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SMPTE 2022-6 and SMPTE 2110 Monitoring Contact PAT for details: AUS 02 9476 1272 sales@proaudiotv.com.au NZ +64 0800 002 417 sales@proaudiotv.co.nz

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Silver Trak Digital and TransMedia Dynamics launch Digital Media Supply Chain Centre of Excellence ... page 30. REGULARS 02 EDITOR’S WELCOME 04 NEWS New Ops & Tech Director for Foxtel;

NZ Examines TVNZ/RNZ Merger; Streaming Services Impact on Piracy; Sentimental Bloke Digitally Restored for Centenary; Equity Firm to Buy Grass Valley; BBG Sports Boosts Bluefish Performance; People Moves.

46 INDUSTRY FOCUS Players in

Content+Technology caught off-air. Presented by Fujinon/Fujifilm.

FEATURES 12 ACQUISITION Scaling The Heights with

34 AUDIO AUD$4 Million for Audio Description

16 SPORTSCASTING Magna, Axon Create Oz

38 RADIO NOVA Launches Interactive Ads for

Panasonic’s EVA1; Canon’s New EOS-1D X Mark III; Three New 4K Camcorders from Panasonic.

First in Control Systems for TRP and Sony; Panasonic Equips Tokyo 2020 National Stadium; OBS Counts Down to Olympic IBC Opening; Techtel Deploys 4K Facility for West Coast Eagles AFL Club.

22 NEWS OPERATIONS Asia-Pac Dejero First for Nine Network; Google News Initiative Supports Innovative APAC Storytelling.

on ABC and SBS; VoiceQ Takes Dubbing to the Cloud; Amber Confirms Ownership of Australian Monitor. Google Assistant; AVW Group Scales New Heights for SCA; New AoIP Tech.

42 CONTENT DELIVERY I’m a Video Feed … Get

Me Out of Here – Ten Partners with AWS; Fastly Launches Origin Connect; VUALTO Partners with ATEME for Encoder Integration; Haivision Announces Play Pro for Stream Monitoring.?

26 POST-PRODUCTION Rotor Studios Chooses Digistor and Dell EMC Isilon Storage; Park Road Goes 10K with LaserGraphics.

30 MEDIA IN THE CLOUD DAMsmart Asia, Silver

Trak Digital and TransMedia Dynamics launch Digital Media Supply Chain Centre of Excellence in Kuala Lumpur.

22 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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EDITOR’S WELCOME

For the latest news visit www.content-technology.com

On the Plus Side…

By Phil Sandberg

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Overall, Disney’s Direct-to-Consumer & International revenues for the quarter increased from USD$0.9 billion to $4.0 billion. The segment’s operating loss, however, did increase from $136 million to $693 million. According to the company, the increase in operating loss was due to costs associated with the launch of Disney+, the consolidation of Hulu and a higher loss at ESPN+, due to higher programming costs.

Time will tell. Thanks for reading Phil Sandberg – Editor/Publisher

Despite this, there’s no doubt Disney’s trump card is its content library, and it’s easy to see the appeal in the subscription business model, no matter your industry. Recurring billing gives operators the ability to forecast with some certainty, regardless of an individual

While it wasn’t a harbinger of a media apocalypse, the Disney+ streaming service has done pretty well since its launch last year. In The Walt Disney Company’s First Quarter

Could we see a time where telcos, cable/ satellite, and other “legacy” operators step in, offering perhaps, aggregated subscription or pay-per-view access to long-tail or underexposed original programming? With so many aspirants in the subscription streaming space, will we see a re-emergence of the gatekeeper? 03:00

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A number of studies have found the number of streaming services consumers are prepared to sign up to averages around three. If you’re Disney, Netflix or Amazon, that might be fine, but what of other services, and is there space around that pain point for traditional aggregators to step in?

Meanwhile, ESPN+ subscribers grew from 1.4 million in December 2018 to 6.6 million in December 2019, while Hulu subscribers (SVOD-only and Live TV+SVOD) came in at

Pluses Keep Multiplying

ersburg

subscriber’s actual consumption, but there is a limit.

Earnings Reports for 2020, the company reported current subscribers numbering a staggering 26.5 million. With an average monthly revenue per paid subscriber of USD$5.56, that’s roughly $147,340,000 per month, so far.

Neither ourselves, our families, friends, colleagues or clients have been affected by to the extent that many others have, and for that we are thankful. So, all we can do is dust ourselves off, help others where we can, and continue to do what we do. Hopefully, you can do the same, and we can all come together again at NAB2020, or the ABE Show. Take care out there. 16:00

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IT’S BEEN AN EVENTFUL Christmas/New Year/New Year period here in the offices of Content+Technology. We’ve stayed huddled inside, filtering out bushfire smoke with the air-conditioning while the sky overhead turns a dark shade of Martian red, we’ve journeyed to the public library for remote teleworking because, well, the library still had power, and we’ve revised our travel itineraries in the light of the Coronavirus outbreak. The office betting pool is still giving odds on a zombie apocalypse, locust plague, and asteroid strike, but the good news is IT COULD BE WORSE.

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Avid Appoints Kathy-Anne McManus to Chief Customer Experience Officer

New Ops & Tech Director for Foxtel

AVID HAS APPOINTED Kathy-Anne McManus to the newly created role of Chief Customer Experience Officer (CCXO). Reporting to CEO Jeff Rosica, McManus will ensure that all functions across Avid can collectively deliver the greatest possible satisfaction and value for all types of customers including creative individuals, production teams and media enterprises in every interaction with Avid.

FOXTEL HAS ANNOUNCED that two of its senior executives, Les Wigan and Lesley Portwain, will move into newly created roles reporting to CEO Patrick Delany.

McManus re-engineered Avid’s solutioning, services and customer care operations since joining last year as SVP, Global Customer Solutions and Services, boosting the company’s ability to provide exceptional support of its global customer base, and better supporting its fast-growing subscriber base and the ramp up of Avid’s cloud and SaaS solutions. In her expanded role, McManus will lead ideation, design and implementation of new programs, processes and systems so that every Avid function can contribute fully to deliver the best overall customer experience. “With KAM’s unsurpassed media technology expertise, combined with her passion for customer satisfaction, she is the perfect individual to help drive the customer experience at Avid through the new CCXO executive role,” said Jeff Rosica, CEO and President, Avid. “Given her leadership and emphasis on improving the customer experience focus across the company, I am confident that customers of all types will enjoy even better results and much more success using our solutions, engaging with our organisation and participating in our global user community.” “We’re extending our customer-centric mindset to every type of engagement,” said Kathy-Anne McManus, “whether that’s a music student downloading and subscribing to Pro Tools on the Avid Store for the very first time, or a massive media company with a global footprint of deployed Avid products that is now transitioning to the cloud. Every touch-point can inspire our customers and repeatedly affirm they’ve made the right choice with Avid.” McManus has more than 25 years of experience in servicing, supporting and educating media technology users. Prior to rejoining Avid in January 2019, she had served as the company’s VP of Worldwide Professional Services and Director of Services for Asia Pacific. McManus has also held senior leadership roles in the services and support organisations of several media technology providers including Adobe, Amdocs and Ericsson as well as telecommunications operator Telstra. Visit www.avid.com

New Foxtel Executive Director, Operations & Technology, Les Wigan.

Foxtel Chief Executive Officer, Patrick Delany said, “I’m pleased to be in a position to promote two talented executives from within the Foxtel Group to newly created roles with responsibility across the Foxtel broadcast and streaming business: • Les Wigan as Executive Director – Operations and Technology, Foxtel Group; and • Lesley Portwain Chief Customer Service Officer, Foxtel. Mr Wigan is currently Chief Operating Officer at Kayo Sports having led the establishment of the world leading sports streaming product. In his new role, Les will be responsible for all technology platforms, services and operations across the Group’s Broadcast, Streaming, Enterprise and Studios. His role will include unifying the underlying technology and platforms across the Group. In addition to these changes, Alice Mascia, Chief Product and Strategy Officer will take on responsibility for Foxtel’s Transformation office. The restructure follows the decision of current Chief Operations Officer Euan Smith to become CEO of leading Malaysian TV business, Astro. Foxtel Chief Executive Officer, Patrick Delany said: “Since joining us two years ago, Euan has led a transformation in technology, operations and customer service at Foxtel playing a vital role in our turnaround and helping lay the foundations for our future. “I understand his desire to take a CEO role and given he commutes once a month to London to be with his family, to be a little closer to home. I want to thank him for his outstanding support and all of us at Foxtel congratulate him on his appointment and wish him well in the role. Mr Delany added: “We now have an opportunity to bring forward our plans to reset Foxtel’s operating model. This will involve bringing best-in-class digital technology, including that created for the Kayo Sports streaming platform, across the entire group with the aim of delivering a material improvement in efficiency and customer experience.” Visit www.foxtel.com.au

NZ Govt Examines TVNZ/RNZ Merger NEW ZEALAND’S Minister of Broadcasting, Communications and Digital Media has announced work has begun on a business case to assess the viability of forming a new public media entity.

“Cabinet has now given approval to complete a business case to examine the viability of establishing a new public media entity as an independent multiple-platform, multi-media operation.

“The Government must ensure New Zealanders have a strong independent public media service for decades to come, which means ensuring public media assets are fit for the future and able to thrive amid the changing media landscape,” Minister Kris Faafoi said.

“Final decisions about the future of RNZ and TVNZ will be made once the business case is completed.

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“It’s well known that New Zealand’s media sector, both public and private, is facing unprecedented challenges with competition from the likes of Google and Facebook, declining revenue shares, and changes in when and how audiences access their information and entertainment.

“That presents risks for the future viability of New Zealand’s public broadcasting operators, RNZ and TVNZ, and the Government needs to address those risks,” Kris Faafoi said.

“It is about establishing the best way of providing New Zealanders with a range of trusted news, information, and entertainment that reflects New Zealand – its diversity, history, and aspirations. At the same time, we need to ensure any new public entity has the flexibility and the strength to meet future change and challenges,” Mr Faafoi said. NZ On Air will continue to have an important role to fund local content for both commercial and non-commercial media outlets. Consultancy, PwC, will now conduct the business case which Minister Faafoi expects to receive around the middle of this year.

Talkback Communicate with camera operators and production staff.

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Program Mix Listen to the program audio mix.

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Source and Control Downstream keyer, media players, fade to black and transition selection.

Source Inputs Connect up to 40 x 12G-SDI inputs for HD and Ultra HD or 10 Quad Link 12G-SDI inputs for 8K.

Spin Knob Control Scroll through on screen menus or adjust audio levels.

Independent Assignable Outputs 24 x 12G-SDI outputs for HD and Ultra HD or 6 x Quad Link 12G-SDI outputs for 8K.

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The built in multi views let you view multiple sources in a single monitor� You get 4 independent multiview outputs that can each be individually customized or transformed into a single full resolution 8K multiview when you switch to 8K� Each multiview can be set to 4, 7, 10, 13 or 16 simultaneous views� Each view also has on screen status including a custom label, VU meters and tally�

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Streaming Services Impact on Piracy THE NUMBER OF AUSTRALIANS consuming pirated movies, television shows, music and video games is at its lowest level in five years, according to a new survey, with more people choosing to pay for content online than consume it unlawfully. Australian Minister for Communications, Cyber Safety and the Arts, the Hon Paul Fletcher MP, welcomed the significant decrease in the consumption of pirated content and said it was in part due to the rising popularity of subscription entertainment services – such as Netflix, Spotify, Stan and Disney+ – and the rollout of the National Broadband Network. The Online Copyright Infringement Survey 2019, commissioned by the Department of Communications and the Arts, found that 80% of survey respondents download, stream or share online content (lawfully and unlawfully), up from 78 per cent in 2018. Streaming was the preferred method of consumption for music, movies and TV programs. “As internet speeds increase and more Australians connect to the National

Broadband Network, online entertainment is becoming a bigger part of people’s lives,” Minister Fletcher said. In the survey, 2,463 Australians aged over 12 recorded their online usage across the categories of TV programs, movies, music, live sport, video games, e-books and PC software. The number of respondents who reported consuming infringing online content halved, from 32% of respondents in 2018 to 16% in 2019. At the same time, the number of people who reported only consuming content lawfully rose – from 68% in 2018 to 84% in 2019. “It is pleasing to see Australians increasingly turn to legitimately-sourced content. It is widely accessible and reasonably priced, which supports the continued growth and success of our creative industries,” Minister Fletcher said. The survey is available at: www.communications.gov.au/2019-online-copyright-infringement-survey

Sentimental Bloke Digitally Restored for 100th Anniversary THE NATIONAL FILM AND SOUND ARCHIVE of Australia (NFSA) has marked 100 years of silent film classic The Sentimental Bloke with a new digital restoration. The premiere, at Sydney’s Westpac OpenAir cinema featured an exclusive live performance of a new score composed by ARIA-award winning musician Paul Mac especially for this anniversary. The Sentimental Bloke was adapted from C.J. Dennis’ 1915 verse novel, by Australian film industry power couple: legendary director Raymond Longford, and superstar Lottie Lyell. A huge box office hit with audiences in 191920, The Sentimental Bloke is one of few silent-era Australian films to have survived in its entirety. The Sentimental Bloke tells the story of Bill, a wayward Aussie bloke played by Arthur Tauchert, and his love interest Doreen, played by Lyell. The film was shot on locations including Manly beach and the-then rough streets of Woolloomooloo, offering a rare glimpse of Sydney 100 years ago. This digital restoration was an international effort; the NFSA had to search for and identify multiple sources to work from - including a digital scan of a pristine fine grain print from George Eastman Museum in New York. The film was painstakingly brought back to life by NFSA experts and postproduction partner Vandal. It is the 30th title in the NFSA Restores program which digitally restores, preserves, and shares classic Australian films for today’s and future audiences. Visit http://bit.ly/SentimentalBlokeYouTube

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Former Avid CEO Leads Equity Firm to Buy Grass Valley BLACK DRAGON CAPITAL, a private equity firm, led by former Avid CEO Louis Hernandez Jr., has completed an agreement with Belden Inc. in which it will acquire Grass Valley, the supplier of broadcast and media solutions. The deal, which will be finalised during Q1 2020, will transfer full control of all Grass Valley assets to Black Dragon, which says it plans to leverage Grass Valley’s intellectual property and talent to drive innovation and lead the industry’s migration to a softwarebased future.

of the market in profitability. Black Dragon’s experience leading companies through digital transitions will allow Grass Valley to accelerate the next step in its evolution, bringing more innovative products to market faster.”

There are no immediate changes planned to Grass Valley’s operational management structure and Tim Shoulders will continue in his role as president. Black Dragon’s founder and CEO, Louis Hernandez, Jr. commented, “We see tremendous opportunity for transformation in the media technology market and believe that Grass Valley is in an ideal situation to lead the market through these changes. Under Belden’s leadership, the Grass Valley solutions portfolio has expanded and the business has developed a discipline that puts them in the upper quartile

In his time as CEO of Avid, Hernandez spearheaded a strategy to transition the company’s core product offerings to solutions that enabled smooth and simple content sharing and distribution workflows. Black Dragon, noting that today’s broadcast landscape is in need of a similar shift, says it sees Grass Valley as a platform to accelerate the industry’s move toward its digital future, increasing investment in technologies and systems that enable new softwarebased services and pay-as-you-go business models. According to Black Dragon, the equity firm takes an advisory approach to the companies in which it invests, and delivers a series of proprietary tools, such as its Black Dragon Playbook, a set of guidelines designed to create sustainable, market-leading companies. Additionally, the firm has an extensive roster of advisors

with a combined century-plus of experience in engineering, content creation, business management and technology leadership in the media space. “Grass Valley has led the market in the transition from SDI to IP and has been diligently pivoting our product lines to cloud-based and SaaS solutions,” said Tim Shoulders, Grass Valley’s president. “Black Dragon brings the expertise and vision that will allow us to accelerate this transition to the benefit of our customers who are looking for more robust and flexible models for content production and delivery. We’re excited to bring our customers along with us on this journey.”

Tim Shoulders, President, Grass Valley.

According to Grass Valley, customers who are invested in current product lines will experience a seamless transition. Grass Valley says it maintains full control of the supply chain and operational systems to enable on-going support without disruption.

Louis Hernandez, CEO, Black Dragon Capital.

Visit www.grassvalley.com

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StreamGuys Partners with Agile Broadcast in ANZ SAAS-BASED STREAMING and podcast solutions provider StreamGuys has forged a new partnership with Australian systems integrator Agile Broadcast. Effective immediately, Agile will serve as StreamGuys’ exclusive representative in Australia and New Zealand, giving radio broadcasters in the region a local sales and support resource for StreamGuys’ offerings. Agile will offer its clients StreamGuys’ comprehensive suite of cloudbased services and solutions for producing, managing and delivering live and on-demand streaming media and podcasts. Ian Thomson, director of sales and business development at Agile Broadcast, noted that in addition to StreamGuys’ high-availability streaming services and robust delivery network, the company’s simple yet powerful tools offer highly-desirable

functionality for radio enterprises. “SGrecast is a fantastic SaaS solution that creates new revenue opportunities, allowing clients to not only easily rebroadcast content that has already been streamed and transform it into podcasts, but also providing extensive tools to publicise existing media,” said Thomson. “Meanwhile, monitoring and analytics tools such as SGalerts and SGreports enable our clients to gain much-needed information about their streaming operations and content usage that can be difficult to get from other providers.” Visit www.agilebroadcast.com.au

BBG Sports Boosts Bluefish Performance with V6 SDK BBG SPORTS is a sports technology company based in Melbourne and has been a broadcast service provider to tennis and cricket TV coverage since 1991. BBG focuses on creating and maintaining broadcast addons for sport coverage, the most well-known of which is their ‘Hot Spot’, which revolutionised both the broadcast and umpiring of test cricket. BBG adds value to live sport in a way that enhances the viewer’s experience, so it’s important that their custom-developed video technology works in real-time with minimal delay. Working with Channel 7, Channel 9 and Fox Sports, BBG has become ingrained in mainstream sports coverage, particularly with Hot Spot, Speed Gun and the Snickometer (or ‘Snicko’) technology for cricket. For the Summer of 2019/2020, BBG introduced its new ‘The Comet’ suite of tools for tennis. While Hot Spot uses infrared imaging to see whether the ball hit the bat or the batman’s pads, the Snicko tool uses slow motion video and audio to detect whether the ball has struck the bat. With three separate high-speed Sony 4300 cameras providing multiple angles for Snicko reviews, it’s critical that all three of these cameras record in perfect sync. When the third umpire steps back or forward a frame, they need to see the exact same point in time on all cameras to be able to make the correct decision.

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Since 2009, BBG have been using Bluefish444 hardware and have continuously upgraded their equipment, with all but a couple of tools now exclusively using Epoch cards. After a feature request from BBG, Bluefish added an input field count card property to their SDK to allow the timers on all cards to be reset simultaneously, thereby ensuring that all feeds are always kept in sync.

BBG’s current configuration for Snicko in Australia is two Epoch | 4K Supernova S+ and an Epoch | 4K Neutron, for nine inputs (three from each high-speed camera for video), a tenth input with embedded audio, and an output to go to the broadcaster and subsequently the international feed.

encountered when they first switched from 1080i to 1080p for Fox Sports in 2018.

Warren Brennan, founder of BBG Sports, comments that since they moved to Bluefish hardware, things have been much smoother. “Bluefish’s almost zero latency, zero CPU usage and synchronised recording has been the biggest advantages we’ve seen over other products. With other cards, we would go out of sync every 25-30 minutes and require a reboot.” With on-board DMA video processing providing low-latency I/O, Epoch cards have very little impact on workstation performance, freeing up vital CPU resources for BBG’s tools. Comparatively, BBG found that competitor cards use upwards of 10% of the CPU for the same 10 channel dual-stream 3G-SDI capture workflow. Bluefish444 recently released its next generation v6 cross-platform SDK, which allows third-party software solutions to integrate and control Bluefish444 video I/O devices on Windows, Linux and macOS systems. With the release of v6, developer partners can access a new suite of useful development tools, enjoy a performance increase from their existing Epoch hardware, and develop support for the latest KRONOS I/O cards. BBG adopted Bluefish’s new v6 SDK package earlier in 2019, which immediately provided multiple benefits to their existing installations. BBG was able to see a noticeable improvement in DMA performance of their existing Epoch cards, allowing some of their systems to move from four down to three cards for both 1080i and 1080p formats. The V6 upgrade helped overcome bandwidth issues they previously

Since moving to the new v6 SDK, BBG’s experience has been smooth with no problems. BBG deploys the same Snicko system in New Zealand for dual stream 1080i multi-channel capture, making their life much easier by being able to utilise the same system to support different formats regardless of local broadcast requirements. Transitioning to the new SDK package was seamless, and the backward compatibility provided by Bluefish meant only minor code changes were required by BBG to get up and running when moving their code base from Bluefish v5.11 SDK to the v6 SDK. BBG also recommends Bluefish’s reference genlock system, with Brennan commenting the Epoch has the best implementation that they have come across. “As soon as we plug an analogue genlock signal into the card and it locks and goes white, we are in great shape, and we don’t need to worry about changing any software or settings.” Brennan continues, “and if I decide to use that BNC as an extra input, I can do just that and it’s a pretty easy change in the SDK.” BBG will be looking for higher density Bluefish cards for the 2020 season, with Bluefish’s KRONOS K8 fitting the bill with eight 3G-SDI I/O on a single card. Brennan also cited upcoming requirements for IP-supported workflows in the US, UK and Europe, which Bluefish will have covered with the forthcoming KRONOS Optikos, capable of multi-stream SMPTE 2110 I/O on a single card. With BBG having already made the switch to the latest KRONOS-compatible v6 SDK, it means that very little extra development will be required from BBG engineers when they adopt K8 or Optikos. Visit https://bluefish444.com

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ViacomCBS Appoints Paul Anderson to Head Combined ANZ Operations

Magna Appoints Maroni ANZ Sales Manager

VIACOMCBS INC. has appointed Paul Anderson to lead its combined operations in Australia and New Zealand. Anderson, who is CEO of Network 10, is now also Executive Vice President, ViacomCBS Networks Australia and New Zealand. His appointment follows the merger of Viacom and CBS Corporation to form ViacomCBS Inc. As a result, Network 10, which has been part of CBS Studios International since November 2017, has been integrated into ViacomCBS Networks International and will now be combined with Viacom’s existing operations in Australia and New Zealand under Anderson’s leadership. In his expanded role, Anderson will additionally have local oversight of Viacom’s family of flagship pay TV networks – including Comedy Central, MTV, Nickelodeon and Nick Jr. – and a range of associated businesses, as well as retaining oversight of Network 10’s portfolio of free-to-air TV channels and digital platforms. Ben Richardson, who is General Manager of Viacom’s existing networks operations in Australia and New Zealand, will now report to Anderson as GM, SVP, ViacomCBS Pay Networks and Network 10 Business Development, with a brief focused on commercialising the company’s combined assets in the markets. Paul Anderson was appointed Chief Executive Officer of Network 10 in July 2015 and steered the company through its acquisition by CBS Studios International, which was completed in November 2017. Subsequently, he has overseen a range of strategic growth initiatives to build a true multiplatform media business, increase digital scale and diversify revenues including: a rebrand and repositioning of Network 10’s portfolio of channels and services in October 2018, the launch of streaming service, 10 All Access, in December 2018, and, the re-establishment of an in-house advertising sales department in late 2018. Visit https://network10.com.au

Maroni was previously with Studiotech Australia as Sales Manager, PMPRO as Senior Project Manager/Director, Miller Camera Support as Group Sales and Marketing Manager and Sony Australia where he was Group Marketing Manager for their Professional Solutions Division. He is also on the board of SMPTE’s Australia Section. Magna Group CEO Matthew Clemesha said, “Paul is a very valuable addition to the Magna team with his proven sales, management and communication skills. He consistently meets his goals and objectives and delivers exceptional results. He also has a real passion for the industry and the technology that enables the broadcast ecosystem.” Paul Maroni said, “Joining Magna Systems at this time when the media technology landscape is changing at a rapid pace and with the growing number of opportunities in the broadcast space and other verticals, is an incredible opportunity. Magna has shown its constant commitment to innovation, new technologies and development time and time again over the years and there is so much more in the pipeline. It’s fair to say to all our clients across Australia and New Zealand, watch this space as the best is yet to come.” Paul Maroni can be contacted at Magna Systems on +61 418 604 480 or at PMaroni@magnasys.tv

Grant Simms Joins Techtel as Phillip Dracoulis Joins Software Solutions Architect tm stagetec systems

FOLLOWING GROWTH from successful projects in Australia and overseas, CombiTel Group has strengthened its management team with the appointment of Stephen Walsh as Operations Manager.

