Content+Technology ANZ March-April 2024

GAME-CHANGING TOOLS

all things distribution and delivery in Connect, one of three curated collections at NAB Show — the preeminent event for the entire broadcast, media and entertainment industry. Here you’ll find cloud computing and media infrastructure pushing the boundaries of content delivery anytime, anywhere. Everything to boost your productivity and so much more!

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

ADVERTISING MANAGER: Adam Buick

Mob +61 (0)413 007 144 adam@broadcastpapers.com

PRODUCTION MANAGER: Lucy Salmon

Mob +61(0)412 479 662

production@broadcastpapers.com

NZ’s Dept of Post Automates QC with Interra’s BATON; Matchbox Pictures Picks Avid Editon-Demand Cloud Solutions from Digistor; Adobe Adds Firefly Gen-AI to Substance 3D; Mocha Pro Adds SynthEyes 3D Camera Tracking; Magnifi Plugin for Adobe Premiere Pro; Philips Creator Monitors; TITAN Shortcut Keyboard. 24 AUDIO,

PAKAM Radio Selects AEQ for Main Studio; JMC Academy Rolls Out Audient Consoles; SEN Syncs Commentary with TV Broadcasts; Calrec Puts Sound in the Picture at NAB2024; DPA Compact Shotgun Mic; Tieline Bridge-IT II Codec; Emotion Systems Conquers FileBased Audio Automation.

28 CONTENT DELIVERY

Zixi Advances Video Delivery at NAB 2024; Actus Unveils New Multiviewer and AI Products; TAG Boosts Media Workflows; Nevion Extends Virtuoso Audio and Video

Don’t Cut Off Your Nose to Save Your Face

By Phil Sandberg

WE’RE ALL AWARE of the pressures facing the media and entertainment sector - increased competition for eyeballs from non-traditional sources, strikes, consolidation, broader economic conditions and, as a consequence, job shedding and a skills shortage.

On top of all this, according to the last PwC Global Workforce Hopes and Fears Survey, entertainment and media employees are losing confidence in their industry.

“The large number of employees looking to move may make sense when you consider the industry’s prospects,” says the global consulting firm. “Disruption from digital publishers and streaming services continues to put pressure on the business models of traditional media, film and television companies. Worst of all, growth is decelerating. As we discussed in PwC’s Global Entertainment & Media Outlook 2023–2027, total annual entertainment and media industry revenue growth slowed from 10.6% in 2021

(which was artificially high because of the rebound from covid-19) to just 5.4% in 2022.

The outlook projected that growth will decline sequentially each year through to 2027, when it will be just 2.8% - a pace that is slower than the overall rate of global economic growth.”

Against this background, PwC says the task for M&E managers is to address workforce challenges, in conjunction with the broader transformation of their businesses, by focusing on strategic planning instead of reducