interactive journey through the organisation’s history and evolution over the years. The site offers a timeline detailing landmark achievements, moments in broadcasting and at NAB Show, along with image galleries, broadcasters’ stories and a NAB Hall of Fame, allowing visitors to learn more about the radio and television legends inducted throughout the years.

Show Floor Exceeds 1000 Exhibitors

THE NAB SHOW FLOOR will feature some of the world’s leading brands and companies, as well as first-time exhibitors and innovation zones showcasing the most cutting-edge technology advancements for media and entertainment. The 2023 NAB Show will run April 15–19 at the Las Vegas Convention Center (LVCC).

More than 1000 companies, including 140+ first-time exhibitors, will debut new products and offer first looks at trailblazing technologies through interactive exhibits and live demonstrations. Exhibitors are expected to occupy more than 575,000 net square feet of exhibit space organised by distinct destinations throughout the LVCC’s North, Central and West halls. Focused on four main verticals associated with the content lifecycle, the destinations and some participating companies include:

Create (North and Central Halls): Adobe Systems, ARRI, Blackmagic Design, Canon, Chyron, Comrex, FOR-A, Grass Valley, Riedel Communications, Ross Video, Sony Electronics and Wheatstone Corporation.

Connect (West Hall): AJA, AT&T, Bitcentral, Harmonic, Intelstat, LTN Global, Nautel, Sencore, Verimatrix,

Verizon, Vislink, VizRT and Xperi. Capitalise (West Hall): Dell, ENCO Systems, Evertz, Planar, RCS and WideOrbit.

Intelligent Content (West Hall): Amagi, Amazon Web Services, MediaKind, Microsoft, Telestream and Veritone.

“Companies, large and small, are turning out en masse to exhibit at NAB Show, including more than a few that skipped last year’s show,” said Chris Brown, NAB executive vice president and managing director of Global Connections and Events. “Exhibit sales are already nearly 20 percent ahead of where we ended up in 2022. This is a testament to the power of trade shows to unite the industry, create connections and generate commerce. We are thrilled to see the tremendous momentum established at the 2022 event translating to healthy growth, excitement and what promises to be an incredible showing of the latest and greatest tech and some of the most influential companies on the planet.”

Other NAB Show floor destinations focus on specific themes and innovations and include:

The ATSC 3.0 Pavilion will showcase deployments, consumer products and services, and the opportunity

The organisation also kicked off “Share Your Story,” a community campaign, encouraging individuals to share special memories, serendipitous moments or remarkable stories about broadcasting and NAB Show.

Forthcoming NAB Show Centennial Celebration announcements will include registration incentives, contests, special events and activations, and recognition of exceptional past NAB Show participation.

Visit https://www.nabshow.com

for broadcasters as ATSC 3.0 continues its expansion across the U.S. and the world.

CineCentral is a learning lab for Hollywood’s cinematic trends and techniques. Attendees can explore CineLive – the burgeoning cross section of cinematic tools and multicams used to further viewer experiences in live, sports and broadcast programming, in addition to traditional cinematic storytelling techniques.

Futures Park is dedicated to the presentation of today’s edgeof-the-art media technologies from research and development facilities around the world. The PILOT booth will showcase an Android Automotive Broadcast Radio Interface as well as ATSC 3.0 technologies including broadcast applications running on commercially available NextGen TV sets.

The Streaming Experience is the largest showcase of its kind with demos of more than 50 streaming video platforms and devices. From smart TVs and streaming boxes to game consoles, attendees can test

OTT services side-by-side and get their questions answered.

NAB Show will also feature new Experiential Zones in each exhibit hall – starting and check-in points where attendees can gain valuable insight into broader industry trends. Designed around themes of inspiration, innovation and implementation, Experiential Zones will offer a variety of activities, from free learning sessions to handson demos to unique networking opportunities, to prepare attendees before they dive into various exhibits on the show floor.

NAB Show is collaborating with StoryTech to launch three unique attendees tour experiences. Tours explore three central themes: managing data, innovation in virtual production and the evolution of video. Group and individual tours are offered Sunday, April 16 through Tuesday, April 18 at the Las Vegas Convention Center.

Visit https://nabshow.com

NAB Show Debuts ‘Programming Everywhere’ Conference

NAB SHOW WILL HOST a new conference, presented by TVNewsCheck, entitled “Programming Everywhere: The Content Event for Linear, Streaming and Syndication” on April 15, 2023, at NAB Show in Las Vegas. The day-long event features panel discussions, programming showcases and networking opportunities.

Programming Everywhere gathers industry leaders to talk about the evolving business of content creation and distribution, with a focus on new development, reinventing local and national news and extending media brands on streaming.

“The abundance of content in media and entertainment has never been greater, nor has the demand for high quality assets that serve today’s multi-platform needs,” said NAB President and CEO Curtis LeGeyt. “We are thrilled to partner with TVNewsCheck to delve more deeply into the programming side of the business at NAB Show, where creative content

and advanced technology take centre stage.”

TV station group senior executives, programming, news and marketing leaders, syndicated programming executives, and technology and streaming media leaders will take on issues such as the changing economics of syndicated programming, the relationship between FAST channels and the evolution of broadcasting, transforming television news and strategies for building a programming everywhere business.

Participants will also consider their No. 1 challenge: creating more content for a multimedia audience, and how technologies like artificial intelligence, the cloud and IP production platforms can free up creative talent while streamlining costs.

“Programming Everywhere is the first event of its kind—a big tent consideration of content transcending all of its traditional silos of linear, syndicated and digital,” said Michael Depp,

Training for Creative Professionals

NAB SHOW and Future Media Conferences (FMC), producer of Post|Production World (P|PW), are adding three unique and comprehensive training conferences for creative professionals at NAB Show, April 15 – 19 in Las Vegas. In addition to the legacy P|PW conference for production and post-production specialists, the 2023 NAB Show will feature:

• Visual Storytelling Conference (April 14 – 15, 2023)

• Remote Production Conference (April 16 – 17, 2023)

• Director of Photography Creative Conference (April 18 – 19, 2023)

“FMC is thrilled to expand its conference offerings at NAB Show” said Ben Kozuch, president of FMC. “Our landscape is everchanging, and the need for cutting-edge training has never been more evident. These four unique conferences cover all areas of production, post-production, digital photography, remote production, and camera operation. There is something for everyone.”

Post|Production World, now in its 19th year, is the world’s leading training conference for content creators, designers, producers, and editors of TV, film and video. P|PW will feature 150+ live and interactive training sessions. FMC also offers dynamic field workshops and certifications and prep courses from Apple and Adobe. Visit https://nabshow.com/2023/learn/ conferences/post-productionworld/

Industry-leading experts will host all sessions and cover an extensive

array of topics, including new and emerging media trends and business management solutions, while providing comprehensive training sessions on industrystandard software. P|PW also offers opportunities to network with peers from around the globe, including access to the highly anticipated NAB Show Content Creator Party on April 16 at the Las Vegas Convention Center. P|PW takes place Saturday, April 15 –Wednesday, April 19, 2023 and is sponsored by Dell, Nvidia and Intel.

The Visual Storytelling Conference is a two-day, multitrack conference designed for photographers and creators of online video who wish to maximise their creativity and technical skills in storytelling. The conference, led by experienced digital creators, offers interactive training focused on photography, online video, business solutions and social media. Content creators of all skill levels are encouraged to attend to learn how to produce compelling stories through digital content creation. The conference will take place Friday, April 14 – Saturday, April 15, 2023, and will feature a virtual day in May 2023. Visit https://nabshow.com/2023/learn/ conferences/visual-storytelling/

The Remote Production Conference is a two-day, multitrack training event focused on the best and most common practices

TVNewsCheck editor and chief content officer, NewsCheckMedia. “Programming executives, news leaders, digital chiefs, content producers, technologists and marketers will all come together to share ideas and solutions for a multiplatform reality.”

Sessions will include:

• Fresh Approaches to the News Franchise

• FAST Channels and the Evolution of Broadcasting

• Rethinking Genres: Games, Travel, Talk and More

• Syndication’s Changing Business Model

• Strategies for Building a Content Everywhere Business

• Mining Your Archives for New Shows

• Programming Showcases

More information and a full agenda are available at https://tvnewscheck.com/event/

of remote connectivity in media production and entertainment. Session topics include remote collaboration between artists, shared editing access and producing high-resolution graphics for cinema, gaming and virtual production. The conference will run from Sunday, April 16 – Monday, April 17, 2023 with a virtual day in May 2023 to showcase the best sessions from the conference. Visit https://nabshow.com/2023/learn/ conferences/remote-production/

The Director of Photography

Creative Conference is a twoday training event focused on cutting-edge techniques and best practices for cinematographers, camera operators, owner operators, digital imaging technicians and other camera and sound crew members. Sessions are tailored to attendees from various backgrounds, from DPs and crew members to freelancers. The conference, running Tuesday, April 18 – Wednesday, April 19,

2023, will feature a virtual day in May 2023 for remote attendees. Visit https://nabshow.com/2023/ learn/conferences/directorphotography-creative/

“FMC has provided world-class technical training for NAB Show’s creative community for nearly 20 years through their renowned Post|Production World conference,” said NAB Executive Vice President and Managing Director of Global, Connections and Events, Chris Brown. “The addition of these three unique conferences adds substantial depth and reach to the show’s slate of training offerings, so much so that no matter what end of the content spectrum a creator may be on – from feature film to online video to episodic TV and everything else beyond – this program provides impactful skills development.”

Contact FMC Senior Event Manager EliseO@fmctraining.com with questions.

CAMERAS & LIGHTING CAMERAS & LIGHTING

Fujifilm Launches FUJINON HZK25-1000mm Broadcast Zoom Lens

FUJIFILM CORPORATION has announced the launch of the broadcast zoom lens “FUJINON HZK25-1000mm” (HZK25-1000mm), which boasts the world’s highest*1 40x zoom and the world’s longest focal length*1 of 1000mm. The HZK25-1000mm is a box-type broadcast zoom lens in the dual format, supporting two types of large image sensors. It offers cinematic visual expressions with effects such as shallow depth-of-field for beautiful bokeh, making it a perfect choice for live coverage of sporting events and music concerts.

In deploying the FUJINON HZK25-1000mm globally, Fujifilm has given it the nickname “Duvo Box,” meaning “dual format live lens”. The new Duvo Box uses optical technology, developed over many years, to deliver the world’s highest 40x zoom and the world’s longest focal length of 1000mm. The highmagnification telephoto capability facilitates live coverage of sporting events and music concerts, as well as production of movies and TV commercials.

It is designed in the dual format, supporting two types of large sensors, and can be mounted on cinema cameras, which are increasingly adopted by the broadcast industry. The lens normally works with the Super 35mm sensor, and even supports a sensor equivalent to 35mm full frame by way of activating the built-in expander to expand the image circle by 1.5 times. It offers the added benefit of maintaining the same angle of view in both sensors.

On the wide-angle side, the lens provides F2.8 aperture, enabling cinematic visual expressions with shallow depth-of-field and resulting beautiful bokeh. The use of large-diameter aspherical element and fluorite element controls various forms of aberration thoroughly

to achieve optical performance which exceeds 4K.

The lens can be operated in the same style as a broadcast lens using zoom demand and focus demand while mounted on a cinema camera. It can also be used with a variety of existing accessories.

Today, in the broadcasting industry, there are more and more opportunities to shoot immersive images with bokeh and high dynamic range using cinema cameras equipped with a larger sensor than the industry’s mainstream sensor for sports and live concert broadcasts. However, cinema camera lenses are optimised for shooting movies and TV commercials, and have a limited zoom magnification range than

Miller Tripods Showcases New SkyX 8 at NAB 2023

PROVIDER OF PROFESSIONAL fluid heads and tripods for the world’s leading camera operators in the film and television industries, Miller Tripods will showcase its new SkyX 8 fluid head at the 2023 NAB Show (Booth C4221). Designed for outdoor broadcast and studio productions, the SkyX 8 is versatile enough to use over a wide array of camera configurations.

The SkyX 8 replaces the Skyline 70. Delivering 16 positions of stepped counterbalance, with CB Plus and 120mm travel large Euro camera plate, SkyX 8 offers fast, repeatable counterbalance. The 7+0 positions of pan and tilt fluid drag system employs the Miller “right feel” smooth start and soft stop technology while the precise floating pan-tilt calliper locks ensure bounce free on-off performance.

Constructed of lightweight high-strength die-cast alloy and rigid composite polymers, the SkyX 8 is extremely durable and robust for rugged outdoor shooting conditions

delivering silky smooth pan-tilt fluid actions and symmetrical diagonals to match camera payloads up to 40kg (88Ibs). It employs precision heavy duty ball bearings to ensure long, trouble-free usage.

Equipped with a 150mm claw ball, rugged dual telescopic handles, two-side mounting points for viewfinders and accessories, plus a Mitchel adaptable base, operators will have everything they need for any environment.

Incorporating advanced precision fluid drag and counterbalance controls operated through rear mounted “all in one location” with unique illumination of all controls and bubble level, the SkyX 8 makes it even faster and easier to set up and capture the action.

Each SkyX 8 comes with a full Gold

that of broadcast lenses. They also require a dedicated focus operator, which is uncommon in the broadcast industry. For these reasons, Fujifilm has developed the high-magnification zoom lens “Duvo Box,” offering the same operation style as box-type broadcast lenses. The newly-released Duvo Box will be showcased at the 2023 NAB Show (Booth #C5725), in Las Vegas, USA from April 15 to April 19, 2023. Also available for on-site demo will be an assortment of FUJINON UA Series box and portable broadcast lenses, as well as Premista, Cabrio, and MK cinema lenses. FUJIFILM will also be showcasing the world’s first camera-to-cloud native integration for digital stills cameras. Visit https://www.fujinon.com/HZK25-1000

3-year factory warranty, which reflects Miller’s confidence in the product. Shipping will start in July 2023.

Visit https://www.millertripods.com/en/

Blackmagic Unveils Studio Camera 6K Pro, Adds Streaming to 4K Pro G2

BLACKMAGIC DESIGN has announced the Blackmagic Studio Camera 6K Pro, a new studio camera model that features an EF lens mount, a larger 6K sensor for improved colorimetry and fine detail handling, ND filters and built-in live streaming via Ethernet or mobile data. Blackmagic Studio Camera 6K Pro shares the same compact all-in-one design of the studio camera family with a lightweight carbon fibrereinforced polycarbonate body, large integrated 7″ HDR viewfinder and broadcast connections. The company also announced the Blackmagic Studio Camera 4K Pro G2, an updated model that now includes built-in live streaming. Blackmagic Studio Cameras have the same features as large studio cameras, miniaturised into a single compact and portable design. Additionally, with digital film camera dynamic range and colour science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so customers can capture images even in dimly lit venues. Advanced features include talkback, tally, camera control, built in colour corrector, Blackmagic RAW recording to USB disks, live streaming and more. Plus, the new Blackmagic Studio Camera 4K Pro G2 and 6K Pro models add built-in live streaming via Ethernet or mobile data so customers can place cameras remotely. The Blackmagic Studio Camera is not limited to use with a live switcher. It records Blackmagic RAW to USB disks, so it can be used in any situation with a tripod. The large 7″ viewfinder makes it suitable for chat shows, television production, broadcast news, sports, education, conference presentations, etc. The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time.

The camera sensors, combined with Blackmagic generation 5-colour science give users the same imaging technology used in digital film cameras. The colour corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter

whites, suitable for colour correction. Suitable for both HD and Ultra HD production, the 4K models feature a resolution of 3840 x 2160 and the 6K model has a resolution of 6144 x 3456. Plus, all models support 23.98 to 60 fps.

With EF or MFT lens mounts, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Optional focus and zoom demands let users adjust the lens from the tripod handles just like a large studio camera.

The Blackmagic Studio Camera 4K Pro G2 and 6K Pro models have SDI connections that include talkback so the switcher operator can communicate with cameras during live events. The talkback connector is built into the side of the camera and supports standard 5 pin XLR broadcast headsets.

The Blackmagic Studio Camera Pro models are designed for broadcast workflows and come with 12G-SDI, 10GBASE-T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection.

Blackmagic Studio Camera 4K Pro G2 and 6K Pro models have built-in live streaming. They can be placed remotely and generate a H.264 HD live stream sent via the Internet to the studio. The camera connects to the internet using the builtin Ethernet connection, or users can connect a 4G or 5G phone to the USB-C port to stream via remote data.

Blackmagic Studio Camera 6K Pro features high quality, remote controllable ND filters that let customers quickly reduce the amount of light entering the camera. Designed to match the colorimetry and colour science of the camera, the 2, 4 and 6 stop filters give customers additional latitude even under harsh lighting. The filters are designed to filter both optical and IR wavelengths evenly, eliminating IR contamination of the images. The ND filters can be electronically controlled by the function buttons on the back of the camera, using buttons on the demand and remotely. Visit https://www.blackmagicdesign.com

COMPACT CINEMA CAMERA FEATURING RED’S UNPARALLELED IMAGE QUALITY, COLOR SCIENCE, AND GROUNDBREAKING GLOBAL SHUTTER SENSOR TECHNOLOGY IN A SHOCKINGLY SMALL AND VERSATILE FORM FACTOR. 6K, GLOBAL SHUTTER, small form factor

Proudly distributed in Australia by Blonde Robot

Marshall Electronics CV730-BHN and CV730-ND3 Cameras

MARSHALL ELECTRONICS, the manufacturer of broadcast and proAV cameras and equipment, will showcase its CV730-BHN with Full-NDI and CV730-ND3 with NDI|HX3 technology at NAB 2023 (Central Hall, Booth C5520). These new cameras are designed to accommodate broadcast production facilities looking to produce high-impact content with less staff on-site and sometimes limited IP bandwidth. The CV730-BHN Full-NDI PTZ camera incorporates the premium Full NDI FPGA while also offering the benefits of NDI|HX3 and standard IP (HEVC/ SRT) streams. The CV730-ND3 PTZ camera utilises the new NDI|HX3 platform and standard IP (HEVC/SRT).

The CV730-BHN features a premium Sony 4K sensor with 9.2 million pixels and back-lit square pixel technology designed behind a long 30x optical zoom range (6.5~ 202mm). It also has support of BT.2020 colour gamut for wide and precise colour reproduction suitable for high-end productions. The CV730-BHN has streaming options of Full-NDI, NDI|HX3 and standard IP (HEVC/SRT), while also offering two simultaneous SDI (BNC) outputs 12G-SDI + 3G-SDI with genlock sync, as well as HDMI and USB3.0 options when the application demands it. High Bandwidth NDI requires higher network bandwidth but in return delivers the lowest latency video possible, nearing the quickness of traditional SDI, while maintaining premium quality and lossless video performance.

The CV730-ND3 features a similar Sony 4K sensor with 9.2 million pixels and back-lit square pixel technology designed behind the same 30x optical zoom range (6.5~ 202mm). The CV730-ND3 features the new NDI|HX3 premium video codec, and standard IP (HEVC) encoding with SRT, while also offering 12G-SDI, HDMI and USB3.0 outputs. The new NDI|HX3 format requires slightly higher bandwidth than previous NDI|HX but much less than is required for Full-NDI. NDI|HX3 delivers similar low latency as Full-NDI at less than 100ms end-to-end and has video quality performance closer to premium Full-NDI quality. NDI|HX3 is a big step forward for NDI|HX while reducing the bandwidth requirements of Full-NDI and delivering similar speeds and video quality. All CV730’s now support a Smart AutoFocus feature utilising AI chipsets to target facial features and optimise focus on facial details which improves over time. Marshall PTZ cameras boast a flexible and smooth 340° horizontal pan range with 120° vertical tilt with speed adjustments from slow to fast depending on speed to set up the next shot. This provides a wide range of movement options to content creators when capturing high-quality UHD or HD video. Both cameras are feature rich and fit into a wide range of broadcast and proAV applications requiring low latency streaming with various bandwidth networks. Also included

Shotoku Introduces TR-XT3 Studio Control System

SHOTOKU BROADCAST SYSTEMS is launching its latest studio control system at NAB 2023. The TR-XT3 will make its worldwide debut at the show, and Shotoku’s TI-11X elevator pedestal paired with the Company’s advanced TG-18i pan/tilt head will make its first appearance at a major North American event. Other show highlights will include the recently introduced TG-47 pan/tilt head, and the latest Orchestra CMS control system designed to address the growing demands of today’s televised legislature proceedings. Shotoku, an international manufacturer of high-quality, easy-to-use, robust and reliable robotic and manual camera support systems, will also have its SmartPed fully robotic pedestal front and centre along with its extended family of pan/tilt heads and control panels. Demonstrations will be held throughout NAB on Booth C5320.

TR-XT3 Launch

Shotoku is bringing a brand-new studio control system to NAB. Visitors to Booth C5320 will be the first to see the TR-XT3 which incorporates all the proven capabilities of Shotoku’s flagship TRXT control system with a fresh user interface and several new capabilities. Built-in functionality

makes simple work of designing and configuring SmartPed studio environment maps now and in the future. TR-XT3 is compatible with all new and existing Shotoku systems making upgrades and migrations easily managed.

TI-11X Elevator Pedestal

The TI-11X elevator pedestal will be shown paired with the TG-18i pan/tilt head to offer a highly capable robotic camera channel that includes elevation. The TI-11X is based on Shotoku’s new X-Height elevator column and offers a longer range of travel and increased speed over the TI-11 i-height pedestal. Like the TI-11 the TI-11X is aimed at studios where full manual override is not a priority. The completely new design of the pedestal’s base makes cable management simpler too with the self-contained power and network connectivity within the unit. A perfect companion for the TG-18i PT head, the TI-11X is also available for use with TG-27 and TG-47 heads when lighter payloads are required.

TG-47 Pan/Tilt head

Making an encore performance, Shotoku’s TG-47 compact, mid-level payload pan/tilt head will also be on show. Launched in 2022, the TG-47

is a PoE++ option for one-cable to camera from PoE switch setup for video, audio, control, power and tally. Customers can choose a Netgear AV over IP switch for easy configuration of Marshall cameras from drop down menus and support for NDI5.5 and beyond.

Both models are available in white and black, with the CV730-BHN shipping by NAB and the CV730-ND3 shipping now.

Visit https://www.marshall-usa.com

combines the size of Shotoku’s TG-27 with the capabilities of the TG-18 and is aimed at midsized payloads of up to 45lbs, which can easily support a typical box camera / ENG lens with mid-sized teleprompter.

Orchestra CMS – Taking control of the Legislature

Shotoku’s latest version of its Orchestra CMS control system software will be available for hands-on demonstrations right in Booth C5320. Ideally suited for use in legislative, conference and corporate facilities of any size and type, Orchestra CMS features an enhanced user interface that makes operation even simpler and more intuitive than ever. Fully automated and with live video touch-screen operation, Shotoku’s world-leading system can rapidly position multiple cameras to precisely defined positions in response to either an operator command or an external automated trigger. Advanced setup features increase operational flexibility and include a live video spotter camera, floor plan graphic, and/or automated microphone selection triggers.

Visit https://www.shotoku.co.uk/

MRMC Launches New Studio and Sports Production Solutions

MARK ROBERTS MOTION CONTROL (MRMC), a Nikon company, is to present its largest-ever product lineup at NAB 2023. The company will use the event as the launch pad for three new products which will be showcased on stand C5325: Polymotion Relay, a sports circuitbased tracking solution; the Light Lift System; and the AJS-2 autoJib for enhanced live content capture production.

In addition, an enhanced version of the virtual production experience ‘Unreal Ride’ returns to the company’s Motion Control stand in the central lobby (L1) in partnership with VU to wow visitors following its success last year.

Broadcast Stand [C5325] - From the broadcast studio side, MRMC will be highlighting two new broadcast products demonstrating PTZ enablement.

The AJS-2 Auto-Jib is the perfect solution for enhancing shots of live content. It can be deployed with either a PTZ or a robotic head or controlled manually, through 2 degrees of semi-automation or through full automation. It can be operated as a manual jib, or through a hybrid of manual and automation where the motion paths are defined but the head or

PTZ can be controlled by an operator remotely or using presets. It captures smooth ’on-air’ movement and repeatable moves with a modular design that is extremely quick to set up and quiet and smooth to operate.

The LLS-1 Light Lift System expands MRMC’s PTZ enablement solutions by adding a vertical lift. For optimum flexibility, the LLS-1 has floor, wall or ceiling mounting options available. With a range of height configurations, the LLS-1 can comfortably capture sitting and standing shots using the floorbased option. Visitors will also have the chance to see the Studiobot XL – a 9-axis robotics system that offers superior visual creativity to traditional dolly systems; and the

AFC-100 robotic head which moves at up to 100° per second. The company will also be demonstrating an advanced new feature of its MHC software that creates virtual Teleportation. If you have a talent that you want to interview as if you are onsite, but can’t get them to your location, you can “teleport” your pundit or your guest to them. It allows you to seamlessly bring remote talent into the shot or studio while maintaining camera motion, effectively creating one camera shot in two locations using IP-controlled robotics. The synchronised movement of the two cameras paired with the subjects being able to move naturally makes the illusion hyper-realistic.

dynamically adjust the framing of the subject and follows players on the field of play. MRMC will also be showing Polymotion Remote+ which allows for remote multicamera control from a single interface.

Jason Owen and the D2N team has been tremendously supportive of AIDA over the last 3 years.

D2N gave us the opportunity to set our first footprint in Australia. As our premier distributor, their expertise in the AV technologies market and ability to create awareness of great products has been a cornerstone of our relationship. When you add excellent sales and user support, you have a partner you can grow with and rely on.

AIDA Imaging sees our partnership with D2N as a critical part of our success and a relationship we will continue to value as we grow across Australia.

+612 9837 6748

sales.aus@d2n.com.au

www.d2n.com.au

Sports Production - NAB Show 2023 will see the worldwide launch of Polymotion Relay, a cost-effective, single-operator, multi-camera control solution for circuit-based sports. Driven by a computer vision engine, Polymotion Relay makes multi-cam production and control simple. Set up to follow the layout of a track at a predefined speed, one operator can use Polymotion Relay to manage all camera angles, making adjustments where needed to speed and framing, while the system makes intelligent modifications on-the-fly.

Complementing Polymotion Relay, for a complete, dynamic, scalable and automated production is the Polymotion Player range of products. Polymotion Player is an automated camera-follow-camera control that allows the operator to remain focused on capturing key action shots through Camera One. Polymotion Player+ is an automated real-time Player Tracking software solution that uses powerful computer vision technology to

NAB 2023 will also be the first opportunity for attendees to see Slidekamera’s innovative products integrated with MRMC solutions. The addition of Slidekamera into the MRMC fold offers producers and videographers an expansive world-beating range of motion robotics that permit creative highprecision shots with even simple robotic cameras. Visitors can meet the Slidekamera by MRMC team and see the Titan Slider, Atlas Slider, Curved rail, and our full range of robotics heads in action, such as the Heavy Bullhead that is capable of housing a 20kg payload camera.

Unreal Ride 2023 – Central Lobby – L1 MRMC is teaming up once again with Vū Studios for another show-stopping virtual production activation. The Unreal Ride 2023 takes the experience up another level by adding greater control. Guests will be able to make decisions that materially affect a ride’s scene. Building on the theme of 100 years of NAB, guests will be able to select the environment in which the ride takes place – 100 years into the past or the future. Based on their decisions, MRMC will combine the physical and the virtual worlds live and capture it all using motion control to create a unique video for guests to take away and share on their social channels.

Visit https://www.mrmoco.com/ events/nab-show-2023/

Polymotion Relay, MRMC’s multi-cam production and control solution.

SPORTSCASTING SPORTSCASTING

Gravity Media Partners with Supercars for Repco Championship

SUPERCARS MEDIA AND GRAVITY MEDIA, the provider of complex live creative production and media services, have confirmed a broadcast and technology partnership to deliver coverage of this year’s Repco Supercars Championship across Australia and multiple international territories.

As part of the partnership, Supercars Media and Gravity Media Australia are accessing specialist and in-car camera technologies designed and developed by Gravity Media Australia.

This is the eleventh year for Gravity Media Australia’s broadcast facilities and technology collaboration with Supercars Media which produces the global and Australian television coverage of the Repco Supercars Championship.

In the inaugural season of the new Gen3 era, the 2023 Repco Supercars Championship will be contested over 12 rounds.

Kicking off the season, the Gen3 Ford Mustang and Chevrolet Camaro took to the streets of Newcastle on March 10-12. Meanwhile, the Repco Bathurst 1000 in October will mark the 60th anniversary of the Great Race at Mount Panorama. The season will end on the streets of Adelaide on November 23-26.

This year, Gravity Media and Supercars Media will criss-cross Australia travelling more than 40,000 kilometres to deliver more than 370 hours of coverage across the 12 rounds of the Championship on FOX Sports, Kayo, the

Seven Network and 7plus as well as various international broadcast platforms including Sky Sport NZ.

For the opening round in this year’s Championship, the Thrifty Newcastle 500, Gravity Media and Supercars Media deployed a total of 173 television cameras on track, in the pits and in cars, and access state of the art high definition outside broadcast trucks, 20 kilometres of broadcast cable and new cloudbased broadcast technologies.

Of the 173 cameras covering the event, 140 were Gravity Media Australia’s in-car speciality cameras installed in Supercars and other support racing categories for the Thrifty Newcastle 500. Each of the 25 Supercars include four Gravity Media Australia speciality cameras. In addition to its partnership with Supercars Media, Gravity Media also provides the technology and systems for Supercars’ team radios, along with 32 channels of isolated camera coverage for the Gravity Media Australia developed and bespoke Gravity Review System, used by the motorsports judiciary and race control in the management of every on-track moment in the Repco Supercars Championship. David Tunnicliffe, Head of Broadcast at Supercars, said: “We are thrilled to continue our partnership with Gravity Media for the eleventh year running. Their specialist and in-car camera technologies, combined with their expertise

Gravity Frames FUJINON 4K Lenses for Supercars

TO CATCH ALL THE ACTION of the Repco Supercars Championship races, Gravity Media bolstered its 4K broadcast lens inventory with FUJINON UA125×8BESM and FUJINON UA107x8.4BESM lenses.

Gravity Media’s Broadcast Project Manager – Supercars, George Hennessy, said, “Our requirements were to upgrade the fleet of our large lenses from HD to 4K standard. Our criteria was based on the robust and dynamic environments of both outdoor fast-moving sports such as Supercars and Touring Car Racing (TCR) in locations around Australia through all months of the year. After a full and comprehensive assessment of all available 4K large lens options, FUJINON’s UA125×8BESM and UA107x8.4BESM lenses were deemed the best and those that met our requirements perfectly. “The motorsport calendar of Supercars and TCR takes the season of racing from sub-tropical to sub-Antarctic locations and experiences all weather extremes. Heat haze with high humidity in some locations with cold winter weather and foggy conditions in other areas of the country require broadcast lenses not only able to perform in optimal conditions, but more importantly also in highly challenging atmospheric conditions when they are called to still perform and cut through these environmental challenges. The cameras we use

with the lenses are not only for the live action, but also extreme slow-motion replays with both foreground and background framing to shot composition vital to the production’s storytelling narrative. I’m happy to say the new FUJINON 4K box lenses suit and meet these styles and requirements perfectly.”

FUJINON’s UA125×8BESM achieved both the highest magnification 125x and 4K optical performance of any zoom lens and the UA107x8.4BESM was specifically designed to produce 4K UHD performance from the latest 4K 2/3″ Ultra HD cameras. Both lenses are suitable for live sports coverage particularly when they are used together in a production. They both carry a unique optical image stabilisation mechanism and produce a vivid colour reproduction and HDR-based rich tonal gradation for superior video production. Users of the lenses also enjoy a natural bokeh achieved with a 9-blade diaphragm and the standard feature of built-in 16 bit encoders.

Last October, Gravity Media used the UA125 and UA107 lenses at Supercars races on the Gold Coast and in Adelaide.

in complex live creative production and media services, will ensure that fans have access to more than 370 hours of all-screens coverage across the 12 rounds of the Championship.”

Ben Madgwick, Director, Media Services and Facilities at Gravity Media Australia, said:

“Gravity Media Australia takes great pride in its partnership with Supercars Media. It is an extraordinary logistical and technological undertaking as we capture every moment of the Championship and we look forward to once again delivering the broadcast and technology solutions for Supercars Media.

“We continue to refine and develop our broadcast technologies, working closely with Supercars Media to create and deliver an internationally acknowledged coverage of one of the world’s leading motorsports championships. We are pleased to be the technical partner for Supercars Media.”

Visit https://www.gravitymedia.com

Hennessy explained, “On the Gold Coast Street circuit we used six of our new FUJINON lenses on field of play cameras to shoot field coverage of the Gold Coast Street Circuit. Typical shots included fast panning and long throw zooming to tight shots from 400 metres down to 15 metres in distance. The FUJINON lenses gave good throw and could easily go further if needed. The lenses performed brilliantly with zero issues despite very high temperatures and significant humidity. It was the same story for the Adelaide 500 where we used eight of the FUJINON lenses in a similar way for similar shots and again, all of the lenses performed perfectly and without any issues.”

Visit https://www.fujifilm.com/au/en

Japan Rugby Football Union Chooses M2A Media

M2A MEDIA RECENTLY ANNOUNCED that it has been chosen by the Japan Rugby Football Union (JRFU) to transition its live video workflows to the public cloud.

JRFU is the governing body for rugby union in Japan, organising all domestic and international matches for the Japanese national team. Following a decision to move its media workflows to AWS Cloud, while adopting AWS Media Services, the union sought help from M2A Media to manage and optimise its use of cloud infrastructure. The live capture of video streams was also a priority, in order to service JRFU affiliates with valuable match content rapidly after the events.

M2A Media proposed a combined offering of its live IP transport product, M2A CONNECT, along with live capture feature, M2A LIVE CAPTURE and managed operations service, as a comprehensive solution to JRFU’s requirements.

M2A CONNECT is deployed by JRFU to manage the transport of its live video streams over AWS Cloud. M2A’s live capture feature then automates the capture of the live video feeds from M2A CONNECT, which are exported for ingest by the

JRFU media asset management system and then on to third parties in multiple output formats, as required.

In addition, M2A Operations schedule JRFU events via M2A CONNECT to ensure that AWS Cloud infrastructure is scaled in relation to match times.

M2A LIVE CAPTURE resources are used as and when required based on the event schedule and, on completion of an event, a custom integration invokes the export of the VOD asset to other service providers. M2A Operations also provide JRFU with pre-event infrastructure provision checks, feed QC and real-time alerting of transport issues.

Yutaka Muroguchi, Head of Media Business Division at JRFU, commented, “Our objective

Pliant Brings New CrewCom Control Unit to NAB 2023

PLIANT TECHNOLOGIES, a leading provider of professional wireless intercom solutions, will highlight its CCU-08 CrewCom Control Unit at the 2023 NAB Show (Central Hall, Booth C7521). The CCU-08 is the latest addition to the CrewCom intercom system and gives users the ability to use up to eight 4-Wire ports while retaining all the same features of the existing companion CCU-22 and CCU-44 products. Like the current Control Units, the new CCU-08 Control Unit contains no radio and is frequency agnostic and can therefore control and monitor any device across CrewNet regardless of radio frequency bands being utilised. With the combination of CrewCom Radio Transceivers, the new CCU-08 supports up to 82 Radio Packs, 18 in Normal mode and 64 in the recently released High Density mode, across all RF bands. Up to four CCU-08 Control Units can be used in one system for larger user counts.

“The new CCU-08 is a great addition to those intercom applications that need more I/O but do not require 2-wire connectivity,” says Gary Rosen, Vice President of Global Sales for Pliant Technologies. “The CCU-08 is ideal for larger production and broadcast applications, and we look forward to featuring the latest hardware addition to our renowned CrewCom line at this year’s show.”

The latest CrewCom firmware update (V1.12) includes the recently released High Density mode feature, which is a selectable mode of operation that greatly increases user densities, as well as support for the new CCU-08. The latest CrewCom firmware is available for download at no charge

Game Review with Spiideo REPLAY Pro

SPIIDEO REPLAY PRO is a new subscription option for Spiideo customers that provides access to a dedicated instant replay interface, designed to aid officials on the pitch while minimising delay to the event.

High quality, multi-angle panoramic video is automatically captured by AI cameras and instantly uploaded to the cloud. Thanks to Spiideo’s lightning fast low latency feeds, this footage can be accessed within seconds through any iOS device or computer. allowing referees to review game-changing plays moments after they happen, from every available angle.

The platform includes all the core functionality that Spiideo customers are used to, such

as AutoFollow technology that tracks play autonomously and the ability to pan and zoom within a recording for the best overview of the action. As well, there is a scrubbing tool to improve fast-forward and rewind functionality for faster reviews.

Spiideo REPLAY PRO also introduces entirely new features, such as side-by-side playback. For users with a multi-camera setup, from several positions around the field, officials can now view footage from multiple angles simultaneously to make more informed decisions. There’s also a game clock overlay to help pinpoint specific moments in the game.

Compatible with Spiideo’s entire camera system

was to be fully up and running in the cloud prior to season kick off, so as to optimise costs and future proof our broadcast workflows. We have been extremely impressed by the solution that M2A proposed to meet our needs and the fact that they were able to deploy it and get us up and running so quickly. Our transition to the cloud has been seamless and we thank the M2A team for its expertise and continued support.”

Visit http://www.m2amedia.tv

for all users and includes several enhancements, including faster configuration file (CCF) upload speeds and a new Radio Pack paired list function that allows the user to view and manage a list of all the Radio Packs paired to each Control Unit, all in a single location of the software.

CrewCom is a professional wireless system featuring excellent voice quality with 4-conference or 2-conference full-duplex Radio Packs, Seamless Roaming, the highest density of users in the industry, and a host of comprehensive, easy to use features. CrewCom is based on a versatile decentralised, highly scalable network platform.

Visit https://www.plianttechnologies.com

range, users can deploy a single camera or multiple cameras for additional views and easily scale their setup as needed.

For organisations and venues that already use Spiideo for video analysis or live streaming, getting Spiideo REPLAY Pro is as easy as adding another subscription. For conferences using Spiideo’s League Exchange, a conference-wide deal that allows every team to capture, view, share, and analyse footage across the division, Spiideo REPLAY Pro offers a streamlined and effective way to implement league-wide instant replay capabilities and reduce on-field errors that can impact the outcome of a season.

Visit https://www.spiideo.com

OBS Holds First Broadcaster Briefing for Winter Olympics Milano Cortina 2026

FROM 28 FEBRUARY TO 3

MARCH 2023, Media RightsHolders gathered in Milan to attend the inaugural Olympic Broadcasting Services (OBS) World Broadcaster Briefing for the Olympic Winter Games Milano Cortina 2026.

With the Games three years away, the meeting was an invaluable opportunity for Olympic Broadcasting Services (OBS), the Milano Cortina 2026 Organising Committee and the Media Rights-Holders (MRHs) to convene in person, and visit select competition venues and the International Broadcast Centre (IBC), while also discussing the progress of the Games’ preparations and the development of the broadcast operation and coverage plan.

Following Olympic Agenda 2020’s recommendation to prioritise the use of existing facilities, the Milano Cortina 2026 Games will be held across northern Italy’s territories, making the most of their passion for winter sports, their experience at organising events, the stunning natural beauty of the Italian Alps and Milan’s creativity, innovation and culture.

On 1 March, MRHs departed Milan to embark on an adventure in the breathtaking mountain region of Valtellina. Their first destination was Livigno, a highly acclaimed winter sports destination, and the Olympic venue for all freestyle ski and snowboard events.

After their visit to Livigno, the broadcasters visited Bormio, which is set to host the men’s Alpine skiing competition on the legendary Stelvio slope. Additionally, the same slope will play host to the introduction of ski mountaineering – or skimo – to the Olympic programme.

On the second day of the venue tour, the Milan cluster was the focus, with the first stop being the Milano Convention Centre. Situated in the City Life district, a newly developed area in the northwest of the city, this facility is the largest exhibition centre in Europe and is set to be transformed into the Main Media Centre for the upcoming Games. During the Games, it will house the International Broadcast Centre, offering OBS and the MRHs access to production and technical facilities, as well as a variety of offices and services. With extensive broadcast coverage planned for the Games, the IBC is set to be a hub of activity and innovation, providing broadcasters with the tools they need to deliver world-class coverage to audiences around the globe.

After the visit to the Milano Convention Centre, the broadcasters made their way to the nearby San Siro Stadium, one of the most iconic football stadia in the world. This venue will host the Opening Ceremony of the Olympic Winter Games in 2026. The broadcasters were

able to tour the stadium and take in its grandeur, gaining a deeper appreciation for the venue’s rich history and its vital role in Milan’s sporting and cultural landscape.

The venue tour concluded with a visit to Assago Forum. This existing multi-purpose indoor arena located in the metropolitan area of Milan will be reconfigured for the Games with an ice rink to host the figure skating and short track speed skating events.

On 3 March, MRHs attended the Main Session of the WBB, which began with a video welcome message from Milano Cortina 2026 President Giovanni Malagò, warmly greeting the rightsholders.

He said: “You will turn our competition into great stories. Today we all need these stories, we need something that binds us even more, something that reminds us how sport can be at the service of humanity and make the world better. We need this energy.”

In his opening remarks, OBS CEO Yiannis Exarchos shared his excitement about having the Games come back to the cradle of winter sports, with the beauty of the Italian Alps serving as a spectacular backdrop for the third time.

“Not only will these Games be visually captivating thanks to incredible sports venues and territories, but they will certainly redefine broadcasting through the widespread implementation of cloud technologies and other innovative solutions and the significant increase of remote production models,” Exarchos said.

Throughout the morning session, OBS updated the broadcasters on their plans to showcase the incredible stories and extraordinary performances of the world’s top athletes. OBS intends to provide MRHs with greater access to the athletes, including more behind-thescenes content pre- and post-competition to enhance their multi-platform coverage of the Games.

Furthermore, OBS provided them with a detailed technical framework that aims to facilitate their operations on-site and for their remote teams. As part of this framework, broadcasters will be able to rely on an extended range of cloud-based solutions, which will allow them to transmit their content to their home territories more efficiently. Milano Cortina 2026 emphasised its commitment to delivering sustainable Games and working with OBS and the rights-holders to ensure their operations run smoothly, despite the challenges caused by the venues being spread across Northern Italy. The Olympic Winter Games Milano Cortina 2026 will take place from 6 until 22 February, and the Paralympic Games between 6 and 15 March.

Visit https://www.olympics.org and https://www.obs.tv

OBS CEO Yiannis Exarchos.

Milan’s San Siro Stadium.

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SBS Uses First Nations’ Place Names in Weather Forecast

SBS AUSTRALIA has introduced the use of First Nations place names in the nightly national weather forecast of its flagship news bulletin, SBS World News.

Developed following extensive consultation with communities, and collaboration with Traditional Custodians and cultural knowledge holders, it builds on SBS’s use of First Nations place names across news reporting, Acknowledgement of Country across programs, and is part of SBS’s commitment to elevating and embedding First Nations languages and cultures across its network.

Rhoda Roberts AO, a proud Widjabul Wiabal woman and SBS’s Elder-in-Residence, introduced the weather report on SBS World News tonight, saying, “The revitalisation of First Nations languages heals our nation. For me, it’s a time of a new awakening that informs us all. Behind every word you will find information about the seasons, the place and the ecology of our wonderful country. It’s more than education – it’s also the science and the realisation that words can enlighten us all.”

Visit https://www.sbs.com.au/

Australia’s ABC and Timor-Leste’s RTTL Sign MOU

THE AUSTRALIAN BROADCASTING CORPORATION (ABC) has signed an historic agreement with Radio e Televisoa de TimorLeste (RTTL).

The agreement between the two public broadcasters allows for increased content sharing and media development programs.

RTTL President José Antonio Belo said: “This is an important moment for RTTL and ABC to cement the historic relationship and express our shared values. RTTL is happy to build on the spirit of friendship and collaboration and, in particular, to learn from ABC as we establish our English news service and channel.”

ABC Managing Director David Anderson said: “The ABC is committed to working with RTTL, and the people of Timor-Leste, and to learning from each other as both organisations seek to better serve our audiences.”

ABC Radio Australia has been available to Timorese audiences via FM radio for many years. More recently, ABC International Services entered a content sharing agreement for the distribution of ABC Australia and ABC Education content on RTTL digital platforms. This agreement was announced as part of RTTL’s 20th anniversary celebrations in 2022.

ABC International Development has supported media development in Timor-Leste over the last

Oz News Website Usage Hits 20 million

MORE THAN 20 MILLION (20.3 million) people used a news website or app in February, according to Ipsos iris, Australia’s new digital audience measurement currency endorsed by the IAB Australia. This is an increase over January of 0.2%. In addition, people are spending more than five hours per month in February, or 18 minutes a day, consuming news content. People aged between 55-64 spent the most time consuming news content at more than eight hours during February.

The News category includes audience and time spent online on both general news and broader news content including weather, sport, lifestyle, entertainment, and business news.

Ipsos iris, which launched earlier this month, provides accurate data about the 21 million Australians aged 14+ who access a wide variety of digital content and services across smartphone, PC/laptop and tablet devices.

The February data also found that Australians spend an average of 3.5 hours per day, or 94 hours a month online on a PC/ laptop, smartphone, or tablet device, which was a decline of 12% from January.

The most consumed online categories by total audience size in February include social networking (20.9 million) and search (20.9 million), technology (20.8 million), retail & commerce (almost 20.6 million) and entertainment (20.5 million) and news (20.3 million).

General news is the most popular news sub-category reaching 19.1 million Australians in February and weather had the highest time spent with almost 3 hours per person. The reporting of news brands also

decade, working with Timorese media to develop inclusive and diverse reporting processes, advising on reporting of natural disaster preparation, maintaining technical broadcasting equipment and conducting media training on accurate COVID-19 reporting and combating misinformation.

Under the Indo-Pacific Broadcasting Strategy, ABC International Services will work with RTTL to help it establish a news service for its new English-speaking channel, sharing content from the ABC newsrooms and working with RTTL staff to enhance their journalism and content making skills.

Visit https://about.abc.net.au and https://rttlep.

includes the audience of media owner content distributed on platforms such as Google AMP, Facebook, and Apple News.

The Ipsos iris data also found that

while people aged between 25-39 were the largest cohort online, people aged between 55-64 spent the most time online in February.

Visit https://www.ipsos.com/en-au

Ticker on the FAST Train with Amagi

NEXT-GEN NEWS streamer Ticker News has powered into 2023 becoming the first Australianbased media company to partner with Amagi. The New York-based company will handle Ticker’s live playout, including dynamic ad insertion and delivery, as well as world-wide advertising sales.

Locally, Foxtel Media will represent Ticker News in front of major advertising agencies and brands. The partnership with Foxtel Media builds on Ticker’s programming agreement with FLASH and Streamotion.

2023 has also seen a significant increase in platforms streaming and broadcasting Ticker News. The service was recently added to Fetch TV and LG Channels in Australia. It also streams in Australia via FLASH and Telstra TV. Meanwhile across Europe, Samsung TV+ will add Ticker to its live tv guide, and premium content aggregator ScreenHitsTV has chosen Ticker News as its world news content supplier.

Ticker also has partnerships with streaming platforms including RakutenTV in Europe and Japan, BoltTV+, VIDAA and NetGenTV in the UK, Zee5 in India, FuboTV, Olympusat’s FreeTV in the U.S. and Canada. Ticker is also available on ROKU, Apple and Android devices globally.

Ticker streams audio through iHeartRadio, and podcasts are available through Apple, Spotify and Google. It has also seen strong growth on Youtube, TikTok and Instagram.

In the studio, Ticker News

presenters are now entirely in control of their own broadcast.

Journalists can program the broadcast line-up with the click of a button. During a live news bulletin, Ticker’s newsroom system automatically edits in real time, attaching metadata and news text for its content management system, which then distributes video and text news to Ticker’s website, social media, podcasts and content distribution partners.

The partnership with Amagi has enabled Ticker News to embrace FAST (Free Ad-Support Streaming TV). At a recent Amagi-sponsored FAST TV conference in Sydney, Ticker CEO, Ahron Young, said, “When we first began, we thought it was all about Apple TV and building our own app and making sure that we were accessible.

Then we went, ‘Wait on, how’s anyone going to find us? Why would someone come to us?’

“Think about our friends at CNN. We love CNN, but they launched CNN+ last year, a billion-dollar budget, spent 300 million of it and three weeks in they got shut down by Discovery who said, ‘This has actually got to be part of something, not its own thing’. I think what FAST has done is brought everything together.

“What we worked out is you have to be everywhere. You have to be omnipresent. Australia is our

home and what we are looking forward to is being able to change the content through the day.

“We worked out that if we follow the sun, so Australian content first thing in the morning, and then moving through to Asia, through to India, through to Europe and the UK, then the United States, we change the background behind our sets, etc. And the graphics and the voiceover from our studio is, ‘This is Ticker News’. We’ve got them in different accents.

“What we will be doing next, of course, is actually not having one service, but having many. So, studios in the US. We have reporters around the world, so the UK, Paris, which I would personally love to set up the (bureau) there. Also, Singapore and the United States in New York. Making sure that we had a footprint and next for us is Canberra, because we know that

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“I think FAST is about quality. I think that in a world where you’ve got distributors who are having a lot of people knocking on their doors, as a content producer you really have to think about how you can compete with a whole channel of A Country Practice, for example. It’s about honestly thinking about quality and not just quality, not just producing it because you can, or take it off the shelf because it’s there. I think for us it’s about making sure that there is an audience and really just starting off with who you try to reach and work backwards.”

Visit https://tickernews.co and https://www.amagi.com

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Ticker News CEO, Ahron Young.

nxtedition’s Production Workflow of Tomorrow

NXTEDITION, the developer of microservices-based production environments, makes its debut at NAB 2023 (booth C1819) where it says it will demonstrate that the workflow of the future is available today.

According to the company, visitors to the show will see just how easy nxtedition makes it to access an entire toolset, including thirdparty functionality, and artificial intelligence (AI) features, in a seamless end-to-end environment designed to deliver compelling storytelling fast and accurately within operations of all sizes.