TECHTEL HAS ANNOUNCED the appointment of Grant Simms to the role of Software Solutions Architect. Based in Sydney, Mr Simms is responsible for developing the company’s new direction in software integration services. This comes as many of the company’s customers seek a new edge in their systems by integrating rising media and entertainment software packages into their unique environment and replacing hard-coded, hardware-dependent software with a malleable, open source solution.

Stephen has worked in the UK, Canada and Australia. He has a proven track record in the delivery of system and software projects, through the application of project, engineering and quality processes that govern the full development life cycle in various environments.

NEWS + PEOPLE

Maroni, known in the industry for being a results-focused leader with over 25 years’ commercial and technical expertise delivering at both operational and strategic levels, brings a wealth of experience to his new role.

CombiTel Group Adds Walsh as Operations Manager

Based in Melbourne, Stephen brings over 30 years of industry experience in telecommunications, applied technologies and software development

PAUL MARONI HAS JOINED Magna Systems and Engineering as Sales Manager for Australia and New Zealand.

Grant has over 20 years of software solution integration and coding experience, delivering solutions for complex systems to some of the most recognised global brands.

Walsh received a Bachelor of Engineering (Honours) degree from Kingston University London. His management education credentials include Diploma of Project Management from the Australian Institute of Management and Graduate Certificate in Management.

“Grant is a renowned industry specialist who is going to take Techtel’s software integration services to the next level. His experience in software architecture, coding, and engineering combined with his passion for providing outstanding software delivery and reliability, make him a remarkable fit for Techtel. We are very excited to have Grant lead our mission of providing our customers with a powerful, holistic, cost effective software integration service,” said Mal Chandler Techtel CEO.

Visit www.combitel.com.au

Visit www.techtel.com.au

sales@irtcommunications.com

TM STAGETEC SYSTEMS has appointed Phillip Dracoulis to the role of Professional Audio and Broadcast Sales. Phillip comes to tm stagetec systems with an extensive array of pro-audio, broadcast and sales experience. After more than 40 years in the industry, Phillip has worked with some of the biggest names in music and professional audio before he moved into sales focused roles. According to tm stagetec systems, clients will greatly benefit from Phillip’s experience combined with the leading-edge audio solutions offered by tm stagetec systems. Phillip also brings to tm stagetec systems significant operational experience and knowledge of the current, digital-based TV Production and Broadcast environments. Mark Lownds, General Manager at tm stagetec systems, said, “We are very excited for Phillip to join our team, he brings so much Professional Audio and Broadcast experience to the business and we know this experience will help us to better serve our clients during 2020 and beyond.” Visit www.tm-systems.com.au

PEOPLE ON THE MOVE KAREN EASTMURE has taken on the role of APAC Marketing Director for AV supplier Midwich. She comes to the company from Avid Technology where she was Head of Marketing, APAC. Prior to Avid, Karen held the title of APAC Senior Marketing Manager with Eastman Kodak. -------------------------------------------------

JONATHON DAVIES has been appointed Assistant Director at Fremantle Performing Arts. He has also taken on the role of Lighting Cameraman with Red Light Films. He was previously a film director with Caped H Films. -------------------------------------------------

RAMZI JILDEH has been named as Technical Solutions Specialist at Pro AV Solutions in Adelaide. He comes to the company from Advanced Media in Dubai where he held the title of ManagerBroadcast. Prior to advanced Media, Ramzi was Systems

Presales Manager with MediaGuru, also in Dubai. -------------------------------------------------

ANDREW MCKINNON has taken on the role of Director/Switcher with Tennis Australia with responsibility for TA’s Australian Open and ATP Cup world feeds. He is also currently a director/ producer with Blue Garage Broadcast + Productions and has held positions with Chief Entertainment and the Seven Network. -------------------------------------------------

BEN WILSON has been named General Manager at Edge Digital Technology. He was previously Business Manager at Edge and Sales and Marketing Manager (Cinema) with Atlab Image and Sound Technology. -----------------------------------------------

SCOTT JAMIESON has been appointed M&E Sales Executive at Soundcorp. He previously held the position of Manager - Professional Audio Products with the company.

Igor Leprince to Lead BAI Communications

BAI COMMUNICATIONS (originally Broadcast Australia) has announced that global wireless communications executive Igor Leprince has been appointed to the role of Group Chief Executive Officer commencing 1st May, 2020. Mr Leprince has more than two decades of experience designing, building and operating wireless communications infrastructure around the world, including more than ten years at Nokia, where he was President, Global Services. His current roles include Chair of West Midlands 5G, Chair of AWTG, Senior advisor for Bain & Company as well as board advisor and investor in multiple technology companies. “Igor has a proven record of partnering with the industry by helping them improve their existing wireless infrastructure and planning the next generation of public infrastructure for their citizens. He also has significant experience in growing and running large scale global telecommunications businesses,” said Ms Deena Shiff. “Igor brings his global communications industry experience to BAI at a time when we are planning and executing on our next stage of growth,” she said. BAI began in 2002 as Broadcast Australia, a company that managed broadcast transmission services for customers in Australia and has since grown to become a leading provider of communications infrastructure for customers in major cities across the globe. “BAI Communications has grown from its broadcast foundations in Australia to achieve success globally, exporting its expertise to benefit people in Europe, Asia and North America,” Mr Leprince said. “I am delighted to lead a global organisation known for excellence in connecting communities. I look forward to working with my new colleagues to help BAI build on that reputation by making our customers’ networks more resilient and helping them realise the potential of 5G and other new technologies,” he said. Mr Leprince will split his time between Australia, the global locations where BAI has customers, and the United Kingdom, where he and his family will continue to reside. Visit www.baicommunications.com

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

Scaling The Heights with Panasonic Now in its second series, ABC’s The Heights follows six families navigating the challenges of everyday life in an ever-changing urban community, Arcadia Heights.

The Heights Camera Operator Claire Leach on set. Credit: Aaron McCann.

Produced by Matchbox Pictures and For Pete’s Sake Productions in Perth, Western Australia, the series’ studio and location action is captured by camera operators Claire Leach, Ian Batt, Meredith Lindsay and Jim Frater using Panasonic’s EVA1 4K compact cinema camera. “The look of the show is really running gun,” says Frater, “so it’s going to be practically lit, and we’re in and out of the studio, and we’re on locations and walking into locations we wouldn’t normally reccie, and just having to use available light. “The biggest consideration was the show is probably 98% handheld and, two, fatigue, working in the Perth summer, and we couldn’t use Easyrig. So, I needed a camera that was good in low light, operator friendly, adaptable, and light. “I got to play with an EVA1 really early, and my background before that was doco dramas, so it was a lot of Sony-based cameras, like FS7, the FS5. They’re bigger kind of doco cameras. I liked the LT, but it was just too heavy for that scenario. So, so we tried the EVA 1 and we just loved the skin tone. It held up really nicely for the range of lighting we put it through. The dual ISO was a saviour for us in this show, and it was light. It ticked the boxes.

Camera operator Meredith Lindsay. Credit Aaron McCann.

“Post loved it, because it was an easy grade for them. We would shoot on a Monday, that’s ingested and converted Monday night, and it’s in the edit suite on Tuesday to be cut, and then we grade it a couple of weeks later. So, it’s a really quick turnaround. So, we needed something that could do that.” C+T: So, how do you approach shooting the show? “We’re running four cameras all the time, which is a blessing and a curse. But every scenario we’re running four cameras, minimum three. We shoot it as if we’re there, we get one go at it, and away we go. So, the cameras needed to be able to be gradable, because they’re all at different stops, they’re heavily shadowed sometimes, and the other ones they’re key-lit from the front, so it’s a real mish mash.” How has the approach changed from Season One?

ACQUISITION

“In season one, we ran Sigma zooms, and we ran Zacuto viewfinders, and just a little video link, and we basically built a shoulder rig for them, and ran Nucleus follow-focuses. My operators will do their own focus as well, they literally packed us in very small rooms, small cameras, there’s usually no zoom, it’s just the operators and we go from there.

“So, on the first season, I fell in love with the camera. I wasn’t happy with my lens choice just

because of the ranges I was limited with. So, when we came to season two, we went and spent a bit more time, because they wanted to kind of go in a different direction, and so we looked at the FS55, we looked at the URSA Mini Pro G2. We were going back to the Sony, but basically, end of the day, we decided to go with what we know and what worked, and gave us no dramas, which was the EVA1. And we dropped one of those cameras, and we dropped it three times, and it’s never, ever faulted, even after being dropped. And I mean one of the drops was like a good three metres over the road.”

Was there an intake of air, though? “Oh, every time. Look, I’ve never been on a set where we dropped a camera, and we dropped three in the first series. And every time you’re like, ‘Oh’. But it was like it still powered on, it still recorded. I mean, we had to send it back to get it repaired, but it always came back, and it’s rock solid on the inside. So, for that kind of reliability, you just can’t beat it. “And just the speed at which we can move is amazing. And it is, it’s just the camera size, it’s quite nimble. I mean, we’ve built them up a little bit bigger this year. I’ve mounted the wooden camera

ACQUISITION & LIGHTING

Panasonic EVA1s in action o ABC’s The Heights. Credit Aaron McCann.

get out, and so that, as a doco cameraman, you might have a really blown out window, so you just blow it out. “That’s the other thing, too. When we’re in the studio, when we did our test, we blew out windows, and then in post we’d bring it back, and we could see all the nasties from the studio. So, I kind of go even more over now so we can’t bring things back, which is harder said that done really, but we do that now, because we were seeing too much, if that makes sense, which is not what we wanted to see. “But, the dynamic range is great. Sometimes when we’re on location, especially when we’re outside, we’re kind of really harsh lighting sometimes. And we’re not using big lights, I think my biggest light that I’ve pulled out in the studio is, we’ve got a couple of 6Ks, but they’re just for general things. Most of our night scenes are lit with NanLite tubes, and with little one by one panels, and at 2500, that’s more than enough light for us, which is great, because it fits with our small footprint.

The Heights’ Director Renee Webster and with DoP Jim Frater. Credit: Ashleigh Nicolau.

“Camera-wise we’ve lifted the game a lot with the look of the show, we’ve just finessed it a lot. And that was the other thing, my crew is quite a young crew, and I have no grip department, because of the budget. So, my lighting and my camera department are basically my grip department. And we don’t use lots of dollies and frames. But everyone in my crew, like particularly the operators, they’ve never shot drama before. We keep the cameras on our shoulders all the time, so it’s pretty draining on you. And my second unit DP, we’re a lot older, so the wear and tear on our bodies, being lighter and quicker and does the job is a win in my books. And we’re running big Fuji lenses, the 19 to 90 and 85s to 300s, so trying to stay not fatigued is really important. There’s no other camera that I could have done it with.” So, come season three, you’ll be cracking them out again?

“Like a small day for me is I think around 10 minutes, is a light day for us, and that’s just three locations. So, when we’re doing the busy day for us is 14 minutes, and we just wouldn’t be able to do it lugging a lot of gear. So, we also have to have a very small footprint, that’s the style of the show.” “And you have the 5.7 sensor which scans down to 4K, you’ve got the image stabilisation, we don’t use that, but all those options. Onto SD card, a nice media, and now it’s the RAW output, not that we’re doing that. It’s a lovely little camera when it’s built up and it does everything you want and more.” And, what format are you delivering to post? “We’re using the 200 intra-i. This year we’re actually only shooting in 2K, because our delivery is 1080. We’re trying not to do too much in post, and trying to get it all on the run. So for us, we’re just running a couple of the 128Gb cards through all the cameras, straight into post. We’re just using the Panasonic 709 Lux to just get it all through into the edit suite, and then I come back in and just sit on the grade.

One thing I have done is, and we found the pictures were too clean at the ISO 800, and even though we never try to shoot underexposed, but we do, but it was still really clean. So, I literally just shoot at 2,500, and it gives us slightly more noise, and it is slight, but we try and kind of use that just to dirty our images a little bit. A bit more grey. “I come from a film background, so I don’t mind grey. And I was brought up on Super 16, so I like that kind of little – grungey’s not the word, but it’s just, it’s more real, you know, in a dark scene, I don’t like overly clean pictures. And that’s the style of this show too, is we kind of embrace different things. We’re not embracing a clean thing because our world isn’t clean, our world’s real, and we kind of go with the look of the show. So, it’s kind of rough and ready, but in a controlled way. “The only thing I can do to enhance is to mess with my pictures, like we have lots of flare, we’ll push a light down a lens just to blow it out and make it ugly, probably ugly, and in a real kind of way. Because our approach is if you walk into that room, you’d have to make do with what you have there, get in and

“But yeah, season three, if you’re on to a good thing, stick with it. I probably wouldn’t even change the lenses. I’d probably look at trying to work out how I can dirty the images up a little bit more, is the biggest thing. Everyone looks at the images and they go ‘Oh, they’re so clean’. And the skin tones, the skin tones just hold up. “And just as a side point, just so you know, I love these cameras so much I actually went and bought one for my doco work that I do, so yeah, I just can’t sing their praises too much.”

ACQUISITION

PL mount, because I wanted a better zoom range.

“Gearhead in Sydney basically bought the cameras and built them for us and hired them to us. And I was speaking to David Knight, he’s like when they were doing their testing with them, he’s like “Wow, why have I never heard of these?”, and I’m like “Well, a lot of people don’t”, I just, because of my background, I said I just really rave, and I think they were originally going to write them off after one season, but they were obviously so impressed with the image quality. For what you get for the money is amazing. And with the PL mount, it’s a great, lightweight, beautiful little camera. So yeah, they were impressed. I think it came as a bit of a shock to them about how good they are, but I already knew through season one how good they are.

ACQUISITION & LIGHTING

Canon Unveils Landmark New EOS-1D X Mark III CANON AUSTRALIA HAS LAUNCHED the ultimate interchangeable lens camera, the EOS-1D X Mark III, offering professional photographers, videographers, and content creators limitless possibilities, at blistering speeds. Boasting dramatically improved AF tracking performance, image quality and communication capabilities, the camera represents the pinnacle of Canon’s EOS series. Enabling moments to be captured like never before, Canon’s new flagship camera enables incredible shooting speeds of up to 20fps with AF tracking, the ability to shoot in complete silence, and features improved high ISO performance. The EOS-1D X Mark III’s AF sensor sports 28 times the centre resolution of its predecessor to address professional photographers’ need for greater accuracy and focusing on subjects in a wider range of scenarios. What’s more, the camera offers impressive 5.5K 12-bit RAW video internal recording – the first non-cinema Canon EOS series camera to have such feature – allowing professionals to capture top-quality video as well as stills. To ensure uncompromised performance in harsh environments, the EOS-1D X Mark III comprises Canon’s EOS-1 Series trademark build-quality, reliability, and weather sealing features and will also be backed by Canon Australia’s five-year manufacturer warranty.

Unrivalled autofocus Based around the Canon EF mount, with more AF lenses available than any other system, the EOS-1D X Mark III features a new AF system and sensor. This Canon-developed technology enables enhanced stability and tracking giving professionals a new level of flexibility and accuracy when photographing subjects in various conditions.

ACQUISITION

With a new AF sensor, the camera provides 28 times the centre resolution of its predecessor and three times the number of AF points. Partnered with a dedicated DIGIC 8 processor, focusing on subjects in a wider range of lighting is made possible. In addition to focusing accuracy in low light, the camera is ideal for photographing low contrast, patterns, fine detail and diagonal lines – all of which were previously difficult to capture.

Programmed via deep learning, the camera’s AF system can identify human subjects in a range of sporting situations, bringing them into focus – at high speeds – with an advanced subject tracking system. With this capability, the camera will lock on to a subject’s head or face – the primary place of focus for the human eye when looking at images – even in situations when the subject’s eyes are covered by the likes of helmets and goggles. A new Auto AF case setting has also been incorporated in the camera

to tune the AF settings to match the subject, making setting up the AF system easier.

Limitless creative opportunities Thanks to its new Canon developed DIGIC X processor, 20.1 megapixel sensor, mirror system and shutter, the EOS-1D X Mark III gives a competitive edge – achieving industry leading speeds of 16fps. To achieve such fast frame rates, Canon’s technology reinvents the SLR mirror system. With Canon’s mechanical engineering superiority at the heart, the camera features almost zero mirror bounce – meaning its mirrors return to their positions as quickly and as precisely as possible, directing light to the camera’s AF sensor to take a reading faster.

Meeting the demand for high-quality video Thanks to its new sensor and processor, the EOS-1D X Mark III is now Canon’s most advanced video product with interchangeable lenses outside of the Cinema EOS series, offering 4K Full Frame and supporting 12-bit RAW internal recording. The EOS-1D X Mark III is the first non-cinema Canon camera to feature RAW recording, providing an expansive range of colours and tones which can be extracted in post-production for superior image quality. In addition, video can also be recorded as 12-bit CRM file at 5.5K (5472 x 2886), allowing very detailed oversampled 4K footage that meets the demand for high-quality video. The camera can also record using Canon Log Gamma, captured as a 10-bit HEVC/H.265 file, giving professionals multiple editing and unlimited creative possibilities. Addressing the need for speed, the EOS-1D X Mark III supports file recording in a MP4 container for fast transmission of files. What’s more, the EOS-1D X Mark III is also the first EOS-1 series camera to support Movie Digital IS which provides

5-axis stabilisation to cope with a wide range of movements. This is a feature seen in high-end Canon cinema cameras like the EOS C500 Mark II. Using the EOS-1D X Mark III, Dual Pixel CMOS AF is supported in 4K and RAW mode. When coupled with Movie Digital IS, professionals can have confidence their movie image footage will have pin-sharp focus and be steady whatever the condition or scenario; perfect for impromptu video opportunities.

Content delivery at competitive speeds Keeping pace with shortening deadlines and addressing professionals’ needs for seamless and speedy content delivery, the EOS-1D X Mark III is the first EOS-1 series camera to feature built-in Wi-Fi and Bluetooth. The Wi-Fi can be used for FTP or connecting via EOS Utility as well as connecting to a smartphone. Its Bluetooth connectivity uses the Bluetooth Low Energy protocol, providing a constant connection to a compatible smart device while requiring minimal battery power. This is ideal for long shoot days. By opening Canon Camera Connect, the EOS-1D X Mark III automatically connects to compatible devices, allowing image review, sharing, and remote Live View shooting with a single tap. With inbuilt GPS, professionals can capture location data to images which is particularly useful for travelling sports photographers and exploring wildlife photographers. The camera transfers data faster than the speed of the EOS1D X Mark II when using the built in ethernet, or the new optional wireless file transmitter – the WFT-E9. Coupled with simpler network set-up, it greatly enhances professionals’ workflows. The EOS-1D X Mark III will be available from Canon’s online store and official Canon retailers from February 2020. Visit www.canon.com.au

ACQUISITION & LIGHTING

Panasonic Announces Three New 4K Camcorders PANASONIC HAS ANNOUNCED THREE NEW 4K 60p camcorders designed to provide mobility, efficiency and affordability for small production houses and news gathering professionals. The lightweight camcorders are ready to go off-the-shelf, and allow working professionals to respond to events as they happen with capabilities including live streaming support, optical image stabilisation, and super slow-motion recording, as well as the convenience of built-in lenses, long battery life, XLR audio input and ND filters. A heat-dispersing design that includes a newly developed thin fan makes the new models the industry’s smallest and lightest camcorders with an integrated lens capable of 4K 60p recording. By pulling in air from the rear panel and efficiently dispersing heat from the front panel, reliable, extended shooting is achieved.

Other capabilities include two manual rings, an ND Filter, plus a built-in LED video light on the HC-X2000 and AG-CX10. The camcorders support 24-bit high resolution linear PCM audio recording, 4:2:2 10bit internal video recording up to 4K 30p and the new, high-efficiency HEVC codec for 4K 60p recording. High-spec optical performance is achieved with a wideangle 25mm LEICA Dicomar lens, and 32x intelligent zoom (i.ZOOM) in 4K recording. Key features supporting high-quality recording:

Powerful Optical Performance for Precise Shooting

The camcorders’ integrated lens has a 24x optical zoom ranging from 25mm wide angle to 600mm tele. i.ZOOM achieves 32x at 4K resolution, and 48x at FHD. The 4-Drive Lens System drives four lens groups independently for a powerful zoom in a compact body. The LEICA Dicomar lens meets the stringent criteria of Leica Camera AG to deliver precise resolution and contrast, producing stunning images while suppressing flaring and ghosts. Two manual rings are provided, one for focusing and the other for zoom or iris operation. The rings are different sizes so it’s easy to select and control the right ring at a touch. ND Filters can be selected from 1/4, 1/16, 1/64, and Clear, and the use of glass protects against scorching from sunlight condensation.