In today’s highly competitive landscape, where everyone from brands to sports teams and news organisations are engaging with audiences through compelling stories, production teams must react quickly to emerging stories, offer analysis, and deliver their stories online, on-air, and on social platforms. Tools that prioritise good storytelling and remove the headache of repetitive, timeconsuming tasks are essential. nxtedition has consolidated different products and services into a single microservices

solution, addressing some of the major headaches faced with traditional production workflows. A good example of this approach is nxtedition’s virtual assets feature. This removes the need for highly technical API calls which can be fragile and difficult to maintain, and allows users to directly access stock libraries, newswires, social media and emails. For example, when a nxtedition user selects an external domain in search, virtual assets automatically switches to the third-party API, fetching all the data, content and metadata, which is displayed for the user within the familiar nxtedition user interface.

If a user switches to the newswire services domain, then nxtedition’s search facility can search the entire news services API and ingest the required content directly without leaving nxtedition’s UI. NAB attendees will see how nxtedition has further leveraged the potential of artificial intelligence aids by deploying the OpenAI Whisper speechto-text service directly into its microservice environment.

With Whisper running on the nxt|engine servers, clients do not

need to subscribe to expensive third party speech to text SaaS services. As there are no extra costs incurred then entire archives can be indexed in the background late at night and during weekends without incurring huge cloud services invoices.

Users will also have the option to use the Whisper functionality to automatically transcribe all the speech at the point of ingest, so everything coming into nxtedition is transcribed into indexed & searchable metadata.

“Our goal at nxtedition has always been to help customers to put the focus on storytelling by simplifying the underlying technology,” said Adam Leah, creative director at nxtedition. “Virtual assets removes the need to build customised solutions for each client by making it far easier to integrate with other solutions. We are hugely reducing complexity, engineering and exception errors, and allowing workflows to run even faster.

Adding OpenAI to the nxtedition environment takes this another step further, removing those surprise “rear view mirror” costs that transcription can throw up, while unlocking all the content to bring new resources to the journalist, editor or corporate content creator.”

nxtedition solutions can be implemented on-premise, in public cloud or a hybrid, with virtual assets and OpenAI integration included in the current release of core software. The company can deliver new systems virtually instantly, with little to no impact from global supply chain issues.

Visit https://nxtedition.com

Explore the future of broadcast and media

JOIN US AT THE NAB SHOW 2023!

R&S Media solutions:

Enriching content. Simplifying workflows. Rohde & Schwarz and Pixel Power will jointly exhibit a comprehensive end-to-end workflow, encompassing ingest to playout, which can be deployed on premise, virtualised in a data centre, or in a public cloud.

R&S Transmitter Technology: New era of content delivery. Experience a new era of content delivery with a live 5G Broadcast demo featuring our market-leading transmitters. Learn about new business opportunities enabled by leveraging 5G Broadcast technology.

Bavarian get-together!

Join us on Monday, April 17 at 4.30 pm for a casual conversation with our product experts over beer and snacks from our Bavarian homeland.

We look forward to welcoming you in Las Vegas!

Your Rohde & Schwarz Team

North hall, booth #1949 April 16 to 19, 2023

Arrange a meeting Register at NAB for no charge? Use our code: LV8229

Runway Unleashes Text to Video

AI VIDEO DEVELOPER RUNWAY has announced Gen 2 of its generative video platform which adds the ability to produce video footage from text prompts, eliminating the need for reference video or still imagery.

The new release comes hot on the heels of the Gen 1 release, now publicly available.

According to the company, “Not too long ago, Runway pushed the boundaries of generative AI with Gen 1, a video to video model that allows you to use words and images to generate new videos

Adobe Unveils Firefly

out of existing ones. In the weeks since launching, the model has constantly gotten better temporal consistency better fidelity better results.

“And, as more and more people gained access, we unlocked entirely new use cases and displays of creativity.

“We’re excited to announce our biggest unlock yet - text to video with Gen 2. You can generate a video with nothing but words. No driving video, no input image. Gen 2 represents yet another major research milestone and another

ADOBE HAS INTRODUCED Adobe Firefly, a new family of creative generative AI models, first focused on the generation of images and text effects. Currently in Beta, Adobe Firefly will be integrated into Creative Cloud, Document Cloud, Experience Cloud and Adobe Express workflows where content is created and modified. Adobe Firefly will also be part of a series of new Adobe Sensei generative AI services across Adobe’s clouds.

“Generative AI is the next evolution of AI-driven creativity and productivity, transforming the conversation between creator and computer into something more natural, intuitive and powerful,” said David Wadhwani, president, Digital Media Business, Adobe. “With Firefly, Adobe will bring generative AI-powered ‘creative ingredients’ directly into customers’ workflows, increasing productivity and creative expression for all creators from highend creative professionals to the long tail of the creator economy.”

Firefly tools currently available include Text-to-Image, where users enter prompts to generate images, and Text Effects where styles or textures are applied to text using a text prompt. A Recolor Vectors tool is also in the works.

AI-generated video is not currently available via Firefly, but a spokesperson did tell C+T, “Adobe Firefly is initially focused on the generation of images and text effects. However, it will soon extend to target additional use cases and content types.”

Adobe Firefly is significant in that it can serve an existing ecosystem of users and workflows, and is also an attempt to apply ethical guidelines to the training, creation and monetisation of generative AI, the lack of which has attracted criticism of other platforms.

Adobe will integrate Firefly directly into its tools and services, so its existing users can leverage the power of generative AI

monumental step forward for generative AI. With Gen 2, anyone anywhere can suddenly realise

within their existing workflows. The first applications that will benefit from Adobe Firefly integration will be Adobe Express, Adobe Experience Manager, Adobe Photoshop and Adobe Illustrator.

Adobe Firefly will be made up of multiple models. Adobe’s first model has been trained on Adobe Stock images, openly licensed content and public domain content where copyright has expired. The company says Firefly won’t generate content based on other people’s or brands’ IP.

Adobe’s intent is to build generative AI in a way that enables customers to monetise their talents, much like Adobe has done with Adobe Stock and Behance. Adobe is developing a compensation model for Adobe Stock contributors and will share details once Adobe Firefly is out of beta.

Adobe is a founder of the Content Authenticity Initiative (CAI) whose aim is to create a global standard for trusted digital content attribution. Adobe is pushing for open industry standards using CAI’s opensource tools that are free and actively developed through the nonprofit Coalition for Content Provenance and Authenticity (C2PA). These goals include universal “Do Not Train” Content Credentials tag in the image’s Content Credential for creators to request that their content isn’t used to train models. The Content Credentials tag will remain associated with the content wherever it is used, published or stored. In addition, AI generated content will be tagged accordingly. Adobe is also planning to make Adobe Firefly available via APIs on various platforms to enable customers to integrate into custom workflows and automations.

Visit https://firefly.adobe.com

entire worlds, animations, stories, anything you can imagine.”

Visit https://runwayml.com

A fidelity comparison of Runway’s Gen 1 and Gen 2 generative video platform.

Still a way to go. We used the prompt, “person in motion capture suit, suspended from the ceiling by wires, in front of a green screen” to create this picture with Firefly.

And why not? A giant koala driving a ride-on lawn mower.

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Autodesk Unveils New Workflows, including AI

AUTODESK HAS

UNVEILED

new workflows for media and entertainment companies in what the company says is a streamlining of post-production and games pipelines.

The company has announced updates to Autodesk Maya, 3ds Max, Bifrost, and Arnold, further open standards and a boost for artist-driven animation, modelling, and simulation workflows.

Performance is also given a boost with support for Apple Silicon. In addition, Autodesk is collaborating with Adobe to build a material standard, and with Microsoft to unveil a beta version of AI-powered Maya Assist.

Growing Open Standards

Across tools, the company continues to integrate open standards that accelerate and streamline the flow of data between people, teams, and software at studios, including: LookDevX, a new agnostic material editor in Maya, which standardises material workflows, allowing artists to create complex shading networks that can be shared freely and accurately throughout studio pipelines. With a modern, nodebased environment, this enables artists to author a variety of materials like USDShade, Material X, and Arnold that can then be used by other artists across multiple projects.

Integration of powerful USD workflows across the Autodesk portfolio, making it easier to move data through the post-production pipeline.

Powerful Modelling and Colour Management for 3ds Max

Autodesk is expanding the robust modelling toolset in 3ds Max with fast, fluid, and fun workflows for artists.

• A new Boolean modifier offers a modern and intuitive way to produce clean geometry, and updates to the Array modifier help create beautiful, naturelike scenes, procedurally.

• With effective colour management tools built around the Academy Color Encoding System (ACES) and OpenColorIO (OCIO), a must for most modern post-production pipelines, this update gives artists complete control over colours with Color Management. From Viewport to final render, colours are predictable and consistent, so artists know that colours match and align at every phase of production.

Elevated Animation, Modelling, and Simulation workflows in Maya

On top of LookDevX and Hydra for Maya, Maya gains new tools and workflows across its animation, modelling, and simulation toolsets.

• Updates to Retopologize and the Boolean toolset give artists more creative control while modelling.

• Streamlined animation tools, including a redesigned Time Slider, make navigating and editing animations more fluid and intuitive.

• Bifrost, Maya’s visual programming environment,

disguise Collaborates with NVIDIA

REAL-TIME PRODUCTION PLATFORM, disguise (NAB booth C6118), has announced a new collaboration with NVIDIA to integrate the NVIDIA Omniverse platform with disguise’s platform for immersive experiences. Creatives will soon be able to connect their preferred digital content creation (DCC) tools, like Maya, Cinema 4D, 3ds Max and more, in a unified production pipeline.

According to the company, this connectivity allows for easier and quicker changes, enhanced content production, the ability to work in full fidelity and a lower barrier of entry for accessing media and entertainment workflows.

Disguise says content creators today are required to keep up with fast-paced onset changes, multiple versions of content and unfamiliar workflows. With multitudes of DCC tools for both 2D and 3D content creation existing separate from rendering tools and applications, more unified content

offers visual effects artists a complete overhaul of viewport volume rendering, using new, state-of-the-art NanoVTT technology, as well as MPM Gel, a cool new capability that simulates substances such as soft-serve ice cream.

The private beta launches April 5. To apply, visit: https:// feedback.autodesk.com/key/ MayaAssistFeedbackApplication

Joining Adobe on an Open Source Material Model

With the goal of standardising

• Maya–including Bifrost and Arnold for Maya–now runs natively on Apple Silicon, enabling artists to achieve new levels of performance while rendering.

AI-Assisted Workflows for Maya

Autodesk has also unveiled the AI-powered private beta of Maya Assist, which provides a new way of interacting with Maya scene data using Microsoft’s Azure OpenAI Service. This allows artists to automatically manipulate scenes using natural language text prompts directly in Maya. For example, you can ask to copy an object, increase its size by 25%, or add a camera and aim it anywhere.

management workflows and solutions are needed.

disguise combines 3D visualisation software, cloud solutions, platform, hardware and services. NVIDIA Omniverse, meanwhile, is an extensible platform enabling individuals and teams to build custom 3D pipelines and simulate large-scale virtual worlds faster than ever. With Omniverse, 3D design teams can work across multiple software suites to collaborate in real time in a shared environment.

“By opening up the production pipeline to standard DCC tools, the available talent pool grows dramatically, overcoming talent shortages across media and entertainment. This is the rising tide that lifts all boats. The integration with NVIDIA Omniverse connects content creation tools to industry-leading real-time engines such as Unreal Engine, and opens up future avenues for connecting AI-assisted content creation workflows that

material workflows and enabling smoother interoperability across the tools artists use, the company is also working to bring Autodesk Standard Surface and Adobe Standard Material into one new material model that can be used across product portfolios and adopted by the wider industry. Having a common material model will help artists and studios work more efficiently by facilitating the seamless exchange of 3D assets. We’re actively engaging with the MaterialX governance group to ensure that the new model can be integrated and fully encoded within a MaterialX node graph.

Visit https://www.autodesk.com/ collections/media-entertainment/ overview

are evolving rapidly and taking the industry by storm,” says Raed Al Tikriti, Chief Product and Technology Officer at disguise.

The integration builds on disguise’s existing RenderStream capabilities, which is a bidirectional protocol transporting rendering information between third-party render engines and disguise. RenderStream allows for greater synchronicity of content and tracking data across the production workflow as well as the seamless merging of the physical and virtual worlds.

Additionally, through the connection to disguise’s cloud platform, remote teams and productions can easily collaborate. This suite of applications includes disguise Drive for unified upload and storage, and Previz for importing, pre-visualising and sharing 3D interactive scenes for any production. Visit https://www.disguise.one

Avid Media Composer 2022.12

AVID RECENTLY ANNOUNCED the latest version of Media Composer with several new features that significantly speed up the post production process between editorial and audio post teams. These features deliver the first step towards gaining significant production efficiency by bringing video and audio post teams and workflows closer together.

Export Media Composer Sequences Directly into Pro Tools

Avid says it is uniquely positioned to streamline the process of exporting complex sequences with video, audio and metadata down to a single step, combining everything in one export .PTX file that can be opened directly in Pro Tools. This new capability enables teams to complete projects faster and eliminate costly, time-consuming mistakes, while accelerating content creation and delivery for post production workflows. This is the first step in delivering groundbreaking collaborative workflows between Media Composer and Pro Tools, which was identified as a critical need during customer workshops and will allow Avid to introduce a differentiated set of capabilities not available in the market today.

“Media Composer interoperability with Pro Tools was accelerated by collaborating with the Avid Community Association to deliver the workflow enabler our industry has been asking for to accelerate production of high-quality content,” said David Colantuoni, Vice President, Product Management Video and Media Solutions, Avid.

“The ability to easily export files into Pro Tools, combined with the expanded ‘remote editorial’ experience in Media Composer,

enables production teams to more easily complete projects on time and on budget.”

Produce WorldClass Audio within Media

Composer

Offering full support for Avid’s completely reimagined MBOX

Studio audio interface, Media Composer provides editors with a powerful solution for recording, punch-ins and multichannel monitoring of sequences in up to 7.1 surround sound. Access to the exceptional preamps and audio converters in MBOX Studio also enables users to capture every sonic nuance of every performance with lowlatency monitoring.

In addition to these groundbreaking audio features, Avid continues to deliver significant innovation in the Media Composer video editing platform, including:

Improved Media Management

Avid has improved Media Composer’s groundbreaking media management capabilities by simplifying the media relink workflow and improving performance around the ability to find paths to previously linked files. Users can locate all content within the relink window to easily reestablish broken paths and avoid

losing time searching for a file’s previous locations.

Simplified UI for New Users

Media Composer now includes a new project creation setting that creates the project format from the editor’s media with one click. The enhanced UI also generates default bins and offers suggestions to guide a new user through project set-up, enabling new users, students and editing teams alike to easily initiate the editing process.

Remote Editing and Proxy Workflow Capabilities

Continuing to enable the industry’s sharp rise in remote collaboration, Avid has enhanced the remote editing experience and seamless integration of the Media Composer | Enterprise editing tool and the Avid NEXIS | EDGE solution. This integration enables editing teams to better collaborate on projects while working remotely in post production environments. Remote production teams using Media Composer can collaborate more

Review Projects with Autodesk Moxion Rooms

efficiently by using Avid NEXIS | EDGE to build innovative proxy workflows. This enables editors to flip between high-resolution and proxy content from a single click and with no relinking required, saving production teams time and reducing complexity.

Content Review Capabilities for Editors

Media Composer’s new Multiplex IO feature enhances the ‘over the shoulder’ experience by giving users the ability to have up to 10 active I/O plug-ins simultaneously. This allows output from Media Composer to multiple streaming platforms and devices through SRT (Secure Reliable Transport), NDI and any connected and supported I/O hardware, enabling local monitoring while streaming to remote viewers. This integration enables editing teams to better collaborate on projects while working remotely in post production environments.

Visit https://www.avid.com

AUTODESK

RECENTLY

INTRODUCED

Moxion Rooms, a forensically secure review solution enabling creative teams in production and post-production to share live streams and review uploaded assets in a single cloudbased environment.

The solution was developed for the specifications and production needs of remote teams working on the Amazon Originals series The Lord of the Rings: Rings of Power, and is now being released commercially to boost collaboration and productivity for all studios.

“We acquired Moxion to accelerate our move to production in the cloud, and we’re excited to introduce Moxion Rooms to support nextgeneration creative needs,” said Diana Colella, Senior Vice President, Autodesk Media and Entertainment. “Teams can now collaborate on

footage and assets virtually as it is captured, and facilitate fully synced live review sessions via a browser. This ultimately enables faster content delivery and helps keep up with industry demand.”

The cloud-based Moxion platform supports secure digital dailies and camera to cloud (Immediates) workflows. With Moxion Rooms people can collaborate and review camera footage on set and remotely with the efficiency and immediacy required to make creative decisions during principal photography in 4K high dynamic range (HDR) quality, with studio-grade security. Moxion Rooms includes powerful

review tools, video and voice chat, and industry-standard support for Dolby Vision, HDR10 and SDR.

Visit https://www.autodesk.com

Silver Trak Digital Accelerates Content Digitisation with AWS

Silver Trak Digital is a one-stop shop for all activities related to pre-release media content, including aggregation, transcoding, screening, and quality control. The company migrated its Media Room solution to AWS to facilitate secure, low-latency content sharing across multiple AWS Regions.

THE COMPANY USES Amazon

S3 for scalable, low-cost storage of large media files and AWS

Elemental MediaConvert for content transcoding. By migrating from a hybrid to a full cloud-based solution on AWS, Silver Trak Digital halved storage administration costs, improved platform performance, and gave developers time to focus on new feature development.

One of Silver Trak’s main products is Media Room - launched in 2015 for enterprise clients across media and entertainment - supporting the management, storage, and delivery of thousands of hours of film and television content.

The first iteration of Media Room was hosted on virtual machines in a private cloud, followed by a hybrid solution that used Amazon Web Services (AWS) and a private cloud. However, Silver Trak Digital continued to face issues with transcoding. Data movement was complicated and costly, which hindered scaling. When clients downloaded or uploaded large files, or when many users attempted to download files simultaneously, the system would slow down or stop intermittently. Storage and the security of virtual content was also an ongoing concern.

With the support of its AWS account team, the business decided to migrate fully to AWS.

Tim Creswell, chief executive officer of Silver Trak Digital, says, “We were seeking an evolution of the platform with enhanced functionality, to deliver files in a relatively untechnical way that was also redundant and secure. Also, as an AWS Partner, Silver Trak Digital aimed to leverage rapid transfer protocols on the public cloud as well as integrated storage and media processing on AWS.

Silver Trak Digital worked with Itoc, an AWS Partner, to migrate

Media Room to the AWS Cloud, following the security and other pillars of the AWS WellArchitected framework.

“We had a lot of collaboration and support from AWS and Itoc to ensure Media Room was built according to the highest standards,” Creswell explains. Itoc worked closely with the Silver Trak Digital developers to not only expedite the Media Room development and innovation, but also provide critical testing to ensure the platform met the highest security standards in servicing a multi-tenanted environment.

“Completing the AWS WellArchitected Review and Foundational Technical Review has helped us in pitching to big studio clients,” says Creswell.

Storage is the foundation of Media Room, and Silver Trak Digital relies on Amazon Simple Storage Service (Amazon S3) to store petabytes of media data, terabytes of which are transferred between its clients and their customers each day. Each client is allocated its own Amazon S3 storage bucket that automatically scales in response to the volume of content uploaded. Silver Trak Digital doesn’t have to monitor or manually provision more storage nodes as the volume of client files increases.

Creswell elaborates, “The elasticity of Amazon S3, plus the fact that we only pay per use, is fantastic.”

Since migrating to AWS, Silver Trak Digital is saving 50 percent on content administration.

Silver Trak Digital and its clients place a high priority on security, especially for confidential content such as pre-release film scenes.

Silver Trak Digital can configure fine-tuned access controls and security parameters such as two-factor authentication within Amazon S3 to meet specific business, organisational, and

compliance requirements. The company has defined about a dozen roles with specified tasks that users can or cannot perform, which makes security simple and transparent. Clients access content via their browser through secured firewall portals and benefit from a searchable project environment with administrator-designated user permissions.

Silver Trak Digital also adopted AWS Elemental MediaConvert to solve its transcoding challenges. AWS Elemental MediaConvert integrates with data in Amazon S3 and transcodes stored files to a viewable proxy so clients can find and review film scenes on demand.

Creswell says, “AWS Elemental MediaConvert can handle the most format types without performance lags and has massive capacity; it ticked all the boxes.”

For clients using on-premise data centers, Silver Trak Digital uses AWS Direct Connect to securely transfer stored data while ensuring low latency. For large data transfers, Silver Trak Digital can utilise AWS Snowball. Media Room users can collect and distribute files at speeds of up to 3 gigabytes per second. The company is also leveraging Amazon Relational Database Service for PostgreSQL (Amazon RDS) to store over one million client files, accessed by thousands of media clients and their customers each day.

Users can upload files of any type and size, and files are instantly available for viewing or sharing. The latest version of Media Room also provides a range of client tools to assist in managing a growing number of files, including granular search functions, project-based content segregation, user-defined tags, and metadata fields.

Since modernising its Media Room

content management system on AWS, Silver Trak Digital can provide a simple, low-latency, and secure method for storing and transferring large media files across time zones.

“Our clients have access to all Media Room features at any time of day. Regardless of what’s happening in the background or how many files are being uploaded, they can expect the same fast performance and 24/7 availability,” Creswell says.

Silver Trak Digital has developed unique industry features such as full studio-grade digital rights management (DRM), customisable screener campaigns, and dynamic watermarking.

The company is currently looking at adding value with more artificial intelligence (AI) functionality such as speech-to-text for captioning and text search across a scene library.

“The fact that AWS is always adding new services makes it easy for us to use existing technology to enrich our feature list,” Creswell says.

Silver Trak Digital has listed one of its products on the AWS Marketplace through its DAMsmart digitisation services, with further plans to list Media Room as well. Visit https://aws.amazon.com and https://www.silvertrak.com.au

Tim Creswell, CEO, Silver Trak Digital.

Why Logistics Is the Next Frontier for the Interconnected Media Supply Chain

By Geoff Stedman, CMO for SDVI

CURRENT TRENDS such as industry consolidation, a heightened focus on profitable growth, a greater emphasis on more streamlined and efficient processes, and the extension of content delivery to more endpoints worldwide all validate media organisations’ embrace of cloud-based media supply chains to enable scalable processing and delivery of content at massive volume.

As organisations looked to optimise their supply chains, they often started with intelligent automation as the first step in realising greater efficiency in their own media operations. But as media companies and their supply chains grow increasingly interconnected, automating media logistics is becoming the next frontier for innovation.

Why automated media logistics?

Because right now, for most media companies, their media supply chain is focused mainly on their own assembly line. Yes, it is a sophisticated and highly automated assembly line that already has transformed their ability to deliver ever-greater volumes of content. But at the end of that line, few media companies have an efficient, scalable mechanism facilitating the exchange of content and metadata with their business partners in a fast, frictionless manner (the digital equivalent of the loading dock and shipping/ receiving).

To meet their delivery commitments, media organisations have either hired teams of operators to look up the specifications for each destination and create each package manually, or they have outsourced this work to a service provider that often also performs duplicate transcoding and QC services. Either way, the process is time-consuming and costly, and it doesn’t scale in an efficient way to meet growing demand.

This model for delivering and receiving content and metadata — between content producers, content owners, content distributors, and aggregators — creates duplication of work throughout the media supply chain ecosystem. The built-in inefficiencies are problematic even on a small scale, and they

are a massive issue when demand for content is immense and fast time to market is essential.

What’s needed is a more automated way to interconnect supply chains to not only ensure that content and metadata arrive as the receiving company needs them, but also build a more scalable, cost-effective process with fewer manual steps. Going forward, automated media logistics will allow this process to proceed almost as if the delivering and receiving companies are simply two departments on the same supply chain.

Implementing Automated Media Logistics

Today, for media companies that package content for delivery, certifying metadata and content specifications with each new delivery partner takes time and work. For every piece of content delivered, the receiving company wants to be able to verify that what they received is what it expects and can use. By simplifying and standardising how content and its associated metadata are prepared prior to content exchange, the interconnected media supply chain addresses both these bottlenecks in the conventional content flow.

Several leading media companies today are simplifying and standardising their content and metadata exchange — an interconnected media supply chain — and introducing automated media logistics by using supply chain templates and cloud-based infrastructure to deliver content.

Rather than consume the time and skill of operators on manual configuration of metadata and media transformations on an ongoing basis, these organisations took advantage of a comprehensive metadata mapping exercise that created a variety of templates to specify delivery/receipt requirements for different destinations. These shared templates enable system-level agreement between organisations with respect to content format and metadata. With this understanding in place, media organisations can not only eliminate duplicate work but also apply automated tools and

presets as well as take advantage of the massive scale of cloud storage and processing to accelerate content exchanges dramatically.

Automated Logistics in Action

A+E Networks and Discovery demonstrated the power of this model when they partnered to execute an automated content exchange, moving a high volume of library assets from A+E to Discovery for the Discovery+ launch in fewer than two days. Fortunately for both A+E Networks and Discovery, both companies were using the SDVI Rally media supply chain platform for their media operations, which meant it was a straightforward process to connect their two supply chain platforms together to automate and accelerate this bulk content transfer all in the cloud. While the Rally platform is known for enabling agile and efficient media supply chain optimisation for the industry’s best-known brands, it also supports the connection of media supply chains across organisations of all sizes so that they can optimise how they receive and distribute content.

As the community of interconnected media supply chain partners continues to grow, and more media factories become connected through “trusted content” relationships, it will become easier for new partners to exchange content. At the same time, businesses that acquire new libraries through consolidation or mergers can more easily integrate their assets in a uniform repository.

Automated media logistics will drive new levels of business agility and efficiency in the overall content flow from source to distribution partners, feeding a more dynamic and responsive media ecosystem. As media organisations are able to respond faster to consumer demand, they will accelerate their own profitable growth objectives.

In the current media marketplace, where new content deals have become an almost daily event, media organisations need a

low-friction model for accurate, reliable content transfers. Pairing internal supply chain efficiency with the significant time savings enabled by automated media logistics, they can respond to and deliver on new opportunities more quickly. Together, automating the media factory and accelerating media logistics also will enable more efficient preparation and delivery of culturally relevant content to audiences in markets all around the globe. The world of entertainment will become a bit smaller, as it becomes more connected.

Leveraging cloud-based automation of the media factory and accelerated media logistics within the interconnected media supply chain, today’s media organisations can address current business challenges and knock down barriers to seizing new business opportunities.

Visit https://sdvi.com

“Automated media logistics will drive new levels of business agility and efficiency

in the overall content flow from source to distribution partners, feeding a more dynamic and responsive media ecosystem.”

Mediaproxy Features Latest Version of LogServer

MEDIAPROXY, the developer of software-based IP compliance solutions, will demonstrate the latest version of its LogServer compliance monitoring system at NAB 2023 in Las Vegas. As well as introducing the latest upgrades for its logging and monitoring system, Mediaproxy representatives will be on Booth W1321 in the Las Vegas Convention Center to discuss recent developments and how these point the way for the future direction of LogServer.

Founded in 2001, Mediaproxy has become the market leader in the crucial area of monitoring and logging technology for both linear broadcast and streaming. Its LogServer software-based compliance platform has been developed over the past 20-plus years to reliably log and monitor program output. This ensures both television channels and streaming services comply with broadcast regulations and provide a high quality of experience (QoE) for viewers on whatever devices they are watching.

LogServer can integrate seamlessly with any operational environment, whether on-premises, virtual or in the cloud, and supports video, audio and real-time data from a wide range of

current broadcast sources, including 4K, HDR, HEVC, TSoIP, SMPTE ST 2110/2022-6, Zixi and SRT.

In recent years

Mediaproxy’s development program has aimed to offer ever more sophisticated and flexible monitoring, something vitally important for the smooth and efficient running of broadcast and media services today. Thanks to this, users can be confident that LogServer will operate with a wide variety of distribution platforms and technologies, including Next Gen TV, IP-driven workflows and cloud services. In this way Mediaproxy is able to deliver the monitoring and logging functionality necessary for its customers to both comply with regulatory demands and deliver the QoE expected by viewers.

EditShare Boosts Connectivity and Workflows

EDITSHARE WILL USE NAB2023 (booth N2100, Las Vegas Convention Center, 16 – 19 April) to unveil its latest productivity and creativity enhancements.

EditShare’s workflow solutions are driven by its EFS Storage and FLOW media management – these are combined in FLEX for fast cloud implementations. By integrating storage on premises, at multiple locations and in the cloud, connectivity is at the heart of the workflow and serves multiple market verticals and applications.

Swift Sync gives users a way to share media across different EFS systems in the cloud, on prem or in between. Users can select all or some of their media spaces in any location and bring it into their workspace, whether they are in a facility, working at a remote location or using cloud editing via a desktop emulator.

FLOW provides support for multiple streams of multiple codecs. In addition the latest EFS release delivers as much as a 60% increase in throughput for certain codecs/configurations from the previous hardware/software. Editors use the tools of their choice because FLOW and FLEX integrate with software from Adobe, Avid, BlackMagic and others without having to change screens. Included in this spring release are a number of features and improvements to our FLOW Panel for use with Premiere® specifically. Collaborative teams can easily connect with each other using EditShare’s unique Universal Projects technology, providing a seamless means of exchanging projects between post production users and platforms.

EditShare’s advanced set of open APIs means it’s easy to integrate tools from partner companies and third-party vendors, whether that is

Active Archive Maintenance Stays on Top of Vanilla IT

AV DIGITISING and archiving specialists NOA GmbH says it continues to help its partners worldwide benefit from continually evolving technology, such as transitioning towards nextgen IT hardware, virtualised environments, and newer and stable operating systems, as well as adapting to changing regulations.

Through renewable maintenance contracts and by basing its solutions on locally available, standard vanilla IT components, NOA says it enables its clients to easily upgrade and/or migrate existing systems towards the latest approved platforms.

NOA says reliance on standard commercial off-the-shelf (COTS) technology for its runtime environments virtually guarantees the possibility

to continually upgrade existing installations and thus allows clients to easily adapt to necessary measures such as installing latest OS patches, which is often required from a security point of view as well as for consolidation needs when it comes to other hardware upgrades such as virtualisation.

“An archive system, today, can consist of some 5000+ concurrent users and may comprise many servers and workstations,” says the company. “Over the years, NOA has seen up to five platform migrations at various clients. With manufacturers like e.g. Microsoft constantly updating their technology, NOA’s model of not requiring proprietary servers or workstations ensures that third party hardware and the system built on it keeps on working reliably. This results

“We look forward to being in Las Vegas and meeting both our North American and international users,” comments Mediaproxy chief executive Erik Otto. “Anybody coming to our booth will not only get the opportunity to see the latest version of our LogServer software but also hear about the exciting new developments involving IP and cloud working we have in store.”

Visit https://www.mediaproxy.com

capture software from Cinedeck, workflow orchestration from Helmut, cloud hosting from AWS, AI capabilities from Audimus and Mobius, NRCS systems and more, many of which will be demonstrated at the show.

To ensure that mission critical content flows – like channel playout or fast turnaround editing –are never compromised, users can now manage storage access bandwidth to guarantee quality of service for each workstation, user or group with EditShare’s new Swift Control. The latest release also moves to streamline and simplify still further the new web user interface in FLOW, and to make FLEX Cloud Edit+ easier to deploy through intuitive user interfaces without the need for cloud specialists.

Visit https://www.editshare.com

in a considerable cost-saving potential for clients and since many systems are already set up in virtual environments also includes benefits from an environmental point of view.”

“A continuous maintenance contract is a meaningful reassurance as it adds longevity and continuity to operations,” adds NOA’s managing partner Jean-Christophe Kummer. “Our software has been running for over 20 years because we keep adapting it. Our backbone runs on standard off-the-shelf nonproprietary IT systems and hardware which can be procured in every country and by every client via existing framework contract suppliers. This removes any risk for the client to work worldwide with NOA systems.”

Visit https://www.noa-archive.com

TYAN Boosts Server Speeds with Gen-4 Intel Xeon Processors

TYAN RECENTLY INTRODUCED 4th Gen Intel Xeon Scalable processorbased server platforms highlighting built-in accelerators to improve performance across the fastestgrowing workloads in AI, analytics, cloud, storage, and HPC.

“Greater availability of new technology like 4th Gen Intel Xeon Scalable processors continue to drive the changes in the business landscape”, said Danny Hsu, Vice President of MiTAC Computing Technology Corporation’s Server Infrastructure Business Unit. “The advances in TYAN’s new portfolio of server platforms with features such as DDR5, PCIe 5.0 and Compute Express Link 1.1 are bringing high levels of compute power within reach from smaller organisations to data centres.”

“4th Gen Intel Xeon Scalable processors are designed to accelerate performance across the fastest-growing workloads that businesses depend on today. By optimising the use of CPU core resources, built-in accelerators deliver more efficient utilisation and power efficiency advantages, helping businesses achieve their sustainability goals,” said Suzi Jewett, Intel General Manager, 4th Gen Intel Xeon Platform. Leading-edge HPC systems optimised to accelerate performance

TYAN’s HPC platforms are optimised to accelerate performance for a diverse set of workloads, including High Performance Computing, Artificial Intelligence, and Data Analytics. The Thunder HX FT65T-B5652 is a 4U pedestal server built for smaller HPC workloads that need large computing power at the desk-side. The system features a single 4th Gen Intel Xeon Scalable processor, eight DDR5 DIMM slots, and four double-wide PCIe 5.0 x16 slots for high performance GPU card deployment. The system accommodates six 3.5-inch SATA, two NVMe U.2 hot-swap tool-

less drive bays and an NVMe M.2 port for a high performance boot drive.