5-Axis HYBRID O.I.S. for Stable Image Acquisition

In both UHD and FHD modes, in addition to O.I.S. (Optical Image Stabilisation), Electronic Image Stabilisation operates to detect and correct handshake in five axes, including rotational blurring, to produce stable images at 24x optical zoom. This provides strong correction under unstable conditions, from low-angle to high-angle shooting. A Ball O.I.S. System reduces friction on the drive section, achieving delicate correction even for small-amplitude handshake.

Super Slow-Motion Recording Expands Creative Expression

FHD mode offers slow-motion recording at 120fps (for 59.94Hz) and 100fps (for 50Hz). 10-bit recording is supported, and full sensor area images are obtained even at high frame rates. Auto focus can be used during slow-motion recording.

High-Performance Processor Delivers Versatile Recording Modes

Panasonic’s high-performance Venus Engine processor achieves 4:2:2 10bit internal recording with maximum 29.97p in UHD, and maximum 59.94p in FHD. When set for 10-bit recording, the camcorder delivers 4K 60p 4:2:2 10-bit HDMI output, enabling high image quality capture with an external recorder.

New, highly efficient HEVC recording (LongGOP/10-bit 4:2:0/MOV) is also supported for recording 59.94p at a high bit rate of 200 Mbps. In addition to MOV, MP4, and AVCHD, the AG-CX10 will also support P2 MXF, and AVC-Intra/AVC-LongG codec recording after a free future update (timing to be announced).

High-Speed, High-precision AF including Face Detection AF/AE Superior focusing speed, stability and tracking performance for both 4K and Full HD is achieved thanks to Face Detection AF/AE together with the precise focus lens drive. In addition, precise subject tracking, with skin tone recognition to distinguish between faces and backgrounds, can be activated by touching the LCD panel.

Versatile Network Functions Expand User Workflow A Wi-Fi module is built-in, so there is no need for a separate wireless LAN module. Using a tablet application HC ROP, wireless remote control, including camera settings and lens control, can be set. RTSP/RTP/RTMP/ RTMPS-Compatible HD streaming allows direct connection and streaming of content such as concerts, sports events, and news flashes. In addition, the AG-CX10 is NDI/HX compatible. When a paid third party activated key is downloaded, NDI/HX mode can be enabled. This allows data transmission and camera control via IP connection without an external converter, thanks to the AG-CX10’s wired LAN capability.

3G-SDI for Connecting to an External Recorder (AG-CX10, HC-X2000) USB (micro AB) to LAN conversion adaptor and USB micro AB-Host Cable included (AG-CX10) Compatibility with wired remote controls via the remote terminal

Double SD Card Slot Two SD memory card slots are provided. With Unlimited Relay Recording, the recording media switches automatically and seamlessly from Slot 1 to Slot 2. Simultaneous recording and background recording are also selectable.

48-kHz/24-bit High Resolution Linear PCM Audio Recording The handle of the HC-X2000 and AG-CX10 provides +48V phantom power supply/MIC/LINE selectable XLR audio input with manual volume controls, available for each of the two channels. Also supported are a 24-bit linear PCM system (MOV/P2 MXF – AG-CX10 only), 16-bit AAC (MP4), or Dolby Audio system (AVCHD) high-quality two-channel audio recording. The optional handle unit (VW-HU1) is required for the HC-X1500 to access these capabilities. Visit www.panasonic.com

ACQUISITION

The new camcorders – the HC-X1500, the HC-X2000, and the AG-CX10 – will be available in Australia late March. Recognising the demand for live broadcasts of special events and news, the camcorders offer built-in Wi-Fi supporting HD live streaming. In addition, the AG-CX10 supports the broadcaster-targeted P2 MXF file format, ethernet HD live streaming, and has an NDI/HX compatible IP connection. Connectivity is provided for use as a live camera.

SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Magna, Axon Create Oz First in Control Systems for TRP and Sony RECENTLY THOROUGHBRED RACING PRODUCTIONS (TRP) commissioned Sony Australia to design and build a replacement for the company’s flagship OB unit. Part of this new build involved an Australian first, the Axon Cerebrum control platform supplied and installed by Magna Systems & Engineering. As Solutions Sales and Proposals Manager Sony Australia, Tom Garvan, explained, “A key requirement for the new TRP OB van was to provide a scalable and modular solution that could be adapted to cater for various production requirements. To achieve this, we needed a control and monitoring solution which could connect to the core system hardware using various protocols from different manufacturers to create a single unified control layer to the operators. We were looking for a proven solution which would meet our system needs at a competitive price with local support in Australia. Fortunately, we were able to obtain the Axon Cerebrum control platform after discussions and consultations from their reseller and partner Magna Systems & Engineering.” During the pre-sales phase, the system was set-up at Magna HQ in Sydney and training was provided for the evaluation. Sony and TRP already had some experience of using Axon equipment from when the companies came together to build TRP’s original OB van in 2008. Garvan continued, “At that time we used Axon peripheral equipment which came with their Cortex software for configuration and control of the various Axon cards in the original system. We therefore already had confidence in Axon, but at this point had no experience of Cerebrum.” As Cerebrum provides the main user interface within the OB van, Sony and TRP needed confidence that the system would work reliably. They also needed guarantees that the level of local support and training would be comprehensive, so their relationship with Magna was critical.

SPORTSCASTING

TRP Engineering and Technical Operations Manager Charles Cole said, “We had demonstrations of a number of control systems which would match the requirements from a technical perspective. We started with the basics including tallys, UMD, router control, multi-viewer and monitor set up, PIP allocation and system monitoring, ticking them off one at a time. Cerebrum easily made it on the shortlist pending confirmation of local support and competitive pricing from Magna.”

The Cerebrum control system has an extensive library of supported control protocols, which included all the key equipment Sony and TRP had chosen for the system. In fact, their library was so extensive they were able to expand monitoring and control to additional systems, including environmental monitoring and power and UPS systems, which were not included in the original scope. Garvan added, “Magna and Axon were then also able to provide commitments to providing config

and commissioning services, as well as training and ongoing support to give Sony and TRP the confidence that the system would be well supported not only at install, but on a longer-term basis.” TRP uses the Axon Cerebrum Control System to control the core functions of the OB van. It monitors the video systems, power systems and the environmental systems. Cerebrum also gives TRP a simple, user-friendly interface to control their Riedel MediorNet router and can also control the vision in and the destination of the multiviewers created in MediorNet. Cerebrum in turn supplies the UMDs and the tally systems as well as controlling the vision switcher mnemonics. Cole continued, “Touchscreen control gives TRP the ability to monitor the UPS status, the incoming power status and the temperature of each of the workspaces as well. The CCU overrides are also programmed by Cerebrum. With all the core systems under Cerebrum control, system snapshots for multiple equipment at multiple levels can be recalled at the touch of a button. Furthermore, from an engineering perspective, the system will monitor and alert error conditions, greatly easing the trouble shooting of issues caused by hardware or signal failures. “The biggest wow factor is the simplicity of the end user interface. It can be made as graphical as required to make the experience as simple as possible. The ability to make snapshots of the truck status, then save and recall it at a later date makes reconfiguring the truck very easy. Various emergency fail-over scenarios are also programmed into the push of a series of buttons, so that in a complex failover of the vision switcher for example, one button performs the failover of a router panel to the emergency switcher, resets the

monitor wall, ensures all tallies are fully functional and that the correct feeds are still assigned to the correct outputs.” During the early part of the commissioning it became apparent that the Cerebrum Modbus and SNMP control and monitoring support would allow Sony and TRP to tap into the OB van’s environmental and power monitoring systems. A GUI was quickly developed which showed environmental conditions in various areas of the truck with triggers set up to provide alarms if overtemperature conditions occurred – something that impressed all concerned. Garvan said, “The way controls and information are presented to the end user are restricted only by the designer’s imagination. New panels and interfaces can be developed off-line using the Cerebrum Designer tool before being applied to the system. Unique interfaces and button layouts can be developed depending on operator roles and responsibilities.” According to Charles Cole, as a result of integrating Axon’s Cerebrum system, TRP’s new flagship OB unit has been an unqualified success as he explained, “The Director, EVS ops and audio op can all route and change layouts of their monitor walls themselves. CCU operators now can have a fully flexible layout in both monitor and RCP panel assignment and the senior vision operator can customise the complete layout to best suit the operational conditions on any given day. I was quite nervous about jumping headfirst into an overall control system for our new facility but I am pleased to say I could not be more delighted with the result.” Visit www.magnasys.tv

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Panasonic Equips Tokyo 2020 National Stadium PANASONIC CORPORATION has delivered a wide range of equipment essential to operation of Japan’s new National Stadium in Tokyo, including large screen displays and audio systems, stadium lights, and approximately 600 digital signage systems.

AUDIO SYSTEMS

The new National Stadium was built on the site of the old National Stadium, which served as the Olympic Stadium during Tokyo 1964 (demolished in 2015). During Tokyo 2020, the new National Stadium will host the Olympic Opening and Closing Ceremonies and competitions such as track and field. Based on the concept, ‘A stadium in forest’, it was designed to incorporate elements of nature such as greenery and trees, yet, it is also equipped with the state-of-the-art technologies.

The RAMSA audio system line array speakers, WS-LA4WP, was delivered. The ideal linear sound source was brought to life by selecting the unit optimal for the acoustic characteristics demanded of stadiums, theatres, and event halls, and employing the waveguide horn design. Here are the key features of these speakers that satisfy the acoustic characteristics of large spaces: (1) Amplify sound clearly near or far, in a very large venue; (2) Create optimal sound thanks to the high resolution simulation software; (3) Feature a metal mounting structure that realises both workability and safety.

Panasonic delivered AV and lighting equipment essential to enlivening the competitions as well as other facilities essential to stadium operation and for spectators to get around. Panasonic also installed two approx. 9m x 32m large screen displays on both the north and south sides of the stands, in addition to 38-line array speakers that consistently deliver clear sound ensuring sound pressure even on the field, far away from the speakers. The lighting equipment not only illuminates the field of play, but can be turned on/off instantly, enabling the use of lighting for spectator entertainment. The system also has adopted a light source that has been designed to optimise colour reproducibility during TV broadcasts. For the stands, Panasonic delivered 600 digital signage systems that can be remotely controlled to provide information to spectators. Different information can be delivered in each concourse area, so information can be efficiently relayed to spectators. Panasonic also provided eco-friendly air conditioning systems. The equipment provided includes:

LARGE SCREEN DISPLAY SYSTEMS South side: Approx. 9m high, 32m wide North side: Approx. 9m high, 36m wide (including 4m for the turret clock, 45-minute counter, and running timer) Resolution: Full HD

Line array speakers (competition audio): 8 barrels x 24 units, 4 barrels x 14 units; a total of 38 units.

LIGHTING EQUIPMENT IN THE STANDS For competitions – Approx. 1300 units For spectators – Approx. 200 units among others According to Panasonic, LED floodlights “Stadium Beam”, utilises cutting-edge technology to realise optimal colour reproducibility and high-speed image reproduction for 4K/8K broadcasts. 4K/8K broadcasts can reproduce colour more vividly than Full HD. Panasonic has developed floodlights that offer the optimal colour reproducibility for 4K/8K broadcasts – an average colour rendering index of Ra 90 plus a special colour rendering index of R9 80 for red tones. Moreover, by adopting ignition technology, the floodlights minimise flickering during high speed reproduction of slow-motion footage, etc. With these two technologies, Panasonic will support high quality image expression for 4K/8K broadcasts. The floodlights create an optimal lighting environment that satisfies the lighting design standards, but

is less glaringly bright when people look up. With proprietary light distribution design technology, the floodlights optimally narrow the focus of the light from the light source to significantly reduce glare. The floodlights will clearly illuminate the competitors’ field of view and the way within the stadium for spectators.

DIGITAL SIGNAGE Digital signage: Approx. 600 units Utilising Panasonic’s digital signage solution, ‘AcroSign’, a wide range of content from core industry systems including sightseeing information for inbound travelers and information from L Alert (Public Information Commons), etc. can be delivered to systems that cater to needs of different customers. Moreover, by combining an extensive range of Panasonic devices and a rich power of expression, Panasonic will provide a new value for signage. By taking advantage of the collective power of the Panasonic group, extensive range of audio-visual technologies, and the wealth of experience in installation and operation, Panasonic will provide large-scale stadium solutions that can create an electrifying environment that integrates and flexibly operates multiple screens. Visit www.panasonic.com/global

OBS Counts Down to Olympic IBC Opening

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THE EAST HALLS of the Tokyo Big Sight convention centre precinct are set to house the International Broadcast Centre (IBC) and Rights Holding Broadcasters (RHBs) for the Tokyo 2020 Olympic and Paralympic Games with Olympic Broadcasting Services (OBS) Construction, Engineering and Planning teams fitting out technical and production areas.

According to OBS Chief Executive Officer Yiannis Exarchos, “Unlike recent Games, the IBC in Tokyo didn’t have to be built from the ground up. We are utilising the excellent existing facilities and amenities offered by Tokyo Big Sight, Japan’s premier convention centre. This project was an integral part of the shared commitment between OBS and Tokyo 2020 to reduce the environmental impact of construction for the Games and

minimise our overall broadcast footprint.” OBS will once again use the modular prefabricated panels that were first introduced for the Olympic Games Rio 2016 and reused in PyeongChang in 2018. With now a lifecycle of three Games, the sustainability initiative has resulted in a substantial reduction of OBS’ broadcast footprint, construction costs and time required for the fit-out and the dismantling of the IBC, while providing broadcasters with a suitable working environment. Also, OBS will reuse part of the cabling recovered from previous Games in the IBC. For Tokyo 2020, the IBC plans have been redesigned to include specific areas for the Broadcasters to house equipment for receiving or sending signals from/to OBS. Known as the

Centralised Technical Areas (CTAs), they will contribute in saving energy by reducing the heat, ventilation and air conditioning (HVAC) and technical power consumption, since all the technical equipment will be concentrated in certain areas, and not scattered around the IBC as per previous layouts. These areas can be shared between two or more RHBs, therefore making it a more efficient use of space and more costeffective for the broadcasters. The first RHBs to use the IBC facilities are planned to arrive in April 2020. However, it is only on 24 June 2020 that the IBC will become fully operational, the soft opening taking place exactly one month prior to the Opening Ceremony as per previous Games. Visit www.obs.tv

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ARG Teams Up with Supercars Media THE AUSTRALIAN RACING GROUP has confirmed that broadcast production company Supercars Media will produce and deliver the coverage of the 2020 Shannons Motorsport Australia Championships as well as the Bathurst 6 Hour and new Bathurst International. The ground breaking deal will “… result in a high-quality product broadcast by the Seven Network to provide an outstanding package for race fans”. The combination of Supercars Media, renowned around the world for its cutting-edge motorsport broadcasts coupled with dynamic ARG categories which include the carsales TCR Australia Series, S5000, Touring Car Masters, Trans Am Series and V8 Touring Cars, will provide fans with world class motorsport entertainment on the channels of Seven. All seven rounds of the Shannons Motorsport Championships will be broadcast live and free on Seven, while every moment of Saturday and Sunday’s track action will be delivered live via the network’s digital offering, 7plus. The deal will include broadcasting of the two events at the world-famous Mount Panorama – the Hi-Tec Bathurst 6 Hour on April 10-12 and the Bathurst International on November 13-15. “Having worked with Nathan and the team in Supercars Media in the past, there is no doubt they one of the best producers of motorsport in the world,” said Matt Braid, CEO, Australian Racing Group. “Their reputation is unrivalled as is evident by the number of awards they have won and the influence they have had on global motorsport broadcasts. “It also ensures that the vision that the fans see, both on their televisions at home, online through social applications and via the live stream, will be of the highest standard. “It’s fantastic that we have been able to come to an agreement that will bring TCR Australia, S5000 and our other great categories to life, not only on the live and free Seven broadcasts, but also on the 7plus streaming application.” Nathan Prendergast, General Manager of Television and Content, Supercars Media, said, “Supercars Media is excited to be able to deliver the broadcast product for ARG and Motorsport Australia in 2020. “Our speciality is world class motorsport TV, so it’s a natural fit for us to collaborate with ARG to ensure fans get a level of coverage they expect. “Having worked closely with their team for many years I’m confident we have the right team to make outstanding motorsport television.” Supercars Media has been responsible for the production of the Supercars Championship since 2007, creating and broadcasting motorsport vision that is regarded as a global industry leader. Supercars Media’s television broadcast of the Bathurst 1000 has won seven Logie Awards for the Most Outstanding Sports Coverage. The most recent being the 2017 Bathurst 1000. The company also looks after the broadcast of the Liqui Moly Bathurst 12 Hour, also broadcast on the channels of Seven since 2015. ARG’s coverage will be delivered by Andrew Janson, Executive Producer of Broadcast for ARG along with the Supercars Media Team led by Nathan Prendergast, Supercars Media General Manager of Television and Content, with Nicole Cornelius as the series producer. will be held at Sydney Motorsport Park on March 27-29. Visit www.australianracinggroup.com and www.supercars.com

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The opening round of the Shannons Motorsport Australia Championships

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ChyronHego’s Paint 8.1 Scores with Live Sports

CHYRONHEGO IS NOW SHIPPING Paint 8.1, the newest release of the company’s sports analysis and telestration tool.

Paint version 8.1 gives broadcasters the ability to record and play out a multicamera ultra-highdefinition (UHD) panoramic video stitch and then manipulate it using full pan, tilt, and zoom (PTZ) control. H.264 streaming and enhanced remote access and control capabilities are among the other new updates that further boost Paint’s value in enriching sports analysis and production. Paint empowers sports broadcasters and coaches to leverage video and graphics to improve player and team performance. The software-based system offers a feature-rich set of easy-to-use telestration tools for graphically enhancing and highlighting video. Paint 8.1 builds significantly on the capabilities of Paint 8.0, which delivered an all-new user experience and a completely overhauled graphics set. The ability to combine outputs from multiple UHD cameras to create a multi-UHD stitch and placing full PTZ and playback control in the hands of operators is a transformational addition to Paint. Version 8.1 offers several other critical capabilities that enhance telestration for live sports broadcasts. Updates to Paint style, user interface, and features include the following: • AllCam Stitch & Control – Designed to optimize creative flexibility, AllCam Stitch & Control allows Paint users to reframe and focus on the field in ways previously not feasible for tighter replays and play coverage. Controlling the UHD camera stitch with a joystick, replay telestration operators become virtual camera operators who can view any point on the field at any time – and exert total control over the broadcast-quality output.

• H.264 Streaming – Video REST API control facilitates the streaming of Paint’s output via H.264 over any network. With support for multiple playout endpoints over the network, Paint 8.1 is an even more flexible solution for live streaming of enhanced sports content. • Web Remote App – Remote access and control via web-ready HTML5-based interface allows for simplified touchscreen control, in turn supporting more interactive talent-driven telestration on tablets or remote workflows. • New User Experience Optimized for Ease of Use – With Paint’s new user interface, operators are able to create larger quantities of high-quality content and deliver it to air much faster than competing solutions. • New GFX – A completely overhauled graphics (GFX) package adds sophistication to Paint while making it easy to adapt all of the software’s graphics to align with the user’s preferred look and feel. • New Timeline – Unique timeline functionality in Paint 8.1 makes it simpler than ever to create great-looking multilayered presentations, and to generate this content faster than ever.

• Intelligent Automatic Chroma Keyer – Based on the latest in artificial intelligence (AI) and machine learning, the automatic chroma keyer built into Paint 8.1 drastically reduces the complexity of working with keyed graphics, especially when dealing with challenging and changing conditions, such as shadows on parts of the pitch or court. • Convenient Data Display – Ancillary data for clips and footage now can be viewed on a secondary output when Paint is used as the replay device. • Publishing to Social Media – Single-click publishing in Paint 8.1 makes it a snap to publish content to social media platforms such as Instagram, Facebook, and Twitter. • New 3D Tools – Multiple new 3D tools build on the already rich feature set within Paint’s telestration toolbox. Visit www.chyronhego.com

FIFA Certifies ChyronHego

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THE NEW GEN5 VERSION of ChyronHego’s TRACAB optical tracking system has been certified by the FIFA Quality Program for EPTS (Electronic Performance and Tracking Systems) for the global football industry. Of the four tracking systems to achieve this certification, TRACAB Gen5 is the only optical tracking system to be qualified and to demonstrate clear industry-leading results.

For the EPTS program, FIFA appointed Victoria University in Melbourne, Australia, to conduct specialised testing using a standardised protocol designed to bring independence, objectivity, and transparency to the process. Designed for a sports market in which data accuracy is becoming ever more important, test scenarios measured the performance of tracking systems in different situations. The resultant data was measured against data from the millimetreaccurate VICON motion capture system, which represents the gold standard for ground-truth comparison. The results attained through the EPTS assessment showed that TRACAB Gen5 data was of the highest possible quality across all measured categories.

Spatial-temporal and derived-metrics data feeds from TRACAB Gen5 systems can be accessed through a series of APIs to service the wide variety and expanding number of use cases for football data. The data supports broadcast applications such as rendering live player graphics with tools such as Virtual Football for illustration purposes, performance analysis applications used in coaching; and even instadium entertainment on LED boards using Click Effects PRIME. Derived metrics are available for contextualised in-game and seasonal analysis of statistics. When ultra-low latency is of the utmost importance, as for innovative applications such as fan engagement using augmented reality, data from TRACAB Gen5 can be delivered within 150ms, the fastest delivery time for a data set of this richness in sport. ChyronHego has also seen its Virtual Football system certified by FIFA for use as a virtual offside line platform. A system for inserting virtual graphics onto the field, Virtual Football addresses the stringent performance requirements essential to the accurate placement of offside lines as part of the video

assistant referee (VAR) workflow in football matches. Referees can rely on the technology to accurately place an offside line and help them make decisions more easily. Virtual Football features an array of tools that enable users to enhance live football production with graphical elements including offside lines. Built on advanced image processing, Virtual Football allows users to insert virtual graphics without the need for camera sensors or special camera heads. The system’s built-in keyer overcomes harsh environmental effects, such as shadows and bright sunlight. FIFA included ChyronHego’s Virtual Football system in a testing program designed to certify technologies on the market for displaying virtual offside lines for VAR usage. Following a number of testing events, where the rendered offside lines were measured for their accuracy in a variety of scenarios by an appointed testing institute, FIFA certified that Virtual Football was able to pass the performance criteria required for Virtual Offside Line (VOL) technology. Visit www.chyronhego.com.

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Techtel Deploys 4K Facility for West Coast Eagles AFL Club

The TV studio utilises the latest in 4K production technology enabled by Newtek’s VMC1 Vision Mixer, which supports NDI – a widely adopted IP standard, and accommodates the most demanding workflows as well as virtualised production allowing the football club to easily expand its current capabilities. The Newtek NVG1 IP Graphics server complements this technology as a powerful, turnkey graphics system allowing seamless integration of industry-leading VizRT playout capabilities into the West Coast Eagles’ video production workflow. Furthermore, Techtel installed a green-screen curtain for easy background footage manipulation and winched lighting bars which support an array of DMX controlled LED studio lights by Lumos for advanced lighting control. The radio studio is designed to accommodate a host and up to four guests. All audio sources are mixed locally with all microphones also available as Dante IP sources. The option for video coverage is also provided through the three

Panasonic PTZ NDI cameras while a Newtek Tricaster Mini allows the operators the ability to control and switch the cameras. Furthermore, an integrated Newtek Talkshow device provides Skype native integration in both the TV and radio studios. Portable devices have also been provided to allow for additional cameras to be connected at various points throughout the facility. The result is a versatile, interconnected system that allows operators to output content to a variety of platforms including live streaming to the playing field scoreboard, the media theatre screen or the Internet. Alternately, content can be recorded to a Newtek media asset management system, allowing it to be edited and uploaded to the West Coast Eagles’ website, YouTube or published as podcasts. The media theatre features lectern microphones which are available as press-splits at the rear of the theatre or as Dante sources. A Panasonic PTZ NDI camera with a birds-eye view also provides a video feed from the theatre. Site-wide communication is enabled by the ClearCom

HelixNet Partyline System, which is available in the TV control room and studio, radio studio and various beltpack connection points throughout the facility. “Techtel’s flexible workflow design allows us to efficiently make the best use of the club’s resources, and deliver a more dynamic and engaging stream for our supporters. Thanks to Techtel, West Coast Eagles is now geared for 4K Ultra HD production, delivering multi-platform coverage of our news and events,” said Steven Bandy, Head of Production at West Coast Eagles AFL Club. Visit www.techtel.com.au

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TECHTEL HAS COMPLETED an extensive endto-end systems integration and commissioning of a brand new 4K/Ultra HD media and production facility for the West Coast Eagles AFL Club. Located in the heart of the club’s brand-new training and administration centre, the media and production facility consists of an integrated TV studio, radio studio, and media theatre.

NEWS OPERTAIONS OPERATIONS www.content-technology.com/newsoperations

Credit: Christopher Jenkins.

Asia-Pac Dejero First for Australia’s Nine Network AUSTRALIA’S NINE NETWORK has become the first broadcaster in Australia and Asia Pac to adopt the Dejero CuePoint system, a solution whereby the return feed server sends low-latency video with audio, and teleprompting feeds to live broadcast production teams in the field to help them create compelling live content. Their new CuePoint system was supplied by technology partner Digistor. The Nine Network’s Michael Sammut explained, “We had two projects that required us to deliver streaming video to remote overseas sites but where budget and technical constraints meant we couldn’t use traditional fibre or satellite links. The first was a semi-permanent studio setup where all we had was an internet connection. CuePoint enabled us to deliver a return program feed to the presenter, meaning we can now have them talk to the pictures that are going to air on the other side of the world, at a fraction of the cost of a satellite lease and with no ongoing costs aside from a normal internet connection.”

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With CuePoint return video and teleprompting feeds from the broadcast centre can be seen in the field by the talent on a tablet or dedicated screen above or below the camera, or on multiple mobile devices by camera operators, field directors and technicians. It is also simple to scale the number of return feeds needed in the field.

Sammut continued, “The second was to enable our crews at major events, for example the upcoming Tokyo Olympics, to access what we’re putting to air from out in the field on their smartphones. This means they can be more mobile and stay out in the field where they need to be, without having to return to the office to see the vision.” Nine’s requirements for the CuePoint were strict

and comprehensive as Sammut explained, “It needed to be extremely low latency so it could be used in a production environment and mobile accessible. It also needed to be flexible enough that we can provide the feed to anyone – even people outside our organisation. For example, if we are doing a live cross to a studio where it’s not practical to book a return video feed but we still want the presenter to be able to talk to the pictures that are going to air. CuePoint enables us to increase our production values and helps the presenter to provide accurate commentary on what’s going to air, which is great for our viewers – and our producers. We’ve given the Return Video feed to freelance cameramen doing live crosses for us in places where they just have a Dejero to link to us; they simply connect their laptop to the internet and put it in the talent’s eyeline and we’re off and running.” In short, CuePoint solved multiple pain points for Nine without adding any major management overhead or infrastructure requirements. Sammut added, “It’s turned something that always required a large investment of time and effort into something we can simply turn on or off at a moment’s notice.” Nine uses its new Dejero CuePoint for ad hoc remote studio bookings where they don’t have return video connectivity, for news crews in the field on major events and for low cost studio setups where they aren’t able to install DVN/ fibre/satellite connectivity but still require the return video services that a full-service studio provides.” Sammut added, “We had an interesting use case occur after we installed the system where the social media producers of a show that was being filmed overseas needed to see what was

actually going to air after the day’s filming so they could trigger their social media posts at the appropriate time. Of course, they couldn’t receive our broadcast where they were, so we simply switched our off-air feed to them on CuePoint so they were watching it overseas at the exact same time as our viewers, enabling them to optimise viewer social media engagement. It was a huge help for them.” In an overseas studio, Nine has CuePoint connected to an enGo transmitter and elsewhere it’s usually viewed via browser on a laptop or smartphone. This level flexibility and ease of use is not lost on Michael Sammut. He concluded, “It’s just so simple. It didn’t require major investments of time or effort to install, and it just works. Other solutions require lots of configuration and the feeds can’t be as easily shared with anyone at short notice. With CuePoint, all the person at the other end needs is a browser and a login – so we can give it to people with only limited technical knowledge – and it delivers on its promise of extremely low latency which is crucial. Having CuePoint also means we’re able to operate more efficiently. We’re able to provide a better product than our competitors, at less cost. As soon as we turned it on and started using it, it went from being a nice-to-have to a must-have almost overnight. I do also have to mention and thank Digistor and our rep Olivier for their part in our success with CuePoint. They have been and are with us every step of the way and help us with anything we need. Having a partner like Digistor who operates with integrity and has a long-term outlook for the client-supplier relationship is a win-win for everyone.” Visit www.digistor.com.au

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Brainstorm Upgrades InfinitySet, Aston and eStudio BRAINSTORM, THE DEVELOPER OF real-time 3D graphics and virtual studio solutions, has announced the release of Brainstorm Suite 4, a major upgrade to its InfinitySet, Aston and eStudio solutions which include a number of features designed to enhance content creation and output. In addition to a tighter integration and control of Unreal Engine, Suite 4 provides advanced features like simultaneous renders, multiple outputs and additional hardware support. With Suite 4, InfinitySet and Aston have improved capabilities for creating high-quality photorealistic content, no matter if it is for real-time graphics, virtual sets, augmented reality or broadcast workflows in any resolution. A key feature of Suite 4 is called LAYERS which enables creation of Simultaneous Multiple Independent Renders using a single workstation. With LAYERS, Brainstorm Suite 4 can now deliver several outputs from a single instance, in both Aston and InfinitySet, or combine several outputs in a single one as required. InfinitySet 4 also gains major updates to its rendering features, and management and compatibility with the Unreal Engine. This effectively enhances the way the Combined Render Engine, Brainstorm’s seamless integration between the company’s eStudio render engine and the Unreal Engine, works in practice. Another key development is that InfinitySet now features an Unreal-native behaviour, so InfinitySet users can achieve anything Unreal Engine provides in a workflow fully integrated into Unreal. Brainstorm is also introducing the InfinitySet Unreal Engine Controller, a new module that directly controls Unreal Engine from InfinitySet’s own interface, adding a user-friendly, live production-oriented control interface. The Unreal Engine Controller can identify any blueprints, objects and properties in the UE project, and control them directly from InfinitySet, which results in a new, unique and revolutionary workflow that does not require previously prepared blueprints in Unreal Engine to create actions or edit the project. The Unreal Engine Controller works in a bi-directional way, so not only can blueprints, objects and properties be controlled from InfinitySet’s interface, but it can also transfer any input to Unreal for use as a texture, including movies, live video, images or even Aston projects with StormLogic. The InfinitySet Unreal Engine Controller also provides additional compatibility for video hardware devices not available in Unreal Engine, including support and driver updates for video IO boards and virtually any tracking device.

Brainstorm is also introducing the Web Controller, an independent, HTML5-based application designed to control the Playout mode of InfinitySet from a remote computer, using ethernet protocols, and greatly simplifying the setup and control of multiple workstation installations. Brainstorm Suite 4 will be demonstrated at NAB 2020 on booth SL2812. Visit www.brainstorm3d.com

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Aston 4, Brainstorm’s 2D/3D motion graphics creation, CG and playout solution, also gains a number of enhancements that further improve its capabilities, like shader-based 2D fonts or the ability to open multiple projects simultaneously for playout. And thanks to the LAYERS feature, the Aston family of applications is enhanced with the addition of Aston Multichannel. With this, Aston provides extended workflow possibilities, including playout of multiple channels from a single workstation or from different workstations, which can also be combined with multiple simultaneous projects. Additionally, InfinitySet now includes an Aston Crosspoint for further flexibility. Aston now takes full advantage of NVIDIA’s GPU movie decoding, while its PBR material rendering has been further enhanced.

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Google News Initiative Supports Innovative APAC Storytelling LAUNCHED WITH THE GOAL of helping journalism thrive in the digital age, the Google News Initiative (GNI) has supported 87 news organisations from around the world through the GNI YouTube Innovation Funding, part of a USD$25 million commitment to build a strong future for online video journalism. Lessons from the first projects funded under the programme have been published demonstrating how newsrooms have succeeded in developing their video strategy - including experiments with made-for-YouTube news content from ABS-CBN of the Philippines; Taiwan’s Eastern Broadcasting Company (EBC) madefor-YouTube livestreaming and monetisation; and TV Asahi’s development of new technology to commemorate the 2011 earthquake in Japan. Established 65 years ago, ABS-CBN is one of the largest media organizations in the Philippines. While broadcast remains its biggest platform, the organization is in the midst of a digital transformation across all its main businesses - TV and film, magazine publishing, cable and broadband, and news.

Melding Google Maps and YouTube, TV Asahi’s Rec from 311 website commemorates the March 2011 earthquake which hit eastern Japan.

ABS-CBN had always wanted to experiment with made-forYouTube news content. They saw an opportunity to introduce a new digital-first brand (NXT) via YouTube that would help them report the news in innovative ways and reach a younger audience. ABS-CBN wanted to create a new digital brand for showcasing bespoke digital-first content, to complement their successful online strategy (the ABS-CBN news channel already has over 7M subscribers). They hired and trained staff, purchased equipment, then started to experiment with different formats to maximise audience engagement. As a first step, they set about hiring staff for their new digital video team. They selected people with limited or no TV experience, but who had an understanding of You Tube. This meant mostly hiring from outside the organisation, and it took more time than they had anticipated. In the end, the company trained 11 team members to produce video content specifically for YouTube. Next, they purchased new equipment - they went for equipment that was high quality, versatile enough to use every day (could From Taiwan’s Eastern Broadcasting Company (EBC), the made-for-YouTube livestreaming and be used for different types of content), and that they would monetisation madness of the Crazy Political Show. continue to use well into the future (e.g., 4K Mirrorless cameras and laptops). Then, they held orientation sessions for staff around put TV content online) - something the company had been wanting to try YouTube best practices (e.g., storytelling, editing, etc.), and equipment and for years. Specifically, EBC wanted to see how made-for-YouTube livestream technical training (e.g., camera operation, video editing basics, etc.). formats would help them engage with audiences. In addition, EBC wanted to The whole digital video team brainstormed content formats and agreed on an find ways to monetise audience engagement and build a sustainable digital initial storytelling approach - for launch, they would release two mid-length video platform. (10-15 mins) videos per week based on their own, original ideas and topics EBC first had to set up a space and a team dedicated to digital video. After trending on YouTube (a regular schedule helps build audience). that, they were able to experiment with format and learn how to engage with Several months in, they started to experiment with other formats, such as audiences in real time. mini-documentaries, profiles, and explainer videos about politics, history, EBC built up its digital video team by hiring producers and a host, and then culture, and science. trained them in YouTube best practices (including interview techniques, After each video aired, the whole team would regroup to discuss the equipment operation, etc.) and EBC standards and protocols. Simultaneously, performance of the video and areas for improvement. They then applied they established a dedicated studio inside the EBC offices, which is smaller those learnings to new videos so they could improve and hone their YouTube and more cost-effective than their regular TV studios. storytelling skills on the go. The studio has a green screen so they can easily (and cheaply) change ABS-CBN built and launched its digital video brand, and succeeded in backdrops multiple times per show. They also purchased equipment, including exploring and innovating with a number of digital video formats, which cameras, cloud-based video editing software, and animation/graphics employ different storytelling techniques from their broadcast offerings. They software. experimented with a number of different formats, launching five series in total. The company found the new formats were better at engaging audiences – average watch time for NXT features is 13% higher than other ABS-CBN videos. ABS-CBN continues to study available data and insights so it can better understand its audience. Moving forward, the team aims to reduce the amount of format experimentation it does and develop a short-list of best performing content, then focus on producing more of those formats.

NEWS OPERATIONS

EBC LEANS INTO LIVESTREAMING

Founded in 1991, Eastern Broadcasting Company (EBC) operates eight satellite TV channels as well as online programming across multiple platforms. It broadcasts content for news, finance, variety, drama, entertainment, and kids. With GNI YouTube Innovation Funding, EBC had the opportunity to experiment with native digital video content for the first time (previously EBC had just

The team started brainstorming which content formats would help best achieve their goals. They decided on two livestream shows: A daily talk show, “The Crazy Political Show,” and a bi-weekly current-events talk show, “Crucial Moment” (a made-for-YouTube version of a popular EBC TV show). They launched the shows on YouTube (at a fraction of the cost of their regular TV programming), then spent the first couple of months honing how they interacted with audiences during the livestream. For example, during ad breaks in “The Crazy Political Show” editors chat with viewers in real time via live chat. They also started using Super Chat, which allows viewers to pay to have their responses pinned to the top of live chat. Editors can then feed audience interactions back to the hosts, and they can integrate questions and suggestions into the show in real time. Once the editors and hosts had found the best ways to incorporate realtime feedback, they could focus on monetising the channel by encouraging more people to use Super Chat. In addition, they increased audience reach by

NEWS OPERATIONS

EBC successfully developed, launched, and tested made-forYouTube formats, which are helping them grow and monetise their online audience to create a sustainable digital video presence. The results of EBC’s new formats included: – EBC hit breakeven (non-fixed costs) within a month after launching. – Through a combination of livestream and VOD, “The Crazy Political Show” had over 16M cumulative views for 2019. – Up to $3-5K earned via Super Chat per livestream of “The Crazy Political Show.” – The made-for-YouTube version of “Crucial Moment” gets 100K-300K average views per episode. – Revenue for the made-for-YouTube “Crucial Moment” has grown by nearly 65% since launch (currently $50K USD).

COMMEMORATING THE MARCH 2011 EARTHQUAKE

TV Asahi wanted to create an online homage to the March 11, 2011 Great East Japan earthquake and tsunami so that the disaster would not be forgotten, but also so that future generations might be better prepared for disaster relief. To support this initiative, they saw an opportunity to develop a new content management system (CMS) that could integrate YouTube videos with Google Maps, displaying location-specific archival footage of how different locations were rebuilding after the disaster. They hoped this interactive format would help bring their earthquake project to a broad audience - and that the technology could be used going forward for other, similar projects. To commemorate the 2011 earthquake, TV Asahi created a website, ‘REC From 311; that overlays archival footage of the natural disaster and the recovery aftermath on an interactive map of Japan. Users can navigate to specific locations or time periods on the maps, enabling different views into the rebuilding process. To support this project, they developed a CMS that can take archival videos, connect YouTube to Maps, and display content in an interactive way. They used an existing team within the company, and focused on developing the proprietary software that could scale to other projects. In order to bring this ambitious project to life, TV Asahi would need to create a bespoke CMS. They brought the web, design, and systems teams together to outline and execute a plan of action. The team had very specific tasks they wanted the CMS to achieve - for example, sort clips of reconstruction projects across the country chronologically to show progress, and then link videos to certain locations. They developed a new system for uploading videos, for sorting by location, and then pinning the videos to specific places on Google Maps. They then developed an interface to effectively edit and upload videos into Maps. With the new software, they created the interactive website ‘REC from 371’ where users could navigate to see different locations that the earthquake and tsunami hit, and see how those spots have recovered over time. TV Asahi knew how important presentation was, so they spent significant time and energy dedicated to getting it right. This included aspects like creating an introductory video, testing different soundtrack options, choosing thumbnails, etc. In order to reach a more global audience, they also produced an English language version of ‘REC from 311.’ The project was so successful that they quickly scaled the software to other use cases (e.g., other natural disasters, cherry blossom forecasts, and festivals in local areas). They are also developing a whole website about everyday disaster prevention built with their proprietary CMS. TV Asahi successfully developed a new CMS that they tested on one project and rolled out to others. In doing so, they significantly grew their audience. Within in single day (March 11th, 2019), the ‘REC from 311’ page had over 103K views. Over 300K accumulated pages views within eight months of launch. The total number of video views for ‘REC from 311’ exceeds 3.5M. Visit https://newsinitiative.withgoogle.com/

CP Communications Streams the News

CP COMMUNICATIONS, A PROVIDER of solutions and services for live event productions, has added a fourth system to its growing Red House Streaming (RHS) family of STREAM content acquisition solutions. Now shipping, ENG Cam STREAM enables broadcast-quality production and bonded cellular streaming at a low price point to provide connectivity from most locations. Suitable for broadcast news and AV applications, ENG Cam STREAM receives its public debut at the 2020 NAB Show, taking place April 19-22 at the Las Vegas Convention Center. CP Communications exhibits in the Mobile Viewpoint booth at SU6110. ENG Cam STREAM provides live 1080p HD content acquisition, bonded cellular networking and IP streaming in an affordable, plug-and-play package. The turnkey solution lets camera operators quickly capture and stream their live shots - via 4G/3G, Wi-Fi, or Ethernet - to TV studio servers, or directly to Facebook, YouTube, and other web URLs. Shipping in a single flight case, ENG Cam STREAM includes an XDCAM camcorder, tripod and microphones, and can be set up by a single operator. All encoding components fit into a lightweight backpack, making it easy to carry to the best vantage point. Breaking news, political rallies, sporting events, and municipal parades are just some of the newsworthy live events that can be covered and streamed, even from far-flung, connectivity-challenged locations. ENG Cam STREAM also provides an affordable and feature-rich solution for professional AV productions that require direct-to-web streams, including corporate presentations, classroom lectures, and live performances. As a turnkey live news production and streaming solution, the ENG Cam STREAM employs bonded cellular to provide connectivity from virtually any indoor or outdoor location, including remote spots that can’t easily be reached by ENG or SNG news vans. The system includes a Sony PXW-X400 XDCAM camcorder with a Canon 18x zoom lens, and supports one or two channels of live 1080p HD video, with up to eight embedded audio channels. The camera integrates a Mobile Viewpoint (MVP) Agile AirLink (H.265/H.264) encoder to harness the bonded cellular bandwidth of eight separate modems, providing fast upload speeds over Wi-Fi. ENG Cam STREAM users can use any SIM cards and 4G/3G data plan they choose, select their target URL, and start live streaming reliably. The compact package also contains an Elvid on-camera field monitor, Sennheiser ME67 shotgun microphone, Sennheiser MD46 ENG handheld microphone, and cameramounted LED light kit. CP Communications introduced the first three STREAM products at the 2019 NAB Show. These systems, which the company will demonstrate at NAB again this year, serve a broad variety of single- to multi-camera productions. All four STREAM systems are available to rent or purchase. Other configurations include: • Cam STREAM, a broadcast-quality, single- or dual-camera acquisition system with streaming over Ethernet, WiFi, and/or bonded cellular • MultiCam STREAM, which supports up to four cameras, 32 audio channels, and data (such as return tally and fourwire intercom); and delivers separate SDI cameras feeds or a single, multiplexed stream • Production STREAM, which supports up to seven cameras and sources, with tally and intercom, and integrates Simplylive video switching and Dante-enabled audio mixing Visit https://cpcomms.com/

NEWS OPERATIONS

releasing a version of the livestream as video on demand (VOD) after it had been filmed.

POST PRODUCTION www.content-technology.com/postproduction

Rotor Studios Chooses Digistor and Dell EMC Isilon Storage WITH OFFICES IN Sydney and Melbourne, Australia, and Toronto, Canada, multi awardwinning Rotor Studios was founded in 1998 as a full-service production company and over 20 years later they continue to evolve to stay ahead of a rapidly advancing technology market. This has led to the creation of an award-winning CG studio and a renowned development team who relentlessly pursue and invest in the latest technical innovations. Recently it also led to the requirement for a state-of-the-art shared storage solution and for that they turned to Digistor and the Dell EMC Isilon H500. As Rotor Studios’ Head of IT Joshua Baird explained, “Two of our main commitments to our clients are that complex large-scale projects are managed as easily and efficiently as the smallest jobs and that we have high volume content capabilities. We were hitting hardware reliability and performance challenges with our previous online storage and I engaged Digistor to help us look at the issues we were experiencing. Digistor evaluated our situation and suggested an Isilon storage solution, one I was familiar with from previous work I’d done at several other leading VFX studios in New York and Sydney.” Baird continued, “Rotor Studios is a high IOPS environment different in specification to one streaming multiple streams of video and Isilon has a good track record for work in VFX pipelines by having security, redundancy, performance and expandability in a small footprint.” With Digistor’s help and expertise Rotor Studios chose a 4 x Dell EMC Isilon H500 cluster and shared storage solution with a RAW size of 240TB.

The Dell EMC Isilon H500 NAS Storage solution they chose uses Intel Xeon processors and supports a wide range of enterprise file workloads on the versatile Dell EMC Isilon H500 scale-out NAS platform. This enables Rotor Studios to gain high throughput for demanding applications and gives them easy scalability to handle unstructured data growth. The newly-installed Isilon H500 also integrates an efficient hybrid storage design that combines four Isilon nodes in a single 4U chassis and delivers over 80% storage utilisation, which helps Rotor Studios lower their storage and related data centre costs. Baird added, “Isilon remains the leader in unstructured data workflows among stiff competition from Qumulo, HPE, and NetApp. Isilon is also a complete, all in one box solution with a balance between granular control and ease of use. They also have strong representation in Australia with a skilled team of experts and are supported extremely well by Digistor.”