The Thunder HX TS75-B7132 and Thunder HX TS75A-B7132 are dual-socket 2U server platforms that support dual 4th Gen Intel Xeon Scalable processors, 32 DDR5 DIMM slots and five PCIe 5.0 slots that are ideal for high-performance in-memory computing and virtualisation applications. Both platforms provide two 10GbE or GbE onboard LAN, one OCP v3.0 LAN mezzanine slot and two NVMe M.2 ports. The TS75-B7132 provides eight 3.5-inch hot-swap tool-less NVMe/SATA hybrid drive bays; the TS75A-B7132 accommodates ten 2.5-inch SATA and sixteen NVMe U.2 drive bays.

Hybrid storage to provide flexibility with performance

Both the Thunder SX TS70-B7136 and Thunder SX TS70A-B7136 are 2U dual-socket softwaredefined storage servers featuring 16 DDR5 DIMM slots, five PCIe 5.0 slots, one OCP v3.0 LAN mezzanine slot and two NVMe M.2 ports. The TS70-B7136 is designed to provide high capacity storage with twelve 3.5-inch SATA hot-swap tool-less drive bays with support up to four NVMe U.2 devices, and two rear 2.5-inch hot-swap tool-less SATA drive bays

AI-driven Live Video De-noising and Upscaling at 4K

ISIZE, a specialist in deep learning for video delivery, recently released first performance results taking full advantage of the special instructions enabled by Intel Advanced Matrix Extensions (Intel AMX), available on the 4th Gen Intel Xeon Scalable processor. The new Intel architecture means that AI-based video processing like iSIZE BitClear can be performed entirely within the CPU, eliminating the latency, energy and cost overheads of linking to a GPU or other external accelerator.

The volume of video to be processed, delivered and stored continues to grow exponentially. From archive footage and consumer-generated content to surveillance and drone images, much of this material is of limited resolution and marred by noise and distortion. Emergen Research predicts the market for security and surveillance video to grow by 18.7 percent by

2030, and drone cameras to grow at 26 percent over the same period. It has been reported that 500 hours of video are uploaded to YouTube every minute. The quality of video from such contexts is often hampered by dirt or rain on external lenses, drone vibration, storage and upload limits and degradation in archive footage. Therefore, to get the best results requires very sophisticated processing. iSIZE BitClear uses unique deep learning techniques to dynamically restore the video to the best possible quality, without affecting the perceptual intent of the content creator. It also permits AI-based video upscaling, allowing devices of limited native resolution to contribute high-resolution streams.

Intel AMX allows the advanced BitClear processing to be handled entirely within 4th Gen Intel Xeon Scalable processors. Measurements with BitClear have shown that 4th Gen Intel Xeon

for boot drive deployment. The TS70A-B7136 is optimised to offer high data I/O throughput from twenty 2.5-inch hot-swap tool-less drive bays, including ten SATA, eight NVMe U.2 front drive bays and two rear-access SATA bays. Performance boost designed for cloud workloads

TYAN’s Thunder CX GC68A-B7136 is a 1U dual-socket cloud server that accommodates twelve 2.5-inch drive bays supporting eight NVMe U.2 and four SATA devices. The system provides 16 DDR5 DIMM slots, two PCIe 5.0 x16 slots, one OCP v3.0 LAN mezzanine slot and two NVMe M.2 ports. The GC68A-B7136 is ideal for high IOPS compute applications in data centres.

The Thunder CX GC79A-B7132 is an all-flash 1U dual-socket cloud server that offers up to twelve 2.5-inch NVMe U.2 drive bays. The system supports 32 DDR5 DIMM slots, two PCIe 5.0 x16 slots, one OCP v3.0 LAN mezzanine slot and two NVMe M.2 ports. The GC79A-B7132 is well suited for workloads that require high amounts of CPU cores and memory, such as virtualisation and in-memory database applications.

Visit https://www.tyan.com

Scalable processors with Intel AMX deliver up to twice the performance of 3rd Gen Intel Xeon Scalable processors. This allows for BitClear to achieve real-time performance for denoising up to 1080p and denoising with upscaling for up to 2160p resolution, respectively. This was previously impossible without a specialised GPU or other accelerator hardware.

Sergio Grce, CEO and founder of iSIZE added “AIbased denoising and upscaling of video is wellknown to require heavy use of GPU hardware. This tends to incur additional TCO in comparison to CPU-only execution. We have demonstrated our BitClear solution for AI-based video denoising running in real time on the 4th Gen Intel Xeon Scalable processors, which provides an excellent combination of performance and practicality.”

Visit https://www.isize.co

WORLD-LEADING BROADCAST CAPTION SOLUTIONS

Ai-Media is the global leader in caption solutions for broadcast. Harness our long-standing industry expertise and technology to caption and caption your content, suitable for any budget or technical requirement.

We are the leader in captioning for IP video, with cutting-edge virtual video, audio, and captioning workflows. All our solutions are interoperable — making for a smooth transition from SDI toIP solutions. And for those not ready to make the digital leap, we provide a comprehensive range of flexible hardware solutions.

Talk to us about the iCap Alta™ virtual encoder, the market leading caption encoder for IP video. Deployable on hardware, virtualised or public cloud, iCap Alta™ supports Digital Video Broadcasting (DVB) standards. It also supports SRT, which ensures low-latency, high-performance streaming across unpredictable networks like the public internet. Combine iCap Alta™ with LEXI AI-powered captions to deliver an affordable and high quality end-to-end IP workflow.

Heading to NAB this April? Come talk to us at booth #W1267 to hear about our product updates, new releases, see live demos and more!

Trusted by major broadcasters

AUDIO, RADIO, PODCAST

Rethinking Radio with Broadcast Bionics

The COVID lockdown era saw the technology and workflows of radio quickly evolve to embrace remote collaboration and production.

WHILE THERE WAS repurposing of existing technology, and no small amount of improvisation, the experience has had a profound effect on the design of radio facilities and the workflows they are designed to enable.

Helping to navigate this shift is Broadcast Bionics, a developer of audience engagement and communication tools for Radio and TV. These include Bionic Talkshow, Bionic Social, Bionic Director and Bionic Contest. Emerging from isolation to reconnect with its customer base, managing Director Dan McQuillin says, “There’s definitely a real demand in the industry to consider new workflows, to make changes both to studio facilities and business models, to adapt both to new technology and the changing patterns of the way that kind of content is being produced and consumed.”

C+T: What’s changed since the pandemic and what hasn’t?

“What hasn’t changed is the fact that you get back with old colleagues and meet friends and it feels as if we’ve sort of never been apart. Maybe that was all the zoom meetings that we had and people being busy making the changes necessary to broadcast from home and access facilities. But, postpandemic, we’re definitely seeing a lot of investment by the broadcasters in new studio facilities in creating additional content for for new platforms, so I feel there’s actually a confidence around the industry and understanding that our audiences’ habits and behaviors are changing, but along with that we have an opportunity to generate new content on new platforms in different ways. We’re focusing on talking about that challenge of how we can employ studio facilities and equipment to not change what we’ve always done, but to be able to do it at a different scale, to be to do it more flexibly, in more agile ways, “Over the last few years, there’s

not just been a greater level of change, but a greater pace of change. Whereas before, perhaps you might have built facilities and designed things to run for a decade doing one big thing, we now have to generate studio facilities with the agility to change continuously as you might be doing one thing one week and doing something else just a few months later.”

How has Broadcast Bionics evolved to meet those needs?

“I think we’ve learnt a lot of a lessons as to how we can be more agile, and that concept of building agile building scalable facilities that are largely software-based so that they can be scaled quickly and are largely browser-based so they can be operated from anywhere, have the ability to interconnect using WebRTC (Web Real-Time Communication) so people can be in any location.

“We’re now building a standard into the workflows and products that previously would have always been very studio-centric. Now, we’re just redefining those studios and which content comes best from which kind of studios, and how we can generate additional content - be that linear traditional radio and TV content or podcasts or ondemand.”

What tools does Broadcast Bionics bring to this flexible world?

“There’s probably two big things we’re talking about when it comes to flexibility. One is a thing that we call the Bionic table. That’s an idea that we can simplify studio facilities to just four microphones, four headphones and a table to tell your story around. Then, in software at the back end, we can deliver everything that a large monolithic studio could do.

“That means you can generate an incredible number of pop-up studios around a facility - every one of your meeting rooms can

be a studio. We’re not locked inside these large complex monolithic studio spaces and that has three big benefits to content creatorsone, it means that it’s much more affordable to create content production spaces, you can think about much more quickly and deeply, moving around facilities in five or ten minutes, rather than five months. “It also democratises storytelling and content creation. They can be operated by anybody with an iPad or a device at the edge. So, it really de-skills that complexity of operating for the content creation and, thirdly, it actually generates a different style of content.

“We’re also talking with broadcasters about a product we have called Virtual Rack which is about virtualising all that stuff in the basement. It takes all of the traditional audio processing tools that you’d have - from microphone processors to FM processors to talk show systems and software-based mixing consoles - and, instead of having physical equipment in a physical rack, we’ve created a virtual rack appliance, which has an essentially an app library, and from inside that you can just click and select and plug things in and out of your virtual rack. So, you’re not committed to physical hardware and plants. You can, again, configure that and spin that out very quickly so one day you might have eight FM processors, the next day there might be four FM processors and six sets of IP codecs linking buildings together. It’s a different way of deploying your architecture, but it makes it much more scalable and agile for facilities not to be locked into one thing for the next decade. You can very quickly spin stuff up and down in software and reuse the same hardware in a

very energy efficient and cost effective-way.”

Does the Virtual Rack include third-party apps?

“We’re working with all the partners we can find who offer containerised versions of their products. Some of our products will be available inside the Virtual Rack. We work with Telos, Axia and Omnia, so the Omnia processor is available in there. Sound4 has a cloud-based processor. That’s available inside Virtual Rack.

“You don’t buy those products from us. We provide the virtual software and appliance. Our app library is not an app store, but it’s a library of applications you can spin up and down and then you licence those. They run up in demo mode and then you licence them from your ‘local dealer’. So, yes, processing you can get from Sound4 or Axia, talk show systems you can get from us and from Telos. We’re working with WideOrbit on their playout system being implemented in there, and Xperi with their data solution for broadcasters. Those are the ones we’re working on right now for the public launch.”

“We will be at NAB (Booth W1867) in April, but we’re kind of just talking to broadcasters about it. Not so much to sell it as a product but to have people start thinking about it as a philosophy and a kind of a way of designing facilities to give them that flexibility, that scalability in their agility.”

Visit https://www.bionics.co.uk

SSL Advances System T Broadcast Audio Platform

SOLID STATE LOGIC [Booth C6107] will unveil the latest immersive and NGA production workflows for live-to-air broadcast at the 2023 NAB Show, to be held at the Las Vegas Convention Center between Saturday, April 15th and Wednesday, April 19th. Additionally, SSL will feature its forthcoming SSL Live V5.2 Software, and advanced DAW controllers and interfaces for content creators.

To keep broadcasters on the cutting edge of content, Solid State Logic has developed a no compromise immersive/NGA production tool kit for System T. Offering object and channel based immersive production, delivered through specifically designed workflows and features, System T makes producing next-generation content simple and effective.

The System T immersive production toolkit features:

• Immersive channel and bus formats with integrated XYZ and rotational Theta 3D panning.

• Intelligent immersive up/downmixing functions.

• Comprehensive range of immersive effects including: delay, dynamics, EQ, modulation and more.

• 360° Transcoder with A-B conversion for Sennheiser AMBEO VR

• Binaural 3D encoder with input formats from 4.0 to 7.1.4.

• At NAB ’23, the System T S500 large-format modular control surface and TE2 processing engine will be set up with 5.1.4 immersive monitoring to demonstrate why System T is leading the way in next-generation MPEG-H and Dolby Atmos live-to-air production. Scalable processing and control solutions

With advanced AoIP at its core, SSL’s System T platform offers a range of versatile processing and control solutions to fit a variety of requirements and broadcasters. From large format modular control surfaces, fixed format mid-sized consoles and rack mount controllers to software running on COTS computer hardware or virtual machines, there is a System T processing and control solution to fit your broadcast application.

Touring, installed sound and house of worship

For the touring, installed sound and house of worship focused NAB Show attendees, Solid State Logic will also be previewing its forthcoming V5.2 Console and SOLSA software. Joining L-Acoustics L-ISA and Meyer Sound SpaceMapGo, d&b Soundscape is now the latest immersive loudspeaker system to be integrated into the SSL Live platform control software. A new SSL Live V5.2 software update — to be

AEQ VENUS 4 IP Audiocodec

AEQ (Central Hall - C1806) presents its new Phoenix Venus 4 audiocodec. This new dual stationary audiocodec for point-topoint links stands out for having IP connectivity and two simultaneous bidirectional stereo transmissions with different formats and qualities. It also features SIP protocol and EBU N/ACIP standard, as well as OPUS algorithms

(configuration support and remote control tools).

AEQ Venus 4 is available in two hardware versions: one with a front panel control and a more basic version with network and communications status indicators. Both versions have balanced analogue inputs and outputs on XLR connectors and dedicated AES/EBU digital I/O connectors.

revealed at NAB 2023 — also delivers greatly enhanced rehearsal and recorder functionality, which includes multiple switching groups, flexible routing and locking override functions.

SSL’s Audio Creation Products (ACP), including UF8 Advanced DAW Controller and range of renowned USB audio interfaces will be on hand for attendees to experience the very latest in hybrid music production technology for live streaming, content creation and more.

Visit https://www.solidstatelogic.com something we would not look at but I think that’s probably a future thing, 12 months or more.”

Visit https://www.solidstatelogic.com

Triple network port, dual RS232 auxiliary data link and redundant power supply. Available version with 48 volt DC power supplies and optional DANTE/AES 67 IP local audio inputs and outputs.

It can be controlled via the Phoenix Control application.

There is a user-friendly graphical window for configuration and another for operation that allows

Sound Devices at the Nexus of Wireless Audio

THE SOUND DEVICES booth at NAB (C4611) will feature several configurations of the new A20-Nexus multichannel, true diversity wireless receiver, to show its versatility.

The A20-Nexus offers a 470-1525 MHz global tuning range through SpectraBand, longdistance remote control of transmitters via Sound Devices’ proprietary NexLink protocol, integrated RTSA (real-time spectrum analysis), and Power-over-Ethernet and audio via Dante –all in a half-rack unit. Its eight receiver channels can be expanded to 12 or 16 channels with no extra hardware required, by purchasing or renting an A20-Nexus 4-Channel Expansion License.

To show the full strength of the A20-Nexus receiver, on Monday, April 17th, at 5:00pm, Sound Devices will have a pair of A20-Nexus receivers

set up outdoors for hands-on demos. Guests are welcome to the Blue Lot, outside the Las Vegas Convention Center’s Central Hall, to see how well the A20-Nexus performs in a challenging RF (radio frequency) environment. The Sound Devices team will be on hand to answer any questions.

Back in its NAB booth, Sound Devices will also demo its 8-Series line, which includes Scorpio, 888, and 833 mixer-recorders. Designed specifically for sound professionals’ workflow, each 8-Series mixerrecorder has unprecedented recording power and a rugged, efficient interface. Also on display will be MixPre II Series audio mixers, suited for field audio, sound effects, film

us to work with it as if we were in front of a front control panel, choosing encoding modes, connection modes and establishing or terminating calls.

Both the configuration and basic operation functions are presented in an accessible and intuitive way through the AEQ ControlPhoenix application.

Visit http://www.aeq.eu

audio, or live music. With crystal-clear, ultra-lownoise Kashmir preamps, MixPre II mixers allow multiple voices or audio for video to be recorded with superior quality – all the way up to a 32-bit float bit depth and a 192 kHz sample rate.

Visit https://www.sounddevices.com

“Elasticity” Isn’t Stretching Things for Lawo

“ELASTICITY” refers to the ability of a system to quickly scale its capacity up or down in response to changes in demand for resources. At a Special Online Event, Lawo will introduce the company’s next step. For a free briefing on “Elasticity”, Australians can join a late session on 4th April 2023 at 10pm AEST/8pm AWST, while New Zealanders, can join an early session on April 5 at 6am. Register at https://lawo.online/discover.

At this year’s NAB show, Lawo (Booth C4111) will exhibit more than

10 new products and major updates to its existing audio, video, control and monitoring portfolio. After successfully integrating the entire Lawo product catalog, welcoming third-party vendors, and implementing HOME’s comprehensive NMOS IS-04 and IS-05 compatibility, Lawo will introduce its next set of features for its HOME IP infrastructure management platform. The audio production community can look forward to Lawo officially

launching version 10.6 for its mc² and A__UHD Core platform, which delivers a new level of immersive audio mixing and cutting-edge advancements for multi-channel processing and downmixing.

Version 10.6 supports the new, optional, Pooling 8 license designed to share the 1,024 DSP channels of a A__UHD Core among up to eight independent mixing surfaces. In line with this development, Lawo is rumored to unveil a new console model at the NAB Show.

Lawo’s line-up of on-air/radio

solutions will be expanded with a new processing core, a new software version for its radio portfolio, an additional I/O card for the Power Core’s rear-panel bays, and an extension for its R3LAY radio software.

Finally, Lawo will announce that its broadcast control system, VSM, is on its way to becoming a key first-class citizen within its HOME ecosystem for forward-looking broadcast and AV applications.

Visit https://www.lawo.com

StreamGuys Empowers Video and Audio Workflow Conversions

AT NAB SHOW 2023 (on the ENCO booth W1743), StreamGuys will unveil new video and audio conversions demos that prove how radio broadcasters can expand business models to visual radio and other video-centric workflows – and offer OTT service provides, video content creators, and other customers ways to replicate and monetise audio streams from their existing video streams.

“This is all about demonstrating the power of live stream and ad insertion marker conversions in

both directions,” said Eduardo Martinez, Vice President of Technology for StreamGuys. “We continue to extend the reach of our SaaS suite, and our latest workflow conversion tools will automatically turn SCTE-35 video ad insertion markers to ID3 metadata markers used in some audio-only insertion tools. That offers video producers and broadcasters a very cost-effective way to deliver audio streams with dynamic ad insertions. From the opposite view, we can use our same workflow

management technology to unleash traditional radio streams to serve more video-centric workflows, and help radio broadcasters expand their audiences.”

StreamGuys’ new video and audio conversion capabilities evolve from its SGrecast podcast management platform, which features tools to repurpose live streams as podcasts or rebroadcasts. Like SGrecast, StreamGuys’ SaaS toolset will automatically convert and republish live content, and expand their distribution and monetisation

footprint to reach new audiences. However, while SGrecast is very much focused on helping the radio broadcaster repurpose live content for other audio segments or streams, StreamGuys’ new conversion tools are truly mediaagnostic. This creates an entry point into OTT and FAST (free ad supported television) channel services for radio broadcasters, for example.

Visit https://www.streamguys.com

Create content, not studios

Calrec Brings Flexible Approach to Audio Mixing

CALREC’S ARGO audio mixing control platform is making its NAB debut with both the Argo Q and Argo S on show. Designed to adapt to changing production needs, Calrec’s Argo is a new approach to audio mixing, with a flexible control philosophy that breaks the traditional geographic tie lines between processing and control.

Argo is fully modular with interchangeable hardware panels and uses Calrec’s time-served Assist UI at its core. This means that whether you are working on physical hardware panels or on a remote GUI, the user interface is both familiar and easy to drive. Its modular panel system encourages broadcasters to adapt surface hardware to meet their unique requirements, with two mid-level rows of interchangeable panels on the larger Argo Q model, and one mid-level row on the compact Argo S model.

Calrec has also introduced a comprehensive system of user templates to instantly change the hardware user interface to meet changing requirements or user preferences. Argo’s physical control surface is also more streamlined, using optically bonded touchscreens to provide unrivalled visual feedback and speed of access. Soft panels provide a richer user experience and hardware panels allow users to build definable functions and apply these as templates – this helps operators move around the surface faster and makes it more intuitive. Argo’s panels are also interchangeable and can be placed wherever they are needed. This makes it easy to grow and adapt the console to individual requirements and it means the desk can easily be split for sub mixing or mixing in other locations.

Also debuting in the US at NAB is Calrec’s recently announced ImPulse1 IP audio processing and routing engine — a smaller, yet powerful, cost-effective ST2110 version of the industry-established ImPulse. ImPulse1 is a compact 1U solution with an optional second core for redundancy and a new 128 input channel DSP pack offering entry-level pricing.

With the introduction of ImPulse1, Calrec is making the move to IP much more attainable for all its customers, offering a range of options to suit all budget requirements. ImPulse1 works with Argo Q and Argo S control surfaces, and/or Calrec Assist, a browserbased GUI, ideally suited to remote working, multi operator and/or headless operation. Cores with smaller DSP licences can be offered without hardware redundancy.

ImPulse1 is designed for small to medium single mixer applications and is offered with an all-new DSP licence of 128 input channels without compromising its ST2110 capability. With a small overall form-factor, it’s immediately attractive for compact installation sites, such as outside broadcast and fly pack applications, where space is at a premium. Furthermore, it doesn’t compromise on features and DSP power; it has DSP options ranging from 128 to 384 input channels and benefits from the DSP features from the larger ImPulse core.

Also on Show

According to Calrec, ImPulse is the most powerful DSP engine on the planet and has native SMPTE 2110 connectivity. It’s compatible with the Calrec Assist web interface as well as Calrec’s Apollo and Artemis consoles to provide a simple upgrade path for existing Calrec customers moving to an IP domain. It provides 3D immersive path widths and panning for next-generation audio with height and 3D pan controls, flexible panning and downmixing built-in.

Calrec’s 2U RP1 remote production unit takes your favourite Calrec console anywhere in the world without ever leaving the studio. A remotely controlled processing engine like RP1 means dedicated control rooms can be used to mix feeds from multiple remote venues. Remote production models produce more live coverage with minimal resources.

Many networks around the world have been successfully using this REMI/at home production model producing the largest sporting events – in fact Calrec has more experience in REMI/at-home production models than any other audio console manufacturer.

From July 2023, an extended DSP pack will be offered as an optional upgrade path for existing RP1 customers and optional with new units. This will increase the number of virtual control faders to 72 and the DSP to:

• 96 mono equivalent channel paths

• 24 Aux send paths

• 96 Direct outputs

Brio is a plug-and-play broadcast console which slots into any broadcast workflow, is easy to operate and has comprehensive

built-in I/O. It is loaded with dynamics and delay on every path, has a huge internal router, multiple monitor outputs and is expandable for future growth.

Calrec’s new Brio 36 Duet comes with internal Hydra2 connectivity, comprehensive built-in IO and 96 input channels as standard. The Brio 36 Medley package includes everything on a Brio Duet plus a Dante 64 card or MADI I/O module, and an external Br.IO box with 24 mic/line inputs, 16 analogue outputs & 8 AES I/O.

Calrec’s Type R is a modular, expandable IP mixing system designed to allow customers to take advantage of distributed production and flexible workflows. Its three hardware and soft panels can create a variety of system types. It ties in with Calrec’s Assist for mixing in the cloud and integrates with station automation systems like Ross Overdrive, Sony ELC and Grass Valley Ignite.

Calrec adds a compact Talent Panel to the mix. This slimline unit allows guests to switch between multiple sources via its integrated hi-res TFT and adjust headphone volume with a dedicated rotary control. Four switches allow for the panel to

be customised to the individual user with common functions like talkback and cough switches; this ensures only essential controls are close to hand.

Calrec’s Artemis console will also be on show. Artemis is designed for live and broadcast applications and it features a large number of inputs and outputs as well as advanced routing and processing capabilities. Artemis is compatible with Calrec’s ImPulse IP core to provide a simple upgrade path for existing Calrec customers moving to an IP domain. Visit https://calrec.com/

Calrec’s Argo Q audio mixing control platform.

Calrec’s ImPulse1 IP audio processing and routing engine.

APRIL 4TH 2023

EARLY SESSION: 2PM CEST • LATE SESSION: 8PM CEST

DISCOVER ELASTICITY!

Elasticity [ˌilæsˈtɪsəti] refers to the ability of a system to quickly scale its capacity up or down in response to changes in demand for resources.

It is an important factor in ensuring the efficient use of computing resources, maintaining system performance, enhancing sustainability and improving costeffectiveness.

Head-end Project a WIN for MediaHub and Magna

WHEN MEDIAHUB WON a tender to build a new head-end for the WIN television group, it partnered with Magna Systems and Engineering for the project’s key products and Systems Integration (SI) component.

As MediaHub Chief Digital and Information Officer, Simon Scott, explains, “MediaHub were looking for specific technical requirements in terms of device footprint, sustainability and feature set. Magna’s product range offered these key features and more. In addition, MediaHub engaged Magna’s excellent SI services for the system build.”

The new WIN head-end is used to deliver all of the company’s channels to viewers at home. It is already on-air in various parts of Australia, with the remainder of markets going live during March 2023.

All signals are processed in the IP domain, either SMPTE 2022-6 uncompressed as the input to the compression system or SMPTE 2022-2 Transport Stream over IP compressed as the internal signals within the headend, then at the final hand off stage converted to ASI for distribution by the transmission provider.

MediaHub’s requirements were comprehensive and included a small footprint and highdensity IP to ASI gateways and SFN devices, an IP monitoring platform, compliance logging

platform and the highest quality SI services. Scott continued, “Magna provided a turnkey offering around various parts of the glue required for the new head-end project. Magna’s SI team also performed the physical build of the entire project including the compression system at two different data centres.”

In total, Magna provided Dell IT infrastructure and servers, EVS Neuron SDI to IP Gateways, an Appear XC and X10 series platform for SFN MIP insertion and IP to ASI adaption, a TAGVS Multiviewer, BridgeTech monitoring probes, Actus compliance logging, Birddog NDI to HDMI converters and Magna’s full set of professional SI services.

Scott added, “Magna provided a project manager who directed and oversaw various cabling installers. Their SI service included technical CAD drawings for the project, as well as performing various design tweaks to accommodate the different requirements in the two data centres. Magna also held regular progress meetings, managed the install timelines and provided all the required install documentation for the project.”

Magna’s technology offering aligns closely with MediaHub’s technology vision, providing best of breed solutions that are not only feature rich but low footprint, as either COTS IT or bespoke

HbbTV Releases New Version of Core Spec

THE HBBTV ASSOCIATION, a global initiative dedicated to providing open standards for the delivery of advanced interactive TV services through broadcast and broadband networks for connected TV sets and set-top boxes, has announced the publication of version 2.0.4 of its core specification.

The three main highlights of the new version are the integration with voice assistants, with accessibility features, (e.g. dialogue enhancement or user interface magnification), and with the new DVB-I standard, enabling

HbbTV ‘red button’ applications to be used with live/linear TV services received as a DVB-I stream via broadband networks. Their availability depends on the TV set or set-top box supporting the underlying feature.

There are also a number of smaller enhancements and fixes to errors found in previous versions of the HbbTV specification. A full list of the new features and changes can be found in the HbbTV 2.0.4 “explainer” in the resources library on the HbbTV website.

Jon Piesing, HbbTV Vice-Chairman

Delay for New Sky NZ Satellite

ISKY NEW ZEALAND ANNOUNCED in July 2020 that it had renewed its partnership with telecommunications operator Optus to deliver a new softwaredefined satellite to replace the existing D-series satellite.

The new satellite was originally expected to be ready for service in late 2023. Optus has now confirmed that, based on the advice from the satellite’s manufacturer, various factors

(including Covid and manufacturing and supply chain issues) have delayed the planned ready for service date of the satellite until late 2025.

Sky and Optus say they are working closely to ensure the ongoing security of supply for Sky’s satellite requirements in its core Sky Box business. A number of options are being considered, including, if required, using another satellite already in an orbital location

hardware.

Scott said, “Other solutions offered required multiple racks of 1RU equipment, but with Magna’s assistance we managed to facilitate the same in 2 x 1RU devices. This not only simplified the solution but provided a number of benefits, including lower power usage and smaller system footprint. Bearing in mind the solution for 260 channels fits within two IT racks for the whole of the compression headend - previously 12 racks with the last technology generation - it is an amazing achievement for both MediaHub, our compression vendor Ateme and the many Magna product offerings we used.”

The new headend solution is also future-proofed and ready for UHD, HEVC, DVB-T2 and other similar upcoming requirements.

Simon Scott concluded, “Magna’s team ‘just work’. Whether it was Alan, Dave, Tim or Paul, all of them assisted at various stages through the project and all have proven invaluable in assisting the MediaHub team, led by Anthony Colquhoun, to successfully deliver this major project for MediaHub and our client.”

Visit https://magnasys.tv

and Chairman of the Specification Group which spearheaded the specification development process, said: “We are excited about the opportunities HbbTV 2.0.4 creates to improve the experiences for users of HbbTV applications and services. Integration with voice assistants is significant as voice input becomes more widely used in user interfaces of TV sets and other home devices. Accessibility features are an essential addition in the context of the European Accessibility Act. Integration with DVB-I is important

as the distribution of live/linear programming via IP streams to TV sets becomes more widespread in the future.”

The HbbTV Association will shortly be issuing a Request for Proposals for the development of unit tests for the new features. While some of them may be reviewed and approved in time to be included in HbbTV’s July 2023 Conformance Test Suite release, most should be ready to be included in the February/March 2024 Test Suite release.

Visit https://www.hbbtv.org

that supports ongoing delivery of satellite coverage to the Sky platform.

Sky Chief Executive Sophie Moloney said: “We remain excited about the benefits of the new software-defined satellite, especially as we experience weather events that the new satellite can better help mitigate against. And, of course, we understand how important it is to ensure coverage and access to Sky

and the free-to-air channels we carry (including Prime) to all of New Zealand. Based on the information shared and assurances by our partner Optus to date, we are confident of the mitigation options to ensure our continued delivery of the key moments that matter most to our Sky customers.”

Sky expects to update the market on further developments in due course.

Visit https://www.sky.co.nz

Telestream Boosts Content Creation, Distribution and Monetisation

AT NAB 2023, on booth W1501, Telestream will unveil new product innovations to streamline the creation and production, distribution and monetisation of video content. Highlights will be the unveiling of Telestream Content Manager, a next-generation system leveraging both on-prem and cloud storage, and PRISM MPP, a multi-format rasterizer purpose-built for post-production. Telestream will also introduce a software-only version of its Lightspeed Live Capture solution, showcase Qualify, the world’s first truly cloud-native QC service, and demonstrate its revolutionary iQ architecture that enables cloud-native video quality monitoring for emerging workflows migrating to the cloud.

Telestream Content Manager

The new Telestream Content Manager provides a single point of access for content across an organisation’s entire storage ecosystem, including cloud and on-prem storage. Built on the DIVA Core technology, it is tightly integrated with the Telestream workflow orchestration tools, as well as supporting all major MAM, PAM, and automation systems. It also provides an intuitive web-based user interface for content search, preview, and repurposing. Content Manager’s auto-discovery feature enables indexing of files directly from cloud storage without the egress costs associated with copying to another location. This approach lowers costs while enabling efficient management of legacy content and incoming files. By automating content management actions and triggering automated workflows, Telestream Content Manager enables sophisticated supply chain workflows that incorporate content movement, lifecycle management and media processing. It is planned for worldwide availability in Mid-2023.

PRISM MPP: Purpose built for post-production, remote workflows

The Telestream PRISM family now includes three new models, extending the line of softwaredefined monitoring instruments to address post-production users requiring high-end production video formats like 12-bit RGB for 4K/UHD applications in both SDI and IP. These instruments include measurement tools for colorists with HDR requirements, a complete set of QC tools for objective evaluation of highend video and audio content, and a remotely accessible user interface. Purpose-built for post-production, they’re exceedingly quiet, support a wide range of formats, and offer loopthrough for reference monitors and analog audio out for edit suite configurations. Supporting

Edgio’s Uplynk Delivers

FORMED AS THE RESULT OF Limelight’s acquisition of Edgecast in 2022, Edgio will mark its NAB Show debut by showcasing its Uplynk media solution for live events and monetisation.

The Uplynk media solution empowers media companies to maximise the value of their content by providing a simple route to market, extending audience reach, and increasing monetisation. It does this by reducing the complexity of delivering live events,

local, remote, and postproduction applications

up to 8K, the MPP models enable color grading, surround sound audio production

up to 7.1.4 and all the operational SDI monitoring and outstanding IP analysis

the PRISM family is known for. They are planned for worldwide availability in Mid-2023.

Software Version of Lightspeed Live Capture

Expanding professional-grade live capture capabilities to more workflows, Telestream will now offer its industry-leading Lightspeed Live Capture multichannel video capture and processing solution as software-only. With this flexibility, users can run the software anywhere they choose – from a Telestream server to their own servers to the cloud. Additionally, due to its deep integration with Telestream Vantage, it provides unparalleled depth in capture and media processing. The software-only version of Lightspeed Live Capture is planned for worldwide availability in Q2 2023.

Qualify Brings QC to the cloud

A highlight at the Telestream booth will be Qualify for Encoding.com, a fully-cloudnative automated quality control (QC) service, introduced in late 2022. Qualify gives broadcasters, content creators and distributors access to a comprehensive QC solution with the ability to expand or contract their QC deployment depending on their needs, similar to the way they utilize cloud encoding, simplifying capacity planning and providing greater elasticity in the supply chain. It is built on the same Telestream Media Framework as Vantage and brings the features of Telestream’s on-prem Vidchecker and Aurora QC offerings to the cloud. Users can now combine QC checks and complex OTT or broadcast transcoding in the same workflow, on the same cloud platform. Qualify for Encoding. com can be connected to external cloud storage, and be either fully API driven, or be controlled

via the intuitive Encoding.com interface. And because it can be integrated alongside other cloud-based tools in the Telestream Media Framework, companies can build tried-andtested, scalable media workflows in the cloud with Telestream. Qualify is available worldwide.