Rotor Studios’ says the new Dell EMC Isilon H500 shared storage solution has made a significant and positive impact on the company, its efficiency of output and workflows. Baird concluded, “Our new Dell EMC Isilon H500 shared storage solution has increased performance and reliability so that everyone – render farm included – is more productive and as we all appreciate, less time waiting means more time spent being creative. Our IT resources are freed up to focus on other parts of the operation safe in the knowledge that the H500 keeps speeding along. This creates efficiencies further allowing the creative teams to ‘produce’ more. We’re very happy with the H500 and with Digistor’s role in recommending the product, helping us install it and maximise its efficiency.” Visit www.digistor.com.au and www.rotorstudios.com

EditShare Academy Calls for Enrolments EDITSHARE HAS ANNOUNCED that registration is now open for its EditShare Academy authorised training and certification program. EditShare Academy offers online and instructor-led courses within a tiered certification curriculum that equips IT administrators, video professionals, and sales associates with the knowledge to design and deploy open, secure EditShare-powered production and editorial workflows around industry-leading creative solutions.

POST PRODUCTION

The recommended prerequisite to the complete EditShare Academy curriculum, the EditShare Certified Associate training course is open for

general enrolment today. The EditShare Sales Professional and EditShare Certified Engineer courses will follow shortly in Q2 and Q3 of this year. Comprised of easy to follow multimedia content designed to enhance understanding and test knowledge of EditShare solutions, the EditShare Certified Associate track takes students through EditShare’s history, product line, and industry solutions in approximately 90 minutes from start to finish. Visit: https://editshare.live/Academyisopen

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POST PRODUCTION

SGO Brings “Revolutionary Freedom” to VR and Post

THIS YEAR’S NAB SHOW in Las Vegas will see SGO showcasing the very latest developments, updates and new products joining the line-up of Mistika Technology, with a spotlight on its costefficient full-finishing solution for Windows and macOS Mistika Boutique.

• Learn how to use Mistika’s unique and infinite Timespace, Version and History Management and other features to increase your project’s efficiency and productivity.

Under the banner “The Revolutionary Freedom you always wanted”, NAB visitors will be given a chance to explore in detail unique aspects of Mistika Boutique, the first and only postproduction system to totally integrate professional toolsets for Colour Grading, VFX, Stereo 3D, Conform, VR and much more. In addition, brand new features and user interactivity will be revealed for the first time – a must see for those especially interested in colour!

SGO recently pre-released an updated version of its stitching solution Mistika VR, introducing Insta360 Flowstate Stabilization feature and a brand-new user-friendly License Activation Tool.

Mistika Boutique topic-focussed demonstrations being presented at NAB 2020 are: • Designing Future-proof Colour-managed Pipelines • Find out how you can simultaneously colourgrade HDR & SDR without affecting the system performance and how to use Mistika’s unique Unicolour feature to create deliverables to any colour space and gamma curve within the same environment. • Integrating Colour & VFX into one efficient workflow

• Post-producing a bigger picture – 360º and beyond

Insta360 FlowState Stabilization support now allows Mistika VR users to easily import the motion sensor metadata from the Insta360 Pro2 and Insta360 Titan cameras, resulting in automatic stabilization regardless of the lighting conditions of the scene. SGO has also added Mistika VR support for Kandao’s latest camera, the QooCam 8K. Mistika VR users can now stitch Kandao QooCam 8K media at the highest level of precision, applying new pre-sets for still images or video files. When this pre-set is applied, the second video track contained in the same movie file will be added as a second camera layer. In addition, when using the feature “Load Kandao Calibration Metadata”, you can automatically load the calibration data embedded within the camera movie files.

• Discover how you can work faster and smarter without moving between different applications or software solutions by natively integrating Colour & VFX workflows.

Another feature added to this release is an all-new License Activation Tool bringing its users easier and more straightforward license management. Licenses can now be simply moved between systems by using drag and drop functionality.

• Boosting productivity with intelligent Project Management

SGO has also released an upgraded Open Beta of its first media management, transcoding

and delivery application Mistika Workflows. This latest version introduces a brand new and user-friendly License Activation Tool together with other additional nodes, features and stability improvements throughout the software. Users can now find Extended File Metadata for RAW and video formats together with a newly integrated Property Window, reflecting RAW metadata of selected files and a Properties Management Tool, providing easy editing of node attributes. A greater level of automation is additionally provided with accelerated performance of Move and Copy functionality and new Send Email and Folder nodes. Scripting features have also been upgraded with improved access to the Python console and a new system to inject Python code. SGO has also released another new version of its full-finishing software solution for Windows and macOS Mistika Boutique. Mistika Boutique can now proportionally scale its user interface windows and tabs to fit large resolution displays, providing overall better representation and visualization of the icons. For example, to enable a 4K GUI simply go to mConfig, open the Interface tab, activate “Use GUI scaling” option and tweak the values to fit the required display resolution. Another useful new feature is Automatic Audio Routing where multiple audio files can be simultaneously imported as a vertical stack and automatically routed to the correct corresponding channels. Visit https://www.sgo.es/

Alibaba Cloud First Public Vendor to Pass TPN Certification

The TPN is a joint venture between two major entertainment industry associations; the Motion Picture Association of America (MPAA) and the Content Delivery & Security Association (CDSA). The TPN’s goal is to help companies to ensure content security, prevent leaks, breaches, and hacks of movies and TV shows before they are released, by creating a single, central global directory of ‘trusted partner’ vendors. The certification is significant because it satisfies content producers that Alibaba Cloud’s use of industry best practices ensures that its solutions,

facilities, people and workflows are secure, as certified by experienced industry evaluators.

Cloud Key Management Service. All of Alibaba’s Cloud’s audited solutions passed TPN’s tests.

To secure the highly prestigious accolade, Alibaba Cloud’s solutions had to undergo stringent auditing and evaluation processes. A number of Alibaba’s solutions that are suited to the entertainment industry were tested, including: Object Storage Service – an encrypted and secure cloud storage service which stores, processes and accesses massive amounts of data from anywhere in the world; Express Connect – an easy-to-use network service that enables high-bandwidth, reliable, secure, and private connections between different environments; Cloud Storage Gateway – this uses OSS for cloud-based storage at the back end, and supports standard file and block storage protocols in the industry; and Key Management Service – this facilitates the creation, deletion and management of encryption keys with Alibaba

“By completing the on-premises TPN audit process successfully, Alibaba Cloud demonstrates its mature abilities in securing media content with its facility and infrastructure capabilities. As the future of media productions is shifting to public cloud platforms, it is essential for vendors like Alibaba Cloud to pioneer innovations that will propel the advancement of the entertainment industry in a digital era,” said Drew Branch, Senior Security Consultant at Independent Security Evaluators.

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World-class production houses that have embraced Alibaba Cloud’s solutions include Animal Logic and Territory Studio. Visit www.alibabacloud.com

ALIBABA CLOUD HAS ANNOUNCED that it is the first public cloud vendor in the world to obtain the prestigious Trusted Partner Network (TPN) certification, an achievement that validates the entertainment industry’s confidence in its robust security and trustworthiness as a cloud service provider.

POST PRODUCTION

Masstech Launches Premiere Pro Panel for Kumulate ADOBE PREMIERE PRO users can now access the powerful functionality of Masstech’s intelligent storage, workflow and lifecycle management solution, Kumulate, from directly within Premiere Pro. The Adobe panel can be quickly added to any Kumulate system with minimal configuration. Storage movement and workflow tools are then presented as a plug-in within Adobe Premiere Pro, allowing users to access their entire inventory across any type of online or deeper storage tier, including cloud, local disk, optical disk, and LTO. All assets on all storage tiers are searchable to Premiere Pro users from within the new panel, using intuitive search criteria including structured, unstructured, and time-based metadata. These tools allow users to quickly access their content libraries from within Adobe Premiere Pro, speeding up workflows. Premiere Pro and other assets can be quickly and easily restored directly to editing storage, including individual sequences, complete projects, or selected files from a project. Kumulate’s simple UI allows users to browse proxies, and features familiar editing tools such as Adobe markers to define and initiate partial restores when only a portion of a file or project is required. And for customers operating multiple Kumulate systems, Kumulate’s Federated Search enables search across the content in disparate systems, and

subsequent copy of remote assets to the local storage. Other Kumulate features now accessible from within Premiere Pro include frame-accurate proxy playback of stored assets, bi-directional marker support (Adobe markers can be included within the archived asset and can be imported back into Premiere from Kumulate), and advance monitoring. Transfers, transcodes, and workflow jobs can be viewed within the Adobe Panel, enabling users to monitor progress of their own jobs as well as those initiated by other users.

“Kumulate already works with a huge range of MAMs, PAMs, NRCS systems and NLEs, but we are delighted to be able to offer additional workflow benefits to Adobe Premiere Pro users,” commented George Kilpatrick, CEO, Masstech. “Being able to access their entire video library in our next generation storage without leaving their editing application, will allow Adobe users to spend more time on the core creative component of their job and less time searching for files and assets.” Visit https://masstech.com

POST PRODUCTION

Sony Launches Next-Gen 4K HDR Monitors

SONY RECENTLY LAUNCHED a new set of high-grade picture monitors from its TRIMASTER range at this year’s BSC Expo in London. Both the 24-inch and 18.4-inch models were showcased alongside other flagship solutions.

monitors. This functionality allows filmmakers to check the highlight and low-light balance of the contents with both bright and dark scenes.

The PVM-X2400 (24-inch) and the PVM-X1800 (18.4-inch) monitors provide high picture quality and accurate colour reproduction thanks to Sony’s specified and dedicated panels, which offer ultrahigh definition with a resolution of 3840 x 2160 pixels and an impressive brightness of all-white luminance of 1000 cd/m2. For optimum film production, their wide colour gamut matches the BVM-HX310 TRIMASTER HX master monitor. This means both monitors offer accurate colour reproduction and precise greyscale, giving filmmakers a reliable tool to help make critical imaging decisions and faithful colour matching throughout the workflow.

“We are excited to return to BSC this year and launch our two new picture monitors at the show. At Sony, we always work closely with our partners, customers and the wider industry to offer solutions that help filmmakers overcome the real-life production challenges they face on set or in the editing room. Through the launch of these new monitors, Sony is now able to offer its customers an even wider range of compact 4K HDR monitors that provide reliable and faithful colour matching from start to finish,” explained Anthony Kable, Group Manager Content Creation Solutions, Sony Australia.

With their compact size and high portability, the monitors are aimed to expand footprints in 4K HDR production including versatile applications such as on-set monitoring, non-linear video editing, studio wall monitoring, rack-mount monitoring of OB trucks or machine rooms.

Key features of the new reference monitors include:

The monitors also feature new Black Detail High/ Mid/Low, which helps maintain accurate colour reproduction by reducing the brightness of the backlight in three steps to reproduce the correct colours and gradations in low-luminance areas. Another new function, Dynamic Contrast Drive, dynamically changes backlight luminance to adapt to each scene or frame when transferring images from PVM-X2400/X1800 to existing Sony OLED

• 4K resolution of 3840 x 2160 pixels and HDR capabilities.

• TRIMASTER technology offering precise greyscale and accurate colour reproduction, achieving 100% colour gamut coverage of the BVM-HX310 master monitor.

• Dynamic contrast ratio of 1,000,000:1 by Dynamic Contrast Drive. • 4K/HD scopes with HDR scales that are Waveform/Vector. • Quad View display and User 3D LUT functionality.

• 12G/6G/3G/HD-SDI with auto configuration. • The new monitors will be available in July 2020. Visitors at BSC 2020 were also be able to experience a range of on-set acquisition and monitoring solutions, including the flagship motion picture camera system, VENICE, as well as the new full-frame 6K sensor camera, FX9. In addition, a number of third-party accessories that customers can test, all demonstrating how Sony equipment can be used with industry standard equipment in an on-set environment. Sony spokespeople will be on hand to showcase each solution and to discuss current industry challenges and key trends. Kable further explained: “For Sony, BSC is all about showcasing our advanced set acquisition and monitoring solutions that help filmmakers bring their creative visions to life. This includes our CineAlta flagship camera VENICE with its just released Version 5.0 firmware update which expands the HFR capabilities to up to 90fps at 6K 2.39:1, offers HD ProRes 4444 internal recording and many more features.” Visit www.sony.com.au

POST PRODUCTION

� GENCOM

�· TECHNOLOGY Your partner in media technology

Park Road Goes 10K with LaserGraphics

FOR OVER 25 YEARS, New Zealand’s Park Road Post Production has been involved with many of the world’s top movies, and continues to lead the industry with state-of-the-art digital technology. It might be surprising to learn then, that film still plays a central role in Park Road Post’s business. According to Director of Engineering Ian Bidgood, “Film has always been an important part of Park Road Post’s workflow. In the early days, most of what we did started on film in the camera and finished on film for the cinema. For many years, we ran our own film lab before the move to digital acquisition made it uneconomical. But film still remains an important part of the production process for many projects that Park Road Post is involved with.”

According to Bidgood, “two of the key benefits with film are its resolution and its dynamic range. Once we have that in the digital realm, we can then manipulate it to achieve the best result, but first we need to be able to capture the image from film at the best possible quality and this is where we found the Director from Lasergraphics excelled.” For many years Park Road relied on its venerable ARRISCAN film scanner to achieve this task but as the technology moved on, it was time to consider a refresh. So, PRP approached Gencom Technology, agents for Lasergraphics in Oceania, to run some tests. According to Gencom Managing Director David Barnard, “I knew that the Director would be the right choice to ensure the best possible result no matter what kind of film [Park Road] needed to scan for a particular project. But we needed to prove this so went through several rounds of test scans with some test material that Ian had and knew very well. We demonstrated that the Director had the best combination of spatial resolution and dynamic range, complemented by features that enhance its versatility for a commercial facility - fast switching between film formats, a sprocketless design that protects fragile archival film and a gate design that handles warped and damaged film very well.” Delivery and installation were seamless. According to Ian Bidgood, “Gencom organized all the logistics and were on hand for the installation and commissioning. The whole system was up and running in less than a day and, after spending some time familiarising us with the software, we were able to start scanning customer film right away.” The installation marks the seventh Lasergraphics scanner to be installed in Australia and New Zealand in the last five years and the only Director 10K that is available to third-party customers. To enquire about film scanning at Park Road Post, contact Dean Watkins, dwatkins@parkroad.co.nz Visit www.parkroad.co.nz and www.gencom.com

Specialising in integrated technology solutions for:

• Video Production and Post • TV, Radio, and Online Broadcasting • Corporate, Industrial, and Government AV Applications • Telecommunications

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In fact, half of the 2020 Oscar nominees for Best Picture were shot on film. Additionally, restoring older films is a growing part of Park Road’s business. A prime example is They Shall Not Grow Old, Peter Jackson’s recent documentary feature made up entirely of 100-year-old WWI archival footage. Park Road is working on newer material as well, including film material to be released in High Dynamic Range.

MEDIA IN THE CLOUD, STORAGE & MAM The Pursuit of Excellence

DAMsmart Asia, Silver Trak Digital and TransMedia Dynamics launch Digital Media Supply Chain Centre of Excellence in Kuala Lumpur. IN A WORLD FIRST, DAMsmart Asia, Silver Trak Digital and TransMedia Dynamics (TMD) have signed a Memorandum of Understanding to officially launch a Digital Media Supply Chain Centre of Excellence in a purpose-built facility in Kuala Lumpur. The facility was officially opened by YB Gobind Singh Deo, Minister of Communications and Multimedia Malaysia, alongside representatives from the Australian and British High Commissions. Located in Petaling Jaya, just outside of KL in Malaysia, the 600 square metre, purpose-built Digital Media Supply Chain Centre of Excellence is part of Silver Trak Digital’s expansion in and commitment to Southeast Asia, and now acts as a hub that offers a full range of digital media services to government, media and entertainment clients throughout the region. There’s also high-capacity digitisation and preservation services for any form of aging audio and videotape. The facility also offers content aggregation, language, quality assurance and checking for digital video and film, electronic content distribution, DCI mastering, duplication and distribution services integrated with full media asset management using TMD’s Mediaflex UMS system.

MEDIA IN THE CLOUD, STORAGE & MAM

DAMsmart’s Joe Kelly said, “DAMsmart is the leading specialist archive digitisation and management services provider in Australia. With the backing of our parent company, Silver Trak Digital, we launched DAMsmart Asia and this new facility in Kuala Lumpur. It’s clear that all forms of media archives are now at risk of permanent loss within the next few years if urgent action is not taken to convert the physical holdings of videotapes, audiotapes and film into data, due primarily to technology obsolescence and media degradation. With this new facility, our significant experience and expertise in these areas are now available to government agencies and private sector organisations in Malaysia as well as other countries throughout the region.”

Supporting Kelly in the new facility is Operations Manager Andrew Martin, Patrick Brunsdon whose credits include Post Production Technical Manager with Pinewood Iskandar Malaysia Studios, as well as a team of skilled, locallybased technicians. DAMsmart Asia is using TMD’s latest generation of Mediaflex-UMS (Unified Media Services) platform, which provides the company with a cloud-native, service-oriented architecture

Launching the Digital Media Supply Chain Centre of Excellence: [standing] CEO of DAMsmart Asia, Joe Kelly; Founder & Executive Chairman of TMD, Tony Taylor; Silver Trak Digital CEO Tim Creswell; and [sitting] Malaysian Minister of Communications and Multimedia, YB Gobind Singh Deo.

delivering media aware, software-defined workflows. Mediaflex-UMS supports the management of both physical media and digital content. It enables DAMsmart Asia to manage the digital supply chain of its media content, including acquisition, creation, digitisation, re-purposing, preservation, enrichment, delivery, publishing and archiving through TMD’s own applications and from its extensive list of integration partners. According to TMD CEO, Carlton Smith, “The new Digital Media Supply Chain Centre of Excellence is unique. Within the centre TMD will support and maintain the Mediaflex-UMS platform and services and provide general IT support for the entire facility. It truly is a world first and one of a kind offering.” The new Centre of Excellence also specialises in motion picture film scanning for any film gauge at any resolution and is the first to utilise the new GoldeneyeNet global franchise network, launched this year by one of the centre’s key technology partners, Digital Vision World (DVW). GoldeneyeNet includes the Goldeneye IV Archival Scanner and Phoenix and Loki suite of products. It will enable DAMsmart Asia to offer clients world-class DVO restoration and file-based image processing tools. The GoldeneyeNet network is central to the

facility’s overall offering for film preservation, restoration and archival work with its Universal Optics, and the fact that any film from 8mm to 70mm, including Pathé and every format in between, can be scanned. DVW’s Director of Global Sales, Mark Coleman, said, “By launching our new GoldeneyeNet platform with DAMsmart at the new Digital Media Supply Chain Centre of Excellence we offer a unique and valuable opportunity to the market. As the most versatile high-quality film scanner on the market, Goldeneye IV gives the facility the advantage of being able to tackle any film format that a client has. The opportunity for clients to then have their content processed by experienced operators on our Phoenix and Loki software suites using the same multi awardwinning DVO tools used by National Archives and the largest film studios around the world under one roof, is another major bonus. All of this is now available to clients without the need for cost-prohibitive investment on their part.” The final offering in the new facility comes from Silver Trak Digital in the form of local project management for localisation services throughout the region. Silver Trak Digital CEO Tim Creswell said, “The new Digital Media Supply Chain Centre of Excellence is an incredible technological Continues p32>>

MEDIA IN THE CLOUD, STORAGE & MAM

Pimp My Management System! Three Media soups up its XEN:Pipeline content management platform with Arcitecta Mediaflux.

that needed to change, and which also posed significant challenges to resolve.

THREE MEDIA is a professional broadcast services and technology development company. Since 2009, it has consulted on large-scale projects for leading broadcasters including BBC Studios, ITV, AMC Networks, BT Media & Broadcast and Globecast.

All new systems must support easily extensible and flexible data schemas, complex business and technical hierarchies (parent/child relationships) and the ability to manage and present “big data” sets - an example of which would be layer after layer of timeline data extracted through video and audio AI recognition workflows. Not only must the database support these capabilities, it must also be highly functional. The clear conclusion was that a wholesale upgrade of core database capability was required but that none of the traditional choices would deliver against all the requirements.

Three Media has designed modern broadcast workflows through the implementation of metadata/big data, using modelling, simulation and optimisation techniques to produce the most efficient systems. This work led to Three Media’s own product, XEN: Pipeline, which uses artificial intelligence and machine learning (AI/ ML) to control and integrate functions within a broadcast complex or across a network. Like the capabilities of many of the industry’s leading media and metadata management systems and tools, those of XEN: Pipeline have continued to advance. The challenge has been changing quickly enough to keep ahead of new demands. The relentless, almost geometric growth, across the industry, in both the volume of files and complexity of data required for identification and global exploitation, poses a significant performance challenge to all vendors. This, coupled with the necessity to increase automation and dramatically reduce human intervention at every point in the supply chain, has meant many vendors have had to step back and consider if their products remain “fit for purpose”. Three Media was no different and performed an intensive ‘bottom up’ analysis of its XEN: product set. XEN:Pipeline is Three Media’s content management system which can process all types of files and metadata, from programme inception through to packaging and delivery. Supported by a flexible data schema and a powerful business logic layer, the highly automated system supports processing and transformation of all types of assets, files and metadata for delivery to any linear or non-linear location..

The Challenge Inherent market, design and functional pressures guide the definition of new functionality and capabilities in most products, but Three Media have identified an additional two key areas

Second to that, Three Media identified that visibility and identification of files across multiple locations was becoming more and more critical. A user does not need to know where a file is located but just that it exists, it is associated to the hierarchy and can be exploited. As most content providers have an archive of library files stored across multiple devices, locations and in many different formats, this capability was defined as being a core requirement, delivering significant efficiencies. The challenge was then to identify a mature vendor operating in this space as building this functionality would take months, if not years.

The Solution: Arcitecta Mediaflux Three Media’s evaluation resulted in the decision to replace the underlying database and related infrastructure and to implement significant changes in the way XEN:Pipeline manages, processes and presents data and files to end users. This was an essential move in order to provide a flexible framework to support and enable continued growth and critically, expanded features and functionality. This led, after an exhaustive search and product evaluation, to the selection of Australian company Arcitecta and its Mediaflux compressed object database (XODB) as the new core of XEN:Pipeline. Arcitecta provided a robust, mature solution based on Mediaflux to both areas of identified change. The flexibility of Mediaflux, combined with a broad set of API functions, enables the ability to integrate almost any kind of storage environment anywhere into a

cohesive and global namespace, fully supported and protected by native national defence grade security.