Cloud-Native Video Quality Monitoring Architecture

The transition to cloud-based video service operations poses a major quality control issue for content suppliers and distributors. At NAB, Telestream will demonstrate how an innovative, cloud-native, fully scalable architecture can work seamlessly across different video delivery chains in complex streaming workflows; with demos of cloud native VOD monitoring, live contribution and distribution quality monitoring, and a single management interface across linear delivery and OTT streaming. Leveraging Telestream iQ probing technology and ARGUS centralised video quality monitoring, this solution offers true consolidated management and analytics throughout the video delivery chain. It features a microservices architecture optimised for cloud-centric service operation, enabling providers to deploy quality monitoring technology in container and Kubernetes cloudnative environments along with automation and orchestration needed for real-time system health reporting. Telestream ARGUS is available worldwide.

Visit https://www.telestream.net/company/ events/nab/NAB-2023.htm

broadcast/OTT, and free ad-supported TV (FAST) syndication, and by scaling operations with minimal resources so that customers can reach more viewers. Its advanced advertising solutions include server-side ad insertion (SSAI) and performance monitoring to help customers refine and perfect their revenue strategies.

Powered by a secure global edge network designed for the unique demands of media, Uplynk ensures the best-viewing experiences

regardless of where audiences are in the world. It has handled hundreds of thousands of live events, generating 2.4 billion event views, 3.3 billion hours of streamed video, and more than 220 million hours of advertising in 2022 alone.

Edgio will be situated at Las Vegas Convention Center, April 16-19 2023, in the West Hall #W3573 Hospitality Suites.

Visit https://edg.io/

Telestream Content Manager.

PHABRIX QxP hybrid IP/SDI Waveform Monitor

TEST AND MEASUREMENT INNOVATOR, PHABRIX, will present its new QxP nextgeneration waveform monitor on booth C4920 at the April 2023 NAB Show.

Inheriting the flexible architecture of the acclaimed QxL rasterizer, the QxP offers an integral 3U multi-touch LCD screen with integral V-Mount or G-mount battery plates for portability. Designed for all production workflows, whether HD, UHD, SDR, HDR, SDI or IP, remote or conventional, the QxP’s combined waveform monitor, generator and analyser tool sets are designed to meet the ever-changing demands of today’s hybrid environments. The QxP offers the latest in PHABRIX’s patented waveform technology, featuring a high-resolution image processing pipeline with support for deep color sources up to 12-bits, delivering all the fine detail needed for camera shading or image grading. Users can access a choice of overlay, stacked and parade display modes, with the option of multicolored, highlighted, green or monochrome

traces. Nits scales and operation user-controlled nits markers are provided for SDR, HLG, PQ, S-Log3 and SR-live HDR formats. Rec 709 and Rec 2020 colorimetry is supported over the wide-range of YCbCr:422, RGB:444, SDI, 2110, SD/HD/2K/UHD/4K/ EUHD formats for which PHABRIX is renowned.

For real-time IP production, the QxP provides support for generation and analysis of HD/3G/UHD/EUHD 2110 payloads on generic SFP28/25GbE interfaces. The unit’s flexible architecture offers in-field engineering-grade data view and ANC packet inspection tools together with optional upgrades for SDIUHD/4K, 2110-UHD/4K 48-60p RGB (EUHD),

LiveU Boosts Efficiency in Live Productions

PHABRIX, WILL PRESENT its new QxP nextLiveU says it has seen amazing customer success stories over the past year enabled by innovative live IP video technology. Flexible workflows such as remote/decentralised production, and cloud-based management and distribution help to mitigate budget restraints to deliver high-quality, dynamic live content. The company is returning to NAB for the 14th year to share tangible ways that customers can reduce production costs, meet the increased demand for quality content and optimise the monetization of their content assets by

leveraging cloud-based workflows. LiveU will demonstrate its complete suite of live video services – from contribution and production to distribution – as part of an enhanced live video production ecosystem. This is all built on LiveU’s field-proven LRT (LiveU Reliable Transport) protocol for low latency, high quality, and rock-solid resiliency. At NAB2023, LiveU will also be coming with a world-first production approach, leveraging LRT across the entire workflow.

Putting the customer in control, LiveU says its on-demand subscription solutions encompass

Appear’s Quantum Leap in SRT Performance

APPEAR, THE PROVIDER OF media processing and delivery solutions, has announced the launch of its hardware accelerated video transport technology over the SRT (Secure Reliable Transport) protocol, the open standard that enables media and entertainment organisations to transport high-quality video over costefficient Internet links. Appear’s hardware accelerated SRT technology will be launched on its X Platform at NAB Show 2023 (booth #W2512, April 15-19).

According to Thomas Bostrøm Jørgensen, CEO, Appear, “The quantum leap in video transport performance that our hardware accelerated SRT implementation now provides, enables media and entertainment companies to revolutionise efficiency, ROI and flexibility through transporting high-quality video over the Internet. If you’re moving video and both quality and cost matter, our SRT solutions can make significant reductions to your video transport OPEX costs.”

The X Platform SRT difference

Hardware accelerated SRT enables costeffective internet connections to make serious

OPEX savings. For example, in contribution, today’s existing SRT gateways can only support HEVC with a limited number of cameras before having to add more servers, while one SRTenabled Appear X Platform unit can support up to 22 UHD camera feeds. In distribution, Appear’s SRT solution provides the lowest cost for channel transmission over the public internet, enabling operators to confidently replace expensive satellite links and dedicated fiber circuits. Additionally, SRT empowers operators to reduce the transport budget of moving studio functionality such as media asset management to the cloud. In a single 1RU chassis, Appear’s X Platform as an SRT Gateway can handle more than 192 SRT connections and 18 Gbit/s throughput, saving space and power consumption at a much lower cost base. SRT also enables organisations to change the economics of migration to the cloud in their favour.

“Today’s Internet video transport server-based SRT solutions are simply not optimised for primetime; the Appear launch of hardware acceleration for SRT changes that forever,” said Thomas Lind, Director Product Management,

PCAP, Dolby E Decode, HDR, and AV test signal generation. A factory-fitted hardware option provides RTE ‘Real Time Eye’ and jitter SDI analysis with the further option of a highly advanced SDI-STRESS toolset.

Visit https://www.phabrix.com

seamless cloud, on-prem and hybrid workflows – saving money by lowering costs, reducing time to air, increasing audience engagement, and simultaneously distributing to multiple channels.

LiveU will be showcasing its latest 5G offerings and cloud-based solutions at booth #N3058 in the North Hall. We will also be hosting live demos and special programming highlighting the latest trends shaping live video for news, sports, and a host of vertical market segments.

Visit https://get.liveu.tv/nab2023/

Appear. “We expect long-tail content to rapidly move to SRT, while some higher value content will be transported using SRT alongside existing traditional transport links when it makes sense. Critically, Appear’s launch of high-density SRT solutions enables media & entertainment organisations to, at last, be able to align video transport costs with content value.”

Appear’s X Platform is used around the world for live contribution, remote production and distribution. The X Platform offers the ability to effortlessly blend encapsulation formats such as MPEG TS, ST2022-6, ST2110, Zixi and now high capacity SRT, with an equally impressive array of codecs and video processing functions. It is part of the company’s ground-to-cloud vision that allows you to use Appear’s X Platform to send signals from cameras at an event’s location to a cloud production platform, without the need to send a mobile unit and accompanying production team. In primary distribution, and video transport to and from the cloud, the platform enables costefficiency through transport over the Internet.

Visit https://www.appear.net

Dielectric’s Breakthrough for Manifold Combining

OVER-THE-AIR broadcast pioneer Dielectric is adding another industry-first to its legacy with the introduction of reconfigurable manifold combiners for multistation RF facilities.

Adaptable for FM radio and UHF television, Dielectric’s innovation introduces system expandability to manifold designs that have long only been expandable by adding constant impedance filter (CIF) units. This offers an attractive option for sites installing new master broadcast antennas that can quickly add new tenants in the future, without the space constraints and assembly labour that CIF-based expansion requires. Dielectric’s reconfigurable manifold combiners are essentially modular fixed units built to specification. For example, a site owner with five broadcasters today and a goal of seven total tenants can specify a manifold combiner with seven ports. Dielectric builds the initial system with five filters and protects the two open slots with shorted ports, or “shorts”. Shorts are removed as filters for new

tenants, which Dielectric can also build in advance, are added to the manifold combiner. Dielectric raises the value proposition by providing calculations that carefully consider how site owners can add other broadcast frequencies in the market in various combinations. Importantly, these calculations even look beyond what the site owner may have originally envisioned as the maximum number of tenants.

“We first provide an analysis of the market that confirms how many potential stations in the market can logically join the master antenna system,” said Keith Pelletier, President, Dielectric. “We may find that number to be 10 broadcasters. The site owner ultimately decides how many broadcasters they want to accommodate immediately, and how many they want to add in the future. Using our High Frequency Simulation Software (HFSS) tools, we can calculate how each possible frequency will affect the combiner’s output splines. New tenants are added quickly and

easily by simply removing a shorted port, plugging in a new filter or changing some transmission line.”

The magic of the system’s reconfigurable design shines even brighter should a new broadcaster request to join the system after the original open ports are filled.

“The work we put into our original market analysis accounts for all potential frequency combinations,” said Pelletier. “As long as the site can physically accommodate more tenants, we can add new modular units with ports to our manifold combiner.”

The likelihood of having extra site space is increased when using a manifold combiner, as they offer a considerably smaller footprint than alternatives, including CIF systems.

“A typical CIF unit has two filters and input/output hybrids for each

Evertz Tackles Live Events, IP, 12G-SDI, Monetisation and REMI

AT BOOTH N2225 during NAB 2023, Evertz will showcase a host of solutions for Live Media Production, IP, 12G-SDI, Content Monetization and Remote Production in the Cloud.

For Live Media Production, Evertz has products such as the DreamCatcher BRAVO Studio collaborative live switching platform, which gives operators a virtual environment that looks and feels like a traditional control room. This integrates seamlessly with new products such as the 22-fader Vista 1 Carbon compact console from Studer, a world leader in IP audio solutions. For remote production, there are a plethora of useful tools such as the XPS Live 4K/UHD/3G/

Translation router that expands Evertz’s high capacity IP switching platforms and delivers all the power of IP with the simplicity of SDI. In addition there is the award-winning MAGNUM OS orchestration, monitoring and analysis software that lies at the heart of Evertz’s Software Defined Video Networking (SDVN) portfolio of IP-based end-to-end solutions. supporting both 12G-SDI and SMPTE ST 2110. For broadcast facilities and OB trucks operating in a 12G-SDI world, there is NEXX, Evertz’s next generation processing routing solution. This compact and robust product has a modular-based frame for maximum flexibility and is controlled by MAGNUM-OS, which provides all the common user interfaces including traditional hardware router control panels, virtual web-based control panels, and VUE intelligent panels.

In addition, Evertz will highlight the technologies it has developed to help content providers attract and retain audiences through interactive personalised experiences. SaaS solutions such as the evertz.io platform are giving live sports, live entertainment and linear channel

station,” said Pelletier. “A manifold combiner requires only one filter for each channel plus an output spline. The part count and footprint are substantially lighter.” Manifold combiners are also revered for their consistent electrical specifications across all stations on the system, with similar loss and electrical characteristics across the chain. That means that stations further from the antenna in the combiner chain will not be affected by higher group delays or signal loss that can ultimately degrade signal quality.

Dielectric will exhibit at Booth W3601 in the West Hall of the Las Vegas Convention Center.

Visit https://www.dielectric.com

customers the ability to launch new channels and monetise content across a wide range of Over-the-Top (OTT), free ad-supported television (FAST) channels, Connected TV and traditional Broadcast distribution/streaming applications. In addition, Evertz’s Ease Live interactive graphic solution is making it easier for content providers to create and build interactive overlays for millions of end users on multiple platforms in real time.

Finally, Evertz will shine a spotlight on its latest technology for the RF and Satcom industry, spanning key applications such as RF over Fiber and IP transport, RF distribution and routing matrices, RF Receivers and monitoring, and antenna and teleport services. Among the products on show will be the large-scale XQRF-512 routing platform, the industry’s best-performing and most reliable RF router matrix that offers exceptional density, flexible configurations and hot-swappable and modular architecture – all within a compact 14RU formfactor.

POSITIONS VACANT

CLASSIFIED + EVENTS

Technical Opertaions Manager

Cutting Edge Technical Services

About us

Curating a strong reputation over its 30 years, Cutting Edge is a leading provider of post production and technical services in the advertising, features & television industries. The technical arm of the businesses; Cutting Edge Technical Services is a leading provider of technical solutions within the media industry with an internationally established reputation of high calibre delivery and problem solving. From rigging and logging the latest reality TV series to supplying equipment for the education sector, CETS is a far cry from your typical technical environment.

About the role

Located in the Head Office in Brisbane, working alongside the Head of Technical Services, you will provide daily operational and logistics support to the business. Client focussed with a high level of technical aptitude, your contribution to the team is at senior level, managing several direct reports. You will also contribute to growing the customer base by utilising your proven business development skills in the Film & TV industry. As a Senior Manager, your contribution at the Executive level will be most welcome.

Key responsibilities:

• At least five (5) years experience and success in a leadership position with a focus on outcomes and performance in the Film and/ or Television industry

• Demonstrated high-level communication, interpersonal, negotiation and change management skills with a record of successful change management

• Experience in the management of human and financial resources in relation to the delivery of high quality services and outcomes within a complex service delivery environment

• Sound knowledge of current and emerging issues and workforce reform initiatives

• Prepare and update equipment allocation functions

Skills and experience:

• Experience in the Film and Television industry in a technical capacity

• Excellent editing software knowledge

• Strong ability to problem-solve

• Extensive production and technical knowledge

• Strong sense of client service

• Equipment installation and repair knowledge and experience

• Experience in the creation of technical drawings

• Experience managing projects

• Outcome driven and highly efficient

• Ability to operate autonomously and in a team environment

• Strong sense of personal responsibility for task completion

• Highly energetic and people orientated

• Strong written and verbal skills

To be successful in this role

You will be a team player with a can-do attitude! You will be open to learning the relevant systems to reflect the constantly changing and developing field that is technology. The successful candidate will be a forward thinker with previous experience, and be focused on finding solutions to any and all problems that may arise.

Apply Now

Please forward your CV to hr@cuttingedge.com.au

Only short-listed applicants will be contacted.

Comms Tech to Join the Team at Global Advancer

Global Advance is a production services company, creating high quality broadcast programmes for clients. Each year we produce over 250 matches of A-League football as well as the Liberty Women’s A League and are growing rapidly into other sports and genres.

We operate a range of cutting edge technology in our purpose built hub in Sydney and on location. Our existing staff and freelance workforce facilitates hundreds of projects each year and we are looking for new professionals to join us as we evolve and grow. We are currently looking for a Comms Technician to support our Comms and Connectivity Manager.

Key Responsibilities

1. Work with Comms Manager to set up the comms between the Hub control rooms Studios and the Mobile Production Units daily for each project. After setup you will work between multiple control rooms and the studio to support our production team.

2. Work with Comms Manager & Project Services to introduce new connectivity and communication products and determine the most reliable and cost-efficient method of delivering signals from field telecasts to GA’s Telecast.

3. Maintain the Operational standards of connectivity and communications. Attend Client Briefings as required.

4. Assist the Comms and Connectivity Manager to produce the connectivity and communications plan for each Project

Qualifications and Skills

Strong Comms experience is essential, ideally within a ClearCom environment however we can provide ClearCom Training to a technician with a strong pre-existing level of comms experience.

Studio and or OB experience desired. Our hub is located at Randwick and our Warehouse at Botany, and this role will be located at Randwick 2-3 days per week, predominately Friday – Sunday. Opportunities will exist for field work outside of our hub, with our Fly Pack and Production Truck.

Salary is negotiable according to experience.

Please apply via email to gromanis@ globaladvance.com.au

"At NAB Show, we saw amazing, innovative technology in streaming, lighting, the list goes on.”

WHAT WILL YOU DISCOVER HERE? THE LATEST PRODUCTS + TECH

Catch up to the latest streaming technologies, software and products at NAB Show, the unrivaled event for the broadcast, media and entertainment industry. With the exponential growth and popularity of streaming content, it’s critical to stay up to speed on evolving rules, emerging trends and key topics in OTT, 5G and cloud-based workflows.

Here you’ll learn ways to improve user experience, drive subscriber engagement and measure video advertising. Uncover strategies for delivering video at scale and optimizing content. Explore monetization opportunities and challenges. Don’t miss out! REGISTER NOW with code MP03.

—Lisa Styles, Executive Producer