Benefits With Mediaflux at its heart, Three Media says XEN:Pipeline now offers “unrivalled capabilities” to the media industry. The way in which it manages data provides the flexibility and performance required to manage many millions of data sets. The company says, there is now no limit to the extensibility of the data schema ensuring that, as the industry grows and new trends surface, XEN:Pipeline can extend quickly, seamlessly and cost effectively. Its approach to storage management provides the near unique ability among its peers to integrate almost any kind of storage into a common, secure, operational environment with little or no engineering required. It can be deployed into a customer’s business and operational environments alongside any existing storage management system with no disruption to existing operations, whilst delivering dramatic reductions in overhead connected with implementation, deployment and support of new features. The combination of Mediaflux and Three Media’s powerful business content management layer and the simplification of the XEN:Pipeline UI delivers an entirely new set of advanced capabilities to the metadata and content management industry. XEN:Pipeline enables businesses and users to cost effectively discover, identify, associate, describe, manage and ultimately exploit a far broader and deeper range of “long tail” content, wherever it’s located and on almost any kind of storage hardware. In the past, and the present, much of this content is not economically viable using other systems. Arcitecta, Mediaflux and XODB are registered trademarks of Arcitecta IP Pty Ltd XEN:Pipeline is a trademark of Three Media Associates Ltd Visit www.three-media.tv and www.arcitecta.com

Arcitecta – Big Data Downunder College of the Arts in building the VCA’s Film and Television Digital Archive. Over 50 years of film was digitised, preserved and made accessible with the big data project - totalling over 78TB of historical and socially significant cultural data assets.

Operating in a range of industry verticals, including defence and life sciences, the company recruited former Director of R&D at Animal Logic, Guy Griffiths, to manage its media and entertainment portfolio.

According to Arcitecta CEO, Jason Lohrey, “We are at an exciting point in the evolution of incredible films; where the art challenges the technology, and the technology inspires the art. Accessing the data in a larger context than the traditional film school setting, opens up new possibilities to celebrate and discover new aspects of Australian cultural identity and the University’s impact on a global scale.”

Arcitecta recently partnered with the Victorian

The project was driven by Donna Lyon, an

Associate Director of Teaching and Learning at the VCA Film and Television School with the aim to celebrate, explore and engage with the films made by past, current and emerging filmmakers. “I wanted to democratise the film school archive that remained shut off - inaccessible to staff, students and beyond - and ensure that these films could be seen by not only students and staff, but a diverse array of audiences,” she said. At launch, the Archive Project had already ingested some 19,270 hours of film, equivalent to 214 features. Visit www.arcitecta.com

MEDIA IN THE CLOUD, STORAGE & MAM

MELBOURNE-BASED ARCITECTA was founded by CEO Jason Lohrey, a quantum-physicist and artist who recognised the concept of “Big Data” long before it became a buzzword, and that access to the broadest sets of data would provide the foundation for identifying patterns and making new discoveries.

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MEDIA IN THE CLOUD, STORAGE & MAM >> continued from p30

make any version from those formats as well.” In terms of migrating content to 4K resolution, Creswell sees 35mm film as the main driver. “With film, certainly 35mml lends itself very well to 4K,” he says. “So, we certainly hope there’ll be a fair bit of that. There’s a lot of 16mm I believe in Southeast Asia, which is obviously up to 2K. It could be pushed to 4K, but certainly 35mm is where it’s really at for the sort of 4K content that platforms are looking for, as well as holding it for archives. So, film is obviously one of those things where going back to analogue quality you can make a really great 4K image from that archival storage.”

The team at the new Digital Media Supply Chain Centre of Excellence.

Once analogue content is digitised, there is a natural requirement for the addition of metadata. According to Tim Creswell, the new Centre expects to deal with a range of metadata requirements. “Everyone will want something different,” he says. “And, I think the benefit of capturing this content is once you’ve got it, then you can run all kinds of things on it. Not just your standard metadata, framerate, frame size, all that kind of thing. But then you can also run AI on it as well. So, if you want to find people’s faces, you want to find brands, all that kind of stuff that’s potentially valuable, historically or commercially, then you can use that to run that scanner through systems that we also have to find those brands and those faces for storage and for searchability later on.

Touring the new facility.

achievement and of great value to companies and organisations throughout the region. The local feedback we’ve been given is that southeast Asia needs a new, experienced player in the digitisation, restoration and preservation space. There is a digitisation deadline looming due to tape degeneration and format obsolescence and this facility offers the best technologies to address these issues along with excellent customer service to complement them.

MEDIA IN THE CLOUD, STORAGE & MAM

“There are hundreds of thousands of hours, hundreds of thousands of assets, probably millions of assets just in Malaysia alone. And then, obviously, when you start throwing Indonesia, India and surrounding areas and subareas and countries then we certainly haven’t uncovered a lot of it yet. I think that’s still to be discovered. So far, many hundreds of thousands are out there at the moment, and also the conditions in Southeast Asia are not great for housing tape, naturally. So, some of it has been housed well, some of it hasn’t, but certainly in the next five years, there’s going to be a loss of a lot of that data if it’s not captured before then.

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“A key part of the problem is if you don’t digitise, certainly the tapes, in the next five years, you very well may lose that data, you may never get it back. The tape decks might not be available, won’t be working anymore. So, if you’ve got valuable content on one inch or whatever it might be, then you actually physically won’t be able to get it off that tape. Or, it’ll become seriously much more expensive, because the number of

tape decks in the world is reducing every year, and the number of parts with those tape decks is reducing as well. “In terms of film, it’s not quite the same level of degradation in terms of we’ve got a limited lifespan, but film, obviously the longer you leave it in bad condition it is going to degrade. So, getting that into a digital file where it can be stored for a long period of time, that’s the key. And then from that, obviously, monetisation. There are so many digital platforms popping up all around the world, but they need special local content. Whether it be Malaysia or Vietnam or Indonesia, they want that content rather than out of the US or the UK. So, there’s a great demand to get that and to be able to buy that content that hasn’t been on these platforms before. They’re probably the two big drivers that we see.”

RESTORATION WORKFLOW When film or tape is received at the Digital Media Supply Chain Centre of Excellence, it is cleaned to the point where it can be run through the Centre’s scanners. “Once we get that into a digital file,” says Silver Trak Digital CEO Tim Creswell, “we can then run that through Digital Vision restoration software, which can then clean it up, stabilise it, remove dirt, all those kind of things, to get the best possible file that can be made. Then we store that in whatever format the client wants to store it as, whether it be JPEG2000, DPX, Pro Res, you name it, we can store all those formats, and

“I think the more data we hold, the more content we ingest, we will certainly see AI growing. Because the whole point of AI really in our industry, certainly for us, is being able to farm that metadata, find more information out and make that data usable. The more information you have about data, the more information you have about your content, the more valuable becomes to you.” In terms of throughput, Tim Creswell says the Digital Media Supply Chain Centre of Excellence will be capable of hundreds of thousands of hours per year. “That’s where our expectation is,” he says, “based on the volume of work that’s out there and that needs to be done, and the timeframe that a lot of that needs to be done by. We expect hundreds of thousands of hours of work to be done per year of capturing and digitisation, and our facility is built to handle that, that amount of work. “What we’ve basically been able to build out is an end to end solution, hopefully, for any client or any company or archive looking to get their content off their current format. So, from digitalisation from film into a file, from being able to convert that file into any type of format, and then being able to run that through an automated solution to make any number of workflow requirements and formats, and then delivering that format to any potential platform through Silver Trak’s contacts, whether it be Netflix or any other local platform up there that might need that content. So, what we can offer is effectively an end-to-end solution which certainly nobody in the region has offered in the past.” Visit www.damsmart.asia www.silvertrak.com.au www.tmd.tv www.digitalvision.world

MEDIA IN THE CLOUD, STORAGE & MAM

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AUDIO Digital soundwaves

www.content-technology.com/audio

tm stagetec systems Partners with Merging Technologies TM STAGETEC SYSTEMS has been announced as the Australian Distributor for Merging Technologies. According to the two companies, the partnership brings with it a new perspective on aiming to offer the best audio and technology solutions to clients in the Australian market. Merging Technologies SA is a Swiss manufacturer with 30 years of experience in developing ground-breaking, professional audio and video products for a wide range of entertainment and media industries. “With a dedicated user base in the elite end of the music, film, television, mastering and performances industries,” says the company, “Merging is committed to developing product ranges with unrivalled quality and flexibility, no matter what the application. Merging builds tools for people who want more from their systems, have an inherent need to push boundaries, and believe that quality always comes first.” Under the aegis of ‘Audio for the Networking Age’, Merging’s most recent work has involved introducing AoIP technology to the consumer audio world whilst continuing to develop products that find their place in environments as diverse as broadcast, recording, mastering, A/V, theme parks, museums, shopping malls and transport hubs. The partnership

with tm stagetec systems aims to help further permeate this technology into the Australian market. Mark Lownds, General Manager at tm stagetec systems, said: “TMS are enthusiastic and motivated to represent Merging in Australia. The hardware and software range from Merging fits perfectly with our existing portfolio of high-quality professional audio and broadcast products. The Pyramix even has integration with Stage Tec consoles. “At TMS, we work extensively with Audio Over IP and we are excited to have the opportunity to add the new Anubis product range to our offering.” Visit www.tm-systems.com.au

$4 Million for Audio Description on ABC & SBS THE AUSTRALIAN FEDERAL GOVERNMENT has launched an initiative to help blind and vision impaired Australians to access audio description services on ABC and SBS television programs. Minister for Communications, Cyber Safety and the Arts, the Hon Paul Fletcher MP, said that the Government will provide the ABC and SBS AUD$2 million each to introduce audio description services. Audio description is a verbal commentary that complements the soundtrack of a television program so people with vision impairment can better experience television programs. It is already available for programs on some streaming services – notably for select titles on Netflix and Stan.

“Australia is the only English-speaking nation in the OECD not to offer audio description on free-to-air television. We believe that it is long overdue for our national broadcasters to introduce audio description for their audiences,” Minister Fletcher said. The Government will not prescribe the way in which the ABC and SBS deliver audio description services. The ABC has previously trialled two different delivery methods – via its catch-up service and on broadcast television. “As a result of this funding, the national broadcasters are expected to begin offering audio description services to audiences by the 1st of July, 2020,” Minister Fletcher said. Visit www.communications.gov.au

VoiceQ Takes Dubbing to the Cloud NEW ZEALAND-BASED tech innovator VoiceQ has extended its dubbing software to the cloud to meet increasing demands for speed, efficiency and scale in the global dubbing industry. VoiceQ Cloud Manager and VoiceQ Cloud Collaborator are web-based applications designed to complement native dubbing applications VoiceQ Pro and VoiceQ Writer by introducing script localisation efficiencies across the pre-record workflow, and reporting efficiencies across pre-record and record workflows.

AUDIO

In announcing the launch of the new cloud tools VoiceQ CEO Steven Renata said, “Dubbing studios around the world tell us the script preparation stage is challenging. We have created cloud-based tools that allow everyone involved in script localisation to collaborate in real time, from anywhere, on any device, in perfect sync.

“All Managers need is an internet connection to experience over-the-shoulder editing, accelerate

review and approval, manage multiple projects more easily, and be everywhere – without blowing the budget.” In extending to the cloud the company is riding the wave of growth in the global language services market, a market seeing exponential growth in consumption and soaring investment in localised content (up 35 percent year-on-year). Launch of the cloud products has also prompted the release of a new package for training future audio production stars. Education and training institutions who sign up to the package get software for managers, engineers, adaptors and translators, including VoiceQ Cloud Manager and VoiceQ Cloud Collaborator for the pre-record stage. They also have access to customised training modules and video training. Education clients signed to date range from New Zealand’s Victoria University of Wellington to the Sámi Education Institute in Lapland, Norway. Visit www.voiceq.com

Amber Confirms Ownership of Australian Monitor AMBER TECHNOLOGY HAS CONFIRMED ownership and distribution of Australian Monitor for the local and global commercial and professional audio markets following the acquisition of the AV distribution business from Hills Limited, which included Australian Monitor. The brand in its entirety has been acquired by Amber Technology, with all divisions now housed at Amber’s headquarters in Warriewood, on Sydney’s northern beaches. “It’s business as usual in every way for Australian Monitor,” confirmed Peter Amos, Managing Director, Amber Technology. “The transition has been very smooth and no disruption to ordering or delivery has been experienced. “We are also excited to be starting the year with new Australian Monitor products being launched at ISE in February. This will be a great opportunity for the Amber Technology team to engage with the global Australian Monitor customers, and reassure the market that the brand is as accessible as always.” Visit www.ambertech.com.au/brands/ Australian-Monitor

AUDIO

Studio Headphones with Bluetooth

Multi-Dimensional Signal Processing

HARMAN PROFESSIONAL SOLUTIONS has announced the new AKG K361-BT and K371-BT professional studio headphones featuring Bluetooth connectivity.

KLARK TEKNIK HAS RELEASED the new 3RD DIMENSION BBD-320 Analogue Multi-Dimensional Signal Processor with BBD Technology.

AKG K361-BT and K371-BT headphones are designed for mobile artists, engineers, podcasters and beatmakers who want the flexibility of wired or wireless connectivity combined with studio-quality sound. The K361-BT and K371BT feature an over-ear, closedback design that is precisionengineered to reproduce natural, balanced audio in exceptional detail, so users can make more confident decisions when mixing and editing. With a frequency response of 15Hz to 28kHz in the K361-BT and 5 Hz to 40 kHz in the K371-BT, both models offer the convenience of switchable Bluetooth wireless and wired connectivity, with a built-in microphone for two-way Bluetooth communication. K361-BT and K371-BT professional headphones feature high-sensitivity, largest-in-class 50mm drivers and pure oxygen-free copper voice coils to deliver clear, detailed and balanced lows, mids and highs. With the latest generation Bluetooth 5.0 technology, users will enjoy up to 40 hours of wire-free listening between charges. The hybrid wired/Bluetooth design allows users to reference their mixes in a variety of listening scenarios, while an integrated microphone enables hands-free phone calls.

• Authentic reproduction of original analogue circuitry. • Pure analogue signal path based for highest signal integrity. • Sound effects based on authentic BBD (bucket brigade delay) technology. • Precise 10-segment LED meter for output level. • Servo-balanced inputs and outputs with ¼-inch TRS and gold-plated XLR connectors. • Relay-controlled hard bypass switch with remote control and auto bypass function. • Rugged 2RU chassis for durability in portable applications The chorus effect has been a studio mainstay since the ‘80s. With greats such as Brian Eno, Stevie Ray Vaughan, Peter Gabriel and so many more incorporating this effect into their recordings, the chorus has become legendary effect in the music industry. Now, that legend continues with the 3RD DIMENSION BBD-320, an amazingly affordable analogue multidimensional signal processor that can recreate those classic tones that so many amazing artists have used in countless releases. The BBD-320’s sound effects are based on authentic Bucket Brigade (BBD) technology, maintaining the quality of original 80’s circuit and opening the door to some rich chorus sounds that can spice up any guitar, synth or bass tones. It’s also built with a pure analogue signal path for the highest signal integrity. Controls on the BBD-320 are designed to be simple. No speed, tone or depth knobs here. Four buttons are all users need for great chorus tones. Start from button 1 and get a subtle warble all the way up to button 4 for a more intense chorus. Users can even press two buttons at the same time and stack choruses to get more nuanced effects. Remotely switch the chorus on or off by connecting a footswitch via the ¼-inch input located at the front of the BBD-320. A precise 10-segment LED meter is also included for easily monitoring the output level of the BBD-320.

Accessories for the K361-BT and K371-BT include a carrying pouch and versatile detachable cables: 3m and 1.2m straight audio cables, a 1m USB charging cable, and a 3.5mm to 6.5mm adapter.

At the rear, the BBD-320 has servo-balanced inputs and outputs with ¼-inch TRS and gold plated XLR connectors. You can also switch the BBD320 to either stereo or mono.

Visit www.akg.com

Visit www.klarkteknik.com

HARMAN PROFESSIONAL SOLUTIONS has announced new JBL Professional One Series 104-BT and 104-BTW desktop reference monitors with Bluetooth. The JBL One Series 104-BT reference monitors are designed to enable content creators and audio professionals to stream accurate, studio-quality audio via Bluetooth or play back audio using a standard wired connection. Black (104-BT) and white (104-BTW) finish options are available. The JBL 104-BT reference monitor features a coaxial driver that pairs a contoured low-frequency woofer with a soft-dome tweeter, for accurate frequency response, superior imaging, crisp detail, and a wide sweet spot. The cabinet’s low-frequency port works with the driver to deliver impressive low frequency performance down to 60Hz. A powerful 60-watt Class D power amplifier distributes 30 watts per speaker for clear, undistorted, loudest-in-class output. And One Series’ acoustic design, optimised for desktop use, ensures accuracy without the need for additional EQ.

AUDIO

• Legendary analogue Spatial Sound Processor used by world famous artists.

The K361-BT and K371-BT have been engineered and rigorously tested to ensure reliability in the most demanding conditions. An over-ear, closed-back design provides superior isolation in noisy environments while minimising low-end leakage. Additionally, the headphones are intentionally styled with ergonomic plush, slow-retention foam pads for long-wearing comfort, with adjustable calibrated headbands that deliver a perfect fit, every time.

Bluetooth-Enabled Reference Monitors

Features include:

High-bandwidth Bluetooth 5.0 streaming, beyond offering the convenience of audio playback from mobile devices, provides audio professionals the ability to reference mixes over Bluetooth using a professional monitor, rather than a consumer portable device. JBL 104-BT reference monitors integrate smoothly into any production workspace, with features like a front-panel input control that selects Bluetooth, Aux, RCA, TRS or combines all inputs. Front-panel volume control allows convenient level adjustments without straying from the sweet spot, and a front-panel headphone jack conveniently mutes the speakers when switching to headphones. Dual1/4-inch balanced, dual RCA and single 1/8-inch inputs, along with Bluetooth accommodate a wide range of signal sources. An optional protective carrying case is also be available for production on the go. Visit JBLPro.com/One-Series

AUDIO

Mackie Introduces EleMent Series Microphones

MACKIE HAS ENTERED the microphone sphere, introducing its new EleMent Series microphones. Like all Mackie gear, EleMent Series mics combine professional-calibre performance and Mackie’s famed built-like-a-tank rugged reliability and outstanding value. The series consists of three models: the EM-89D Live Vocal Dynamic, EM-91C large-diaphragm condenser, and EM-USB USB condenser microphones. The EM-89D dynamic microphone features a cardioid polar pattern and is primarily designed for stage use but also makes a fine addition to a studio microphone collection. It’s designed as

an excellent handheld vocal microphone, but is also suitable as an instrument and amplifier microphone. The EM-89D comes with a mic clip, XLR mic cable, and zipper pouch. Every studio needs a quality large-diaphragm condenser microphone, and the new Mackie EM-91C’s audio quality and classic cardioid polar pattern makes it suitable for a wide variety of studio applications. The EM-91C is designed to bring warmth and brilliance for vocals, to capture the nuances of stringed instruments, and more. In addition to musical applications, it’s suitable for live streaming, voiceovers, and many other types

of content creation. The EM-91C comes with a shock mount and an XLR mic cable. The Mackie EM-USB condenser microphone is suited to recording, live streaming, podcasts, and online content creation, without requiring a separate audio interface. Connecting directly to a laptop or mobile recording device using USB-C and featuring a built-in headphone output with independent volume control, the EM-USB also provides controls for main input gain and mute. Included are mic clip, tripod mount, and USB-C cable. Visit https://mackie.com

AMS RMX16 500 Series Reverb

In keeping with its predecessor, which was the world’s first microprocessor-controlled, full-bandwidth digital reverberator, the new RMX16 500 Digital Reverb Module is designed to be musical rather than simply implementing mathematical algorithms. Great care has also been taken to replicate the complex sonic characteristics of the original unit’s analogue and converter circuitry, which played a big part in the overall sound. From the outset the AMS RMX16 was designed

by ear, with each program tuned and re-tuned to provide as wide a sweet-spot of settings as possible by means of carpet graph parameter tables, interactively linked control by control. These design principles are key to its longevity and have been carried forward to the new RMX16 500 to ensure that it replicates the original’s outstanding performance.

• Low power consumption (and therefore cool running). • Independent control of each program’s fundamental reverberant parameters. • Nudge buttons to increment or decrement data for all selectable reverberation functions.

Key features include:

• Alphanumeric program descriptions for ease of use when storing or recalling information for the unit’s memory.

• An 18kHz bandwidth, allowing it to also be used as a high-quality digital delay line.

• New rotary push encoder enabling all parameters and settings to be adjusted by ear.

• 90dB dynamic range and 0.03% distortion in delay mode.

• New wet/dry mix blend function.

• Adjustable input and output levels for optimum signal to noise performance.

• New save/recall feature with 100 user-defined memory slots. Visit www.ams-neve.com

AUDIO

NEARLY 40 YEARS SINCE making its debut on the professional recording scene, the iconic AMS RMX16 Digital Reverberation System has been relaunched in hardware format as part of AMS Neve’s rack-mounted 500 Series.

RADIO The original broadcast media

www.content-technology.com/radio

AVW Group Scales New Heights for SCA THE AVW GROUP’S Special Services Group (SSG) has recently completed the maintenance of satellite uplinks for Australian radio broadcasting company Southern Cross Austereo. Over the course of four days, two 4.0m antennas were shut down, reflectors thoroughly cleaned, iBUC electronics overhauled and re-alignment checks completed before switching back on.

Rob Paris, AVW Groups Project Lead, reports that both the Sydney and Melbourne locations presented their own logistics challenges, especially Sydney with the unique requirements of working out on the roof of a 56-story commercial building in the CBD. “Building Management were very supportive of what we were doing yet still had a strict policy for qualifying workers to be allowed out on the roof and

the safety of those workers at all times,” he said. Professional cleaning crews were sub-contracted in each city to remove years of built-up dirt caused by atmosphere and weather. AVW technical staff performed the overhaul of the iBUC electronics including fan replacement and re-waterproofing of connectors. Repowering the uplinks was completed within the allocated time and no loss of program was experienced at any stage. AVW Group (Australian and New Zealand) are a full line Broadcast, ICT and AV/Media engineering and equipment supply company with a wealth of expertise in Satellite and RF Broadcast Distribution projects. Visit www.avw.com.au

NOVA Launches Interactive Ads for Google Assistant AUSTRALIA’S NOVA ENTERTAINMENT has announced what it says is an industry-first, the introduction of leading technology to create interactive audio commercials in the next extension of the company’s voice and digital audio strategy. NOVA has created a Google Assistant Action that adds activation and interaction for audiences listening to radio or podcast commercials in cars, at home and on the move. Listeners with Google Assistantenabled devices can use the Action to interact with their radios or smart devices and provides a new audience and greater commercial opportunities. Fayad Tohme, NOVA Entertainment’s Chief Digital Officer said, “This is a significant evolution for NOVA’s digital audio marketing capabilities. For the first time, listeners will be able to interact directly with a smart advertisement, responding in real time to a call to action, requesting more information, and even connecting directly with an advertiser. The result is a more interactive, engaging experience for the listener and greater impact for the advertiser.”

RADIO

The Action launched via a special competition advertisement in the newly-minted Adelaide breakfast show, Nova 919’s Ben and Liam. The geo-targeted advertisement invited listeners in South Australia to use voice commands to enter an exclusive competition to win tickets to Nova’s Red Room with singer Guy Sebastian, live in Adelaide.

Peter Charlton, NOVA Entertainment’s Chief Commercial Officer said, “Voice-driven interactivity is an important next step down the path of personalisation for NOVA. Our priority has always been to evolve the listening experience in line with changes to the lives and habits of our audiences. The ubiquity of voice-command can’t be ignored,

and neither can the clear chance it represents to deepen our audience connection. This is an exciting creative and commercial opportunity for NOVA and our partners, and we look forward to seeing it in action.” In February 2019 NOVA Entertainment launched a unique, voice-activated experience for the Nova audience, with the release of an Amazon Alexa skill. The innovative move saw NOVA Entertainment lead the industry in offering a unique and interactive voice experience for listeners. NOVA has since released new capabilities to further enhance the users’ experience and introduce unique advertising propositions for clients, including the launch of a flash briefing skill to provide Alexa customers with news headlines and the launch of a Google Action in December 2019 with access to podcasting and News briefs to bring the listeners the latest in Australian and international news. NOVA Entertainment says the launch of this new Google Assistant Action is the latest stage in the company’s vision to transform the way people listen to radio or podcasts, by delivering an interactive, connected and personalised experience that provides an easy way for the audience to tailor their listening and interaction with advertisements. This new extension of NOVA Entertainment’s voice strategy is another addition to NOVA Entertainment’s digital portfolio with further diversification into new, future-facing platforms that includes GOAT, the mobile-first millennial platform and NOVA Entertainment’s partnership with Acast to become the biggest commercial podcast player in Australia. Visit www.novaentertainment.com.au

WorldDAB Publishes Aftermarket Devices Guidelines WORLDDAB has published the first version of its Aftermarket Devices Guidelines, to help improve the user experience of Aftermarket Devices (AMDs) which include DAB+ digital radio. Designed by the WorldDAB Aftermarket Devices Working Group, the guidelines are based on previous research carried out by the WorldDAB User Experience Group, although allowances and changes have been made in line with the nature of AMDs. The guidelines, which are aimed at manufacturers, are available to download from the WorldDAB website. They include clear directions on the following domains in relation to AMDs: • User interface • Device connection • Functionality • Power • Service lists • Car display • Service following • Antennas “These Aftermarket Devices Guidelines were developed to help manufacturers better understand how to integrate DAB+ digital radio devices into vehicles that are already on the road,” said Jørn Jensen, Retiring Chairman of the WorldDAB Aftermarket Devices Working Group. “The aftermarket sector has seen a significant increase in demand over the last few years. More drivers are looking to bring the extra choice and better quality of DAB+ into older cars which do not have digital radio as standard. These guidelines were created to help achieve this in the best possible way.” Visit www.worlddab.org/automotive/aftermarketdevices-guidelines

RADIO

Digigram Updates Firmware for Remote Broadcasts

DIGIGRAM HAS ENRICHED the functional scope of its IQOYA X/ LINK and IQOYA SERV/LINK IP audio codecs to extend them to remote broadcasting.

For an optimal user experience, a specific mode of use was added for this new operating mode with dedicated and easy-to-use graphical interfaces, both for the configuration phase and for the operating phases. The user can now place calls and be connected to the field or the studio in two clicks. SIP, direct SIP and symmetric RTP connections are supported. This comes in addition to the existing “Program distribution” mode by just a firmware update. Key features of the new firmware include • Intuitive web interface to place calls from the address book in 2 clicks (SIP, Direct SIP, or Symmetric RTP), • Low latency audio connections • EBU/ACIP compliance for interoperability with third-party codecs and any SIP infrastructure • Reliable and resilient audio connections even over inexpensive unmanaged IP networks • IQOYA SERV/LINK is the AoIP solution with the highest codec density in 1U Digigram’s Fluid IP By using the codec in remote broadcasting mode, users benefit from FluidIP, the technology developed by Digigram for establishing reliable and resilient

connections on unmanaged networks such as the Internet. In particular, the technology integrates stream redundancy functions such as FEC (Forward Error Correction) or dual streaming with spatial or time diversity. Capabilities of the IQOYA SERV/LINK IP audio codec include: • In “remote broadcasting” configuration, it is the only IP audio codec on the market allowing to manage up to 32 mono or stereo full duplex IP streams whatever the audio encoding format and whatever the audio connectivity (Analog, AES3, MADI, AES67, DANTE). • In “program distribution” configuration, it is the only IP audio codec on the market supporting up to 128 mono input and output channels with the possibility to simultaneously encode, decode and transcode IP audio streams. IQOYA X/LINK, meanwhile, is a range of four IP audio codecs designed to best suit the remote broadcasting and program distribution applications of our customers. It features stereo and dual stereo IP audio codecs with analogue, AES3, livewire or AES67 I/Os and a 8-stereo IP codec with AES67 I/ Os only. Digigram’s One IP audio solution includes IP audio codecs (rackmount and portable units), a reliable and secure SIP infrastructure, and web applications. Visit www.digigram.com

MAGIC PhonerSet

The operation is based on the respective PC software of the telephone hybrid system. The following telephony functions are supported separately for each available caller line: Call setup, call acceptance, hang up, redial, call transfer, PRETALK, HOLD, ON AIR (1-fader or 2-fader mode) and line blocking (LOCK). Further functions are available via the Function key: Lock/Unlock all lines (LOCK ALL), hang up all lines (DROP ALL) and Call List. The status and caller information of each line are displayed via line cards. Depending on the number of lines, the following information can be displayed: Phone number/SIP Display

Most Livewire+ AES67 devices can stream audio to and from an Iyo Dante interface including Axia Livewire+ enabled consoles and mix engines using the Livewire low latency stream format. Because it supports the Livewire+ AES67 discovery and routing protocols the Iyo Dante and its Livewire+ AES67 compatible streams can be discovered and connected using Telos Pathfinder Core Pro VM/appliance or the legacy PathfinderPro software. The Livewire GPIO protocol is also supported allowing the GPIO ports on the Iyo Dante RJ45 models to send and receive contact closures over the Livewire+ AES67 network. The Livewire+ AES67 functionality is included with Iyo Dante firmware version 3.2.1 and above which can be downloaded from the AudioScience’s website. Richard Gross AudioScience President stated, “The Iyo Dante Livewire+ endpoints have been developed as a direct response to increased Axia compatibility requests from AudioScience’s longstanding Radio Station audio card user base. The combination of the Telos/Axia open architecture platform with AudioScience’s technical expertise has helped us provide both a cost-effective and superior density solution in a 1RU.” Visit www.audioscience.com

AVT AUDIO VIDEO TECHNOLOGIES has released the MAGIC PhonerSet, enabling convenient operation of the company’s MAGIC telephone hybrid family (MAGIC TH2plus, MAGIC TH6 and MAGIC THipPro) via a purposedesigned touchscreen-enabled telephone. The telephone can be used parallel to the Windows PC software or independently without a PC. The connection for the control of all caller lines and the transmission of the audio signal takes place via a standard network interface. MAGIC PhonerSet uses the caller lines of the used telephone hybrid system - an additional registration to a SIP server is not necessary.

AUDIOSCIENCE, the audio I/O company, has announced that its line of Dante audio interfaces, the Iyo Dante, now supports the Telos Alliance Livewire+ AES67 Audio over IP (AoIP) protocol.

Logitek Announces RAVENNA Partnership

LOGITEK’S JETSTREAM PLUS and JET67 AoIP audio engines are now RAVENNA-compatible, adding this leading platform to the versatile audio networking and mixing options offered by Logitek.

The usable lines and authorisations (e.g. switching to ON AIR) of an operator workplace are automatically assigned via the system configuration of the telephone hybrid system. Only the connection parameters to the telephone hybrid system must be entered at the MAGIC PhonerSet.

Multi-format audio distribution has been a hallmark of Logitek routing engines for many years; the RAVENNA capability joins Dante, AES67, LiveWire and Logitek JetNet for interconnecting Logitek JetStream Plus and JET67 console engines with other equipment in a broadcast facility. JetStream Plus engines also directly connect to popular Television routers, edit systems and program automation control systems; both engines adopt Logitek’s high-density routing technologies to provide a large number of I/O channels in a small amount of rack space.

An HDMI interface also enables parallel output of the user interface on an external screen. MAGIC TH2plus allows the simultaneous use of up to two, MAGIC TH6 and MAGIC THipPro of up to six MAGIC PhonerSet workplaces parallel to the respective Windows PC software editions MAGIC TH2plus/MAGIC TH6 Control and MAGIC THipPro LAN/SCREENER.

“Logitek has always looked for better ways to manage audio in a facility,” said Tag Borland, Logitek President. “RAVENNA’s AoIP networking solutions are world-class, simplifying a station’s workflow and exemplifying the high quality and performance standards that we have incorporated in our broadcast Audio Engines from the beginning. We are pleased to join the RAVENNA Partner team.”

Visit https://www.avt-nbg.de/

Visit www.logitekaudio.com

name, caller name and city (only if database is activated).

RADIO

Digigram’s IP audio codecs configured for remote broadcasting are the only IP audio codecs allow users to manage up to 32 mono or stereo full duplex IP streams.

Livewire+ AES67 Support for AudioScience’s Iyo Dante

RADIO

AoIP a “Capitol” Idea from AEQ

THE AEQ CAPITOL IP is an 8-channel digital mixing console based on the AEQ CAPITOL. The control surface has been redesigned with new softer buttons, more programmable keys and a new arrangement of the monitoring section controls. AoIP multi-channel networking connectivity in CAPITOL IP console is implemented through a single module with 16 input and 16 output channels incorporated in its core. As with the FORUM, the AEQ CAPITOL IP is a digital audio mixing console specifically designed to meet the most rigorous demands of the radio and television broadcast industry. Its flexible design allows it to be readily adapted to any ON-AIR application. The AEQ CAPITOL IP features: IP Multi-channel audio networking; automatic monitor speaker cut-off; cough muting; fader-start; control signalling; interface signalling for automation of external equipment; external communications management; and intercom, etc. This compact console solution consists of a control surface and a 2RU mixer engine. There are two versions of the CAPITOL IP control surface; a countersunk or flush-mount control surface that measures only 48,26 x 35,6 cm - 19”x14” (8RU); and a Desktop version with wooden side panels - 56x46 cm - 22“x18”. The CAPITOL IP’s control surface with its 8 faders and complete control sections can be substituted or supplemented with a “VIRTUAL CAPITOL” software application for either Windows or iOS. The application faithfully reproduces every detail of the control surface and all the operational features of switches, rotary encoders and faders. It also shows all information and internal menus that are visible in every display of the physical control surface. This application opens new possibilities to install fully remotecontrolled equipment at more than affordable prices. Used as a remote control, the application provides the user with total control of all the features and functions of the mixing console - including the remote representation of the VU meters.

The Output section of the CAPITOL IP features: 8 analogue Outputs; 4 AES/EBU Digital Stereo Outputs; 2 USB Digital Stereo Outputs for broadcast automation; and 2 optional Outputs through Digital Telephone Hybrids. Additional output signals are available via either an optional AoIP multichannel Ethernet connector for 16 channels or a MADI multi-channel fiber-optic link for 64 output signals. Furthermore, the console has Outputs for Control room headphone, Studio primary and secondary Headphones, Control, Studio and CUE monitors. Each of CAPITOL IP’s basic functions such as setup, level adjustment, and signal routing have their own specific control for each channel. Less used settings are grouped into contextual controls common for all channels and are accessible by just one or two button pushes. CAPITOL IP has a built-in memory bank where each signal’s settings are stored: signal distribution via the control surface, output bus routing, setup parameters, effects, etc. This allows the console to easily be adapted to different programming needs and unique technical requirements. An Ethernet connector enables external connectivity for the optional software applications “CAPITOL SCREEN” and “VIRTUAL CAPITOL IP” that provides the mixer with a powerful remote control. Visit www.aeq.eu

RADIO

Complementing CAPITOL IP’s internal routing capability is a range of inputs: 4 selectable Mic/Line Inputs; 12 Analogue Inputs; 4 AES/EBU Digital Stereo Inputs; 2 USB Digital Stereo Inputs for broadcast automation; and 2 optional Inputs through Digital telephone Hybrids. Additional input signals

are available via either an optional AoIP multi-channel Ethernet connector for 16 channels or a MADI multichannel fiberoptic link for 64 input signals.

40 107 PAT C&T Nov SHub HP OL.indd

25/10/19 12:18 pm

RADIO

AKG Announces Podcaster Essentials Bundle

The AKG Lyra is an ultra-HD, multi-mode USB microphone that delivers 24-bit, 192kHz audio quality, with four versatile capture modes suited to a wide range of recording applications. AKG K371 headphones provide clear, detailed sound with largest-in-class 50mm drivers and a closed-back design for superb sound isolation. Ableton Live 10 Lite is a streamlined audio production platform that allows users to quickly and easily record and edit professional podcasts. The AKG Lyra delivers the highest audio quality in its class, with acoustically transparent, 4K-compatible, Ultra HD-grade 24-bit/192kHz audio resolution. Lyra features the innovative AKG Adaptive Capsule Array, which provides four optimised capture modes that makes it easy to deliver professional sound for any application. An internal self-adjusting shock mount minimises contact noise, while a built-in sound diffuser and AKG’s proprietary Internal Element Overload Prevention automatically reduces noise, eliminates pops and improves signal levels.

Plug-and-play simplicity enables creators to set up and start recording quickly, regardless of experience level. AKG K371 professional studio headphones combine performance, accuracy and supreme comfort in a compact, folding design that’s ideal for production in the studio or on location. High-sensitivity titaniumcoated 50mm drivers reproduce every detail from the deepest lows to the most sparkling highs for excellent acoustic precision. An over-ear, closed-back design provides superior isolation in noisy environments and prevents sound bleed into the AKG Lyra. Plush, slow-retention foam pads and an adjustable calibrated headband ensure a perfect fit and the earcups swivel 90° for singleear monitoring. The feather-light weight of the K371 keeps ear fatigue at bay, even on the longest sessions. Ableton Live 10 Lite is a fast, flexible, lightweight version of Ableton’s flagship Live 10 audio production software. With robust, intuitive features for editing together takes, sweetening vocal recordings, adding

New Firmware Version for Comrex ACCESS Codecs COMREX HAS RELEASED firmware version 4.5p2, a new update for its line of IP audio codecs.

Firmware version 4.5p2 is being released in conjunction with ACCESS MultiRack, a new multiinstance codec from Comrex, to provide seamless integration of all functions with legacy single-instance ACCESS codecs. This new firmware simplifies CrossLock connections between the new ACCESS MultiRack and legacy Comrex IP audio codecs. Firmware v4.5p2 also replaces an older Adobe Flash-based GUI with an HTML5 web-based GUI as the default user interface. This new interface avoids the security risks posed by Adobe Flash, and is supported by all browsers. The Adobe Flash interface can still be accessed by typing <ip address>/flash to view the Flash web GUI. ACCESS firmware v4.5p2 is available for ACCESS Rackmount, ACCESS Portable 2USB, ACCESS NX Portable, BRIC-Link, BRIC-Link II, ACCESS MultiRack and ACCESS NX Rack. ACCESS MultiRack, meanwhile, is a new rackmount multi-channel IP audio codec. ACCESS MultiRack occupies only 1RU, and it can handle up to five fullduplex IP audio connections simultaneously. ACCESS MultiRack is compatible with all Comrex IP audio codecs including ACCESS Rackmount, ACCESS Portable 2USB, ACCESS NX Portable, ACCESS NX Rack, BRIC-Link, BRIC-Link II as well as the FieldTap smartphone app. Comrex ACCESS MultiRack is Tech3326, AES67 and SMPTE 2110-30 compatible. ACCESS MultiRack includes Comrex CrossLock technology, a proprietary suite of tools that solidify connections over IP networks. By sending two identical streams through two separate networks (redundancy mode), or combining the network bandwidth of multiple networks (bonding mode), CrossLock provides a fail-safe in the event that the primary network falters. Each of ACCESS MultiRack’s codec instances can deliver and receive four contact closures, as well as transfer ancillary data to the far end using the serial data channel. Instance 1 can do so with an additional cable, but instances 2 through 5 require an external USB device. Visit www.comrex.com

sound effects and even creating custom theme and background music, Live 10 Lite gives podcasters everything they need to quickly and easily produce professional podcasts. The four-part Berklee Online course provides a broad introduction to audio production, from microphones to multitracking including recording gear and techniques, working with digital audio, critical listening, polishing your mixes and much more. Visit www.akg.com

Frontier Supports Broadcaster Visuals on Digital Radio

FRONTIER SMART TECHNOLOGIES is helping to enrich the digital radio experience by supporting integration of full colour displays into DAB+ radios. According to the company, all Frontier modules now include support for a colour user interface, which allows users to benefit from Slideshow services being offered by broadcasters. Slideshow is a core feature of DAB/DAB+ and enables radio stations to offer colour images, such as station logos, track and artist information, weather maps and traffic updates. Today major stations in Germany, Norway, the Netherlands, Belgium, Australia and the UK all produce visual content delivered through Slideshow. Broadcasters making use of the slideshow feature include: • Germany – ARD stations include station branding, artist artwork, news headlines, weather, traffic information and adverts. • Norway – NRK uses slide shows extensively and includes social media highlights. • Netherlands – NPO shows station branding, news headlines and song/ artist information. • Belgium – RTBF shows news headlines, traffic information and weather. • Australia – ARN and Nova user Slideshow to show advertisements. • United Kingdom – Global has experimented with radio sponsorship slides, transport live cam and studio live cam. Prem Rajalingham, Managing Director, Frontier Smart Technologies, said: “We are delighted the technology benefits of DAB+ are being realised and Slideshow is being adopted by broadcasters with real enthusiasm. Powerful visual content completes digital radio experience. Frontier Smart Technologies is a leading driver of improved radio standards. We plan to continue leading digital radio development for the next ten years and more.” With continued investment in digital radio, Frontier says it will deliver further product enhancements – to be announced later this year. Visit www.frontiersmart.com

RADIO

DESIGNED TO GIVE PODCASTERS, video producers and content creators a professional edge, the AKG Podcaster Essentials bundle includes the new AKG Lyra USB microphone, AKG K371 headphones, Ableton Live 10 Lite recording software, a four-part Berklee Online recording class, and a full set of audio cables including a headphone splitter.

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/transmission

I’m a Video Feed… Get Me Out of Here

WHILE OTHER NETWORKS were wrestling with the usual line-up summer sporting events, Network 10 was confronting reality in the form of cloud video transfer for its now perennial audience favourite, “I’m a Celebrity … Get Me Out of Here”. Network 10 again selected AWS Media Services to support its video transport structure for remote production of the reality TV series shot on location in South Africa’s Kruger National Park. Network 10 is one of the first companies in Australia to use AWS Elemental MediaConnect, a cloud video transfer service, which provides secure and reliable delivery of live video content. The technology is also being used to enhance the streaming delivery for live-streamed sports and Network 10 shows, including The Bachelor, Australian Survivor, and MasterChef Australia. Using a combination of AWS Elemental MediaConnect and AWS Advanced APN Technology Partner, Aspera’s High Speed Transfer Service, Network 10 reduced its production turn around window from overnight to less than two hours, and in some cases, only a few minutes. The collaboration complements existing AWS Media Services used by Network 10, including AWS Elemental MediaLive and AWS Elemental MediaConvert. AWS Elemental MediaLive provides Network 10 with a streaming tool that encodes live video for play on any device, from broadcast television to internet-connected devices, such as smart phones and connected

TVs. With AWS Elemental MediaConvert, Network 10 can process video files and clips to prepare on-demand content for distribution or archiving. Network 10 has worked with AWS since 2015 and uses a suite of AWS services, including Amazon Elastic Compute Cloud (Amazon EC2), Amazon Relational Database Service (RDS), Amazon Simple Storage Service (Amazon S3), Amazon Elasticsearch Service, Amazon Virtual Private Cloud (VPC), and Amazon ElastiCache to store and process on demand and archival footage. Jason Tuendemann, Chief Information and Technology Officer at Network 10, said, “Network 10 has been delivering high-quality content to the Australian public for more than 50 years, with a constant lookout for tools that allow us to innovate and improve our offering for our viewers. By working with AWS, we have been able to speed up this process and deliver more content, and more importantly, richer content for production and advertisers. We are excited to be one of the first customers to use AWS Elemental MediaConnect in the Australian market, and to continue innovating with AWS tools and services.” Adam Beavis, Commercial Director for AWS in Australia and New Zealand, said, “The Australian broadcasting industry is undergoing an incredible transformation using digital technology. Network 10 were charged with delivering a high-quality stream of live video content at a low cost - a

[L-R] Adam Beavis, Commercial Director of AWS ANZ and Jason Tuendemann, CTO, Network 10.

task that AWS Elemental MediaConnect has made a reality. AWS is thrilled to continue to work with Network 10 to ensure it remains at the forefront of innovation.” AWS Elemental MediaConnect now supports up to 50 outputs per flow, more than double the previous limit of 20 outputs. The company says the change provides better fan-out capabilities for live video content and lets users build more sophisticated workflows to support syndication opportunities. Visit https://aws.amazon.com

Oracle Opens Second Australian Cloud Region in Melbourne ORACLE HAS ANNOUNCED its second Australian Gen 2 Cloud Region in Melbourne. This follows the launch of its Sydney Cloud region in August 2019, making Australia Oracle’s latest country with multiple cloud regions available. The opening is part of Oracle’s global plans to operate 36 Oracle Generation 2 Cloud regions by the end of 2020.

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Oracle’s Generation 2 Cloud has been built from the ground up to provide businesses with better performance, pricing, and security. Having a second region based in Australia will offer local enterprise customers enhanced business continuity, disaster recovery and jurisdiction to meet compliance requirements without the latency penalty associated with moving data over long distances to offshore data centres. Ten countries and the European Union will have will have multiple Oracle Cloud regions that facilitate enterprise-class disaster recovery strategies.

“Not all clouds are created equal. Our nextgen cloud infrastructure has been built for an autonomous future, with security built in. With our Melbourne Cloud region, local customers and

partners can now confidently host and protect mission-critical workloads and drive innovation,” said Valery Lanovenko, Vice President and Managing Director, Australia and New Zealand.

• Europe: Frankfurt, London, Zurich,

In addition to the Melbourne Cloud region, Oracle also announced the opening of four additional Gen 2 Cloud Regions in Osaka (Japan), Jeddah (Saudi Arabia), Montreal (Canada), and Amsterdam (the Netherlands). Oracle has now opened 17 Gen 2 Cloud regions in the past year and currently operates 21 regions globally – 16 commercial and five government. By the end of this year, the company plans to open Cloud regions in the US (San Jose, CA), Brazil (Vinhedo), the UK (Newport, Wales), India (Hyderabad), South Korea (Chuncheon), Singapore, Israel, South Africa, Chile (Santiago), Saudi Arabia and two in the United Arab Emirates.

• Government: two U.S. Government FedRamp

Currently available Oracle Gen 2 Cloud regions include:

cloud computing portfolio, from application

• Asia: Tokyo, Osaka, Seoul, Mumbai, Sydney, Melbourne

management, integration, security, artificial

• Americas: Phoenix, Ashburn, Toronto, Sao Paolo, Montreal

Amsterdam • Middle East: Jeddah regions, three U.S. DoD regions Oracle’s Gen 2 Cloud is built and optimised specifically to help enterprises run their most demanding workloads securely. With unique architecture and capabilities, Oracle Cloud delivers security, performance, and cost savings. Oracle’s Generation 2 Cloud is built to run autonomous services, including Oracle Autonomous Linux and Oracle Autonomous Database. Oracle Cloud offers a comprehensive development and business analytics to data intelligence (AI), and blockchain. Visit www.oracle.com

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VUALTO Partners with ATEME for Automated Encoder Integration

The VCH now has full integration for ATEME’s TITAN Live and TITAN Mux encoding solutions, providing: • Integration with the TITAN Live API to automate live event streaming workflows. • The ability to set specific inputs and outputs dynamically using the VCH channel configuration. • Support for redundant setups. • Capabilities for on-premise and in cloud.

The automated integration with VCH makes streaming easier, removing the requirement for manual configuration and risk of error, which can be a particularly cumbersome process when using a redundant setup. The addition of ATEME’s TITAN solutions has also facilitated an extension of the VCH plugin set. The partnership will allow operators and broadcasters to orchestrate live events and channels with ease, with the ability to automatically start, stop and configure TITAN Live encoder services from the VCH interface. The integration provides great benefits to operators and broadcasters who are looking for an efficient and convenient way to deliver their live streams. As well as having cost benefits, this tight knit integration ensures premium video delivery to end users, at all times.

within the VUALTO CONTROL HUB (VCH). The VCH has been designed to be adaptable, agnostic and to offer broadcasters and content owners complete flexibility in their online video streaming, all under one hood.” Paul Marsden, Sales Director, ATEME added: “What we share with VUALTO is determination to deliver the best video quality and video experience to our customers with optimised use of existing infrastructure. With the ATEME TITAN range, VUALTO can now achieve a higher level of automation and flexibility for workflows and provide a consistent and scalable delivery to audiences.” Visit www.ateme.com and www.vualto.com

James Burt, CTO and Co-Founder, Vualto said: “We are delighted to partner with ATEME and to bring to market another seamless integration

Ross Video Updates Ultrix Routing-AV Processing Platform ULTRIX, THE ROUTING and AV processing platform from Ross Video, was first announced at NAB 2016. The 1RU and 2RU versions (Ultrix-FR1 and Ultrix-FR2) were subsequently joined by a 5RU version (Ultrix-FR5) in 2018. With its ability to collapse racks of traditional infrastructure equipment into a more compact and efficient form-factor, the Ultrix family has redefined the market’s perception of what a routing platform can do. Ultrix is a software-defined solution, which means that additional features can be added to the product via a simple software license. This ensures that customers do not have to make critical system design decisions in advance and are not constrained by changes in transport technology. Recently, Ross Video has announced brand-new versions of the UltrixFR1 and Ultrix-FR2 frames that will also support the Ultrix IP blade. This development will allow customers to scale their IP deployments cost-effectively by using any of the Ultrix frame sizes. In addition, the new Ultrix-FR1 and Ultrix-FR2 frames feature the same omnicooling architecture found on the Ultrix-FR5, for even more efficient heatdissipation and improved performance in cramped conditions or challenging production environments. Commenting on the updated Ultrix variants, Todd Riggs, Marketing Product Manager for Connectivity, points to the key benefits that these new frames will bring to customers. “We were very pleased to launch Ultrix IP earlier this year, providing our customers with a highperformance solution for connectivity in the IP domain. With the launch

Haivision Announces Play Pro HAIVISION HAS ANNOUNCED Haivision Play Pro, a free mobile player from the developers of the SRT protocol. Now available for iOS devices in the App Store, Haivision Play Pro offers streamers, developers, and broadcasters a quick and easy way to watch and monitor SRT video streams from anywhere on a mobile device. Haivision originally developed and open sourced the widely adopted SRT (Secure Reliable Transport) protocol to support high performance streaming over any network. With Play Pro, the definitive player app for SRT streams, Haivision now makes it easier for any organisation to monitor low-latency video. The new Haivision Play Pro app provides broadcasters with a simple and convenient way to monitor any feed or channel anywhere using the SRT protocol. Broadcast producers, directors, executives, and on-air talent can monitor contribution streams and view return feeds in the field, whether they are the live to air streams, feeds supporting remote interviews, or even teleprompter feeds directly from the editorial desk. The end-to-end latency achievable with Play Pro is less than half of a second, enabling high quality real-time interactivity. With Play Pro, users can easily tune to an SRT stream or create and save channel lists that can be securely shared with team members needing access to a range of feeds. Furthermore, channel lists can be centrally managed ensuring that subscribed users are always able to access only the streams they need. “SRT is changing the way the world streams and our Play Pro app is the ideal player for anyone who needs to watch secure, low latency SRT streams on the go,” said Marcus Schioler, Vice President Product Marketing, Haivision. “Providing users with a premium SRT viewing experience anywhere, Play Pro is a must-have resource in every broadcaster’s toolbox.” Haivision Play Pro provides the following features: • H.264 and HEVC playback.

and even more cost-effective ways to begin building their IP and/or

• Support for low-latency encrypted SRT, UDP unicast or multicast, and HLS streams up to 4K/UHD 2160p60.

hybrid production facilities.”

• SRT secure streaming with AES 128- or 256-bit encryption.

Visit www.rossvideo.com

Visit www.haivision.com

of these two new style frames, we’re giving customers greater choice

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VUALTO, AN EXPERT IN cloud-based OTT video delivery and orchestration, has partnered with ATEME, a leader in video delivery solutions for broadcast, cable, DTH, IPTV and OTT, for automated encoder integration within the VUALTO CONTROL HUB (VCH) video orchestration tool, which allows for multiple origins and encoders to be integrated. The VCH is vendor agnostic and interoperable with a host of technology partners.

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Fastly Launches Origin Connect GLOBAL EDGE CLOUD PLATFORM PROVIDER Fastly has announced Origin Connect, a direct private network connection between an organisation’s origin server and a Fastly Shield point of presence (POP). Designed for companies moving more than one gigabit of data per second, Fastly says Origin Connect is an effective way to lower transit costs, reduce engineering complexity, and improve reliability for highvolume streaming content. Using Origin Connect is “akin to plugging directly into an outlet instead of connecting to an extension cord first”. Companies will benefit from the direct connection necessary to reduce transit costs as well as the risks of content lag associated with any additional path content travels to get from initial client request to an origin server, and all the way back to the end-user. Benefits of using Origin Connect include: • Reliability: A direct, private peering connection increases the predictability of traffic sent across dedicated bandwidth and reduces the number of hops in a network path. As a result, there are fewer providers involved in getting traffic from the organisation’s servers to Fastly’s network and back again. • Reduced transit costs: Customers using Origin Connect will no longer pay egress costs for outbound traffic from their origin server since they are shipping that traffic over a private connection directly to Fastly. • Availability: Origin Connect improves the availability of content and streaming services by reducing the risks of failed origin requests. • Performance: Reduced latency and more consistent and predictable performance due to the lack of in-between transit and upstream providers and a dedicated fibre interconnect. Fastly has also announced Cloud Optimizer, a new offering that enables critical, high-traffic content delivery by sitting between a company’s content delivery network (CDN) and its central cloud. Cloud Optimizer brings customers with multi-cloud or multi-CDN architectures, especially within commerce and high tech verticals, the real-time control and visibility required to make informed decisions as quickly as possible, without the need to re-architect network infrastructure. Other benefits include: • Superior Performance: Fastly’s powerful points-of-presence (POPs) are built with SSDs and large amounts of memory in well-connected locations around the world to deliver higher cache hit ratio, reducing the need for requests to go back to origin. All traffic is encrypted by TLS.

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• Real-time Control and Visibility: Gain full control with the ability to push out configurations quickly and pivot immediately. Real-time logs combined with client-side analytics allow rapid insight and true observability down to the network layer.

Magewell Multi-Protocol Live Stream Decoder

MAGEWELL HAS ANNOUNCED a versatile conversion product that combines the worlds of IP streaming and baseband AV presentation equipment. The new Pro Convert H.26x to HDMI multi-protocol, SRTcompatible streaming media decoder made its first public appearance at the recent ISE 2020 exhibition. While earlier Pro Convert models transform professional AV signals to and from NewTek’s NDI AV-over-IP technology, the new Pro Convert H.26x to HDMI decodes a standard H.264 (AVC) or H.265 (HEVC) compressed video stream into a high-quality HDMI output for connection to baseband monitors, projectors and switchers. Supporting a wide range of streaming protocols for maximum source compatibility, the low-latency decoder is ideal for applications including multi-site video distribution between corporate, educational and church campuses, remote production, surveillance monitoring, digital signage and more. “While dedicated AV-over-IP technologies get a lot of attention and are ideal for many applications when used on robust networks, a lot of customers are already generating live H.264 or H.265 streams in distribution-friendly protocols and wish to incorporate them into their presentation and display workflows,” said James Liu, VP of Engineering at Magewell. The Pro Convert H.26x to HDMI is Magewell’s first product to support the SRT (Secure Reliable Transport) open source protocol. Enabling secure, resilient, low-latency video delivery over unpredictable networks, SRT ensures high-quality streaming experiences even over the public internet. Other supported protocols include RTSP, RTMP, UDP, RTP and HTTP streaming. The Pro Convert H.26x to HDMI decodes streams up to 2160x1200 at 60fps for output over its HDMI 2.0 interface. Built-in FPGA-based video processing enables the device to automatically up-convert HD or 2K source streams to 4K for viewing on Ultra HD displays. The plug-and-play decoder features DHCP-based network configuration and can detect the video and audio characteristics of the target display device via EDID metadata, automatically optimising output parameters or providing the user with compatible choices. The device can be powered via an external adapter or PoE.

• Agility: With intelligent routing capabilities, organisations can switch between origins quickly to avoid getting locked into one provider. Cloud Optimizer can even support integrated configuration with CI/ CD systems, and during migrations from on-premise to cloud, or from one cloud provider to another.

Users can specify source stream URLs and control the decoder’s advanced settings through a browser-based interface, wired or wireless keyboard or mouse, or using two on-device buttons that overlay an intuitive menu on the HDMI output. Eight channels of AAC or MP3 audio are supported in the input stream with user control of audio gain, sample-rate, channel selection and on-screen VU metering. Additional integration features include image flip for inverted projector installations, safe area controls, and aspect ratio conversion.

• Cost Reduction: Request Collapsing consolidates multiple requests for the same piece of content down to one request back to origin. This, compounded with Fastly’s POP design that can increase cache hit ratio, protects a business’s origin from a barrage of identical requests and reduces the computing resources supporting a site.

Owners of Magewell’s Pro Convert for NDI to HDMI decoders can add multi-protocol H.264 and H.265 decoding capabilities to their existing devices with a free firmware upgrade for greater IP stream decoding versatility. The new firmware update is available immediately on the Magewell website, while the new Pro Convert H.26x to HDMI hardware is slated to ship in March.

Visit www.fastly.com

Visit www.magewell.com

CONTENT DELIVERY

AT NAB 2020 will demonstrate new enhancements to Vantage Cloud Port, PRISM, and its iQ monitoring solutions from a new location in the front of NAB’s South Lower Hall.

PRISM The latest version of the PRISM media monitoring and analysis platform provides comprehensive monitoring of IP/SDI 4K/8K signals and comes equipped with specialised new tools for wide colour gamut (WCG) and high dynamic range (HDR). These new capabilities are specifically designed to accommodate the new workflow changes in production and postproduction required to meet the quality expectations for broadcast and streamed content. Offering objective and trusted measurements, PRISM guarantees quality at every stage of a production or broadcast chain.

VANTAGE CLOUD PORT Focused on the growth of content creation and delivery, Vantage Cloud Port enables powerful, new automation and media processing workflows that are both cloud-agnostic and multi-cloud. To be showcased at NAB for the first time, Vantage Cloud Port now features Tempo time adjustment and content normalisation plus a new, streamlined version of Post Producer automated content assembly and processing. Vantage Cloud Port Designer makes it even easier to start processing media with cloudenabled actions. Also new in Vantage and Vantage Cloud Port is the ability to convert between colour spaces, including support and certification for Dolby Vision, insert missing colour metadata, and ensure the best possible quality with the Vantage 16-bit video processing pipeline with full support for HDR standards. In addition, Vantage and Vantage Cloud Port now support object-based audio including Dolby ATMOS. To meet customers where they are in their cloud transformation process, Vantage Cloud Port now provides for even more predictable cost beyond the transparency of the current on-demand model by adding an option for paying on a time-metered basis. In addition to the option for time-metered billing, with the new Vantage Cloud Port Conductor customers can now upload complete Vantage workflows and execute them entirely in the cloud making it easier than ever to scale as needed.

IQ ABR MONITORING SOLUTIONS Two vital challenges for OTT streaming providers revolve around managing the customer experience and capitalising on advertisement revenue. Now, more than ever, it’s critical to see what the customer sees when creating an OTT network that is directly comparable with linear television in terms of quality of service and experience. Telestream’s iQ ABR monitoring solutions have enhanced post-origin content processing and delivery monitoring support for DASH and CMAF packaged ABR streams plus dynamic ad video quality assurance. Sentry software-based quality monitoring probes are now integrated into Telestream’s Intelligent Video Management System for Adaptive Streaming Media (iVMS ASM) providing a comprehensive, real-time view into the health of adaptive streaming video services. These latest additions to the Telestream iQ ABR monitoring solution provide essential insights that enable content owners, broadcasters, and service providers to manage these critical issues that can make or break their streaming service. As more organisations take advantage of direct-to-consumer streaming services, the onus to deliver quality, reliable streams has shifted from distribution partners back to programmers. Telestream’s new OptiQ Monitor is a cloud-based, monitoring-as-a-service, platform designed to give broad visibility into the health and performance of live OTT channels as delivered through CDN partners. Visit www.telestream.net

Actus Digital to Demonstrate All-in-One Media Platform AT THE 2020 NAB SHOW, Actus Digital will demonstrate how its mandatory compliance solution is part of a much larger media intelligence platform, providing cross-organisational benefits to the operations, marketing and research, and new media departments of broadcasters and media companies. The platform includes solutions for compliance, quality-of-service assurance, technical monitoring, content repurposing, rating and competitive analysis tools, advanced AI options, and more. “We have enhanced the Actus Digital intelligent media platform to include more functionality, additional AI options, and extended automation related to compliance, clips creation, and export capabilities for social media, with intelligent content monitoring and analysis,” said Raphael Renous, CTO at Actus Digital. “Having all these capabilities on one platform gives customers the freedom to choose what makes the most sense for their business today and easily add features in the future.”

COMPLIANCE PLATFORM THAT GOES BEYOND STANDARD REQUIREMENTS Media companies today need a solution that pushes the boundaries of compliance beyond supporting simple tasks, such as logging, monitoring, and regulation. They require a solution that can also handle complex compliance tasks with advanced AI options. They want a compliance solution to provide quality assurance tools, video analysis reports, advanced clip creation, OTT monitoring, and multiviewer capabilities all from a single platform. Moreover, since the industry is changing rapidly, the industry needs flexible solutions that support a range of deployment models. At the 2020 NAB Show, Actus Digital will demonstrate the expansive functionalities of its media monitoring platform, which offers an intelligent approach to monitoring and support for multiple deployment environments, including on-premises, virtualisation, the cloud, and hybrid combinations.

New Products and Improvements Include: • A new TS analysis solution for in-depth evaluation of transport streams, with the ability to detect ETR 101 290 priority 1, 2, 3 errors; track MPEG sections and tables (i.e., PAT, PMT, NIT, SDT); and display TS statistics in real time. The solution provides an overall view of TS health for enterprise applications via a web-based user interface, enabling global access and multiviewer display of critical errors. • Enhanced SCTE support, with the ability to compare multichannel SCTE messages and display live or archived SCTE messages, smart filtering for better monitoring, SCTE alerts, and the power to extract SCTE-35 and SCTE-104 for presentation on interactive graphical timelines.

HANDS-ON DEMO AT NAB 2020 At the 2020 NAB Show, visitors will have an opportunity to book a oneto-one meeting with Actus Digital experts. During a demo at the stand, visitors can see the efficiency of Actus Digital’s platform, how it’s being used in the real world by customers, and improvements on the horizon for media monitoring in the future. Visit www.actusdigital.com

CONTENT DELIVERY

Telestream’s Cloud Media Processing and Monitoring Ecosystem

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POSITION VACANT

BROADCAST SYSTEMS ENGINEER PROFESSIONAL AUDIO & TELEVISION PTY LTD HORNSBY, NORTHERN SUBURB OF SYDNEY

PAT has a vacancy for a Broadcast Systems Engineer based in the north of Sydney. We are an authorised reseller and solutions provider for brands such as ARISTA, LAWO, VSM, TSL Products, Meinberg, RTW, Wisycom, Mobile Viewpoint, QBIT while also being Gold Business Partner for Ross Video, and many other leading broadcast brands. The Role The Broadcast Systems Engineer role is a critical position performing end-to-end planning and documentation of deployment, configuration, testing and commissioning procedures for highprofile broadcast systems projects. An intimate knowledge of IP broadcast networks is a MUST. Typical responsibilities will include: • Assisting Senior Management with pre sales; • Project planning and documentation; • Formulation of testing and deployment plans; • Broadcast systems configuration, installation, testing and commissioning; • Liaison with project team and customer stakeholders; • Part of the company’s on call roster To be the successful candidate for this position, you will have a combination of project engineering experience in digital IP broadcast system environments, together with outstanding customer-facing communication skills. System integration experience would be highly regarded. As the performance of this role impacts state of the art broadcast IT systems and infrastructure deployments, a minimum of two years’ experience in similar broadcast technology environments is essential. The successful candidate will have the following skills: • IT knowledge across server and networking fundamentals; • Track record of high quality, accurate documentation; • Excellent interpersonal, administrative and communication skills; • Flexibility to travel nationally & internationally as required; • Clean driving record and Class C driver’s license

We are offering the successful candidate the chance to join a very successful team of high achievers, an attractive salary package and the chance to work on some of the most cutting-edge broadcast projects in Australia and New Zealand. Only applicants with Australian citizenship or permanent Australian residency and work rights are eligible to apply. Note: NO AGENCIES Candidates please apply via management@proaudiotv.com.au

• Provide support to the implementation team, as required. • Assist with set-up of and attend tradeshows, as needed. Training • Perform on-site, off-site and online/remote customer training. • Provide internal training for Ross Video’s employees. • Maintain training equipment, assist with set-up and prepare/test gear prior to training sessions. • Assist in the development of customer training methods, materials and techniques. • Provide feedback to the MPM & TPM on product operation, features and roadmap.

POSITION VACANT

TECHNICAL COMMISSIONING SYDNEY OFFICE, ALEXANDRIA, NEW SOUTH WALES, AUSTRALIA

We have a great group of people working together to create and deliver cutting edge products that look amazing and are easy to use. We go all out so that our customers can have the best possible experience and achieve quality results. With a product focus, continual learning, results driven processes, and creative thinking, we constantly strive to improve our solutions and to deliver results. If you’ve ever watched live television, news, sports, or entertainment, you’ve seen our products in use. All of the major Hollywood award shows, most professional sports teams, and many of the largest broadcasters in the world use Ross Video technology. Get behind the scenes and learn about what it takes to make live events possible. If that resonates, and you’re someone with integrity, commitment, and a strong drive to deliver great products, we’d love to hear from you. Technical Commissioning Specialist This role is expected to work closely with the Sales and Services team in Oceania to ensure that our customers receive excellent service delivery from Ross Video. Technical Commissioning Install Ross Video’s broadcast solutions at the customer’s location, ensuring the full operational functionality of the products. • Perform commissioning at the customer’s location. • Prepare and test all commissioned gear prior to engaging the client in product training sessions. • Troubleshoot technical/systems issues at customer facilities. • Respond to technical support calls and follow documentation policies.

• Participate in the review process for upcoming software feature lists. • Maintain training equipment; assist with set-up and prepare/test gear prior to training sessions. • Champion customer needs, notably operational features, roll-out and training methods as well as future feature requirements. • Maintain the integrity of the customer’s training experience and provide feedback and input regarding suggested areas for improvement. Technical Support • Research, diagnose, troubleshoot, and identify solutions to resolve customer issues. • Provide prompt and accurate feedback to customers. • Ensure proper recording and closure of all issues through Zendesk. • Escalate unresolved issues to appropriate internal teams. • Prepare accurate and timely reports, as needed. • Document knowledge in the form of knowledge based technical notes and articles. • Expedite returned material from the field for service reasons. • Must possess a valid driver’s license and passport • Travel required 50% of the time (short-notice and international trips) IN A NUTSHELL Do you have integrity, commitment, and a drive to get results? Then Ross is the place for you, and we’d like to hear from you. To apply, visit https://usr57.dayforcehcm.com/ CandidatePortal/en-US/rossvideo/Posting/ View/1051

CLASSIFIED + EVENTS

ADVERTISER INDEX

ABE2020----------------------------------------------3

Grass Valley------------------------------------------OBC

Magna Systems & Engineering-----------------IFC

BroadcastAsia---------------------------------------IBC

Blackmagic Design-------------------------------------5

Harmonic------------------------------------------ 11

Pacific Live Media--------------------------------19,23

Silvertrak Digital---------------------------------------31

Blonde Robot---------------------------------------------9

Jands-------------------------------------------------35

Phabrix-------------------------------------------------6

Stagetec-------------------------------------------------37

ChinaMedia.tv---------------------------------------39

Labspace-------------------------------------------------26

Professional Audio & Television----FC,21,40

Techtel--------------------------------------------------7

Gencom-------------------------------------------------29

Lacie-Seagate---------------------------------------33

Ross Video-----------------------------------------------17

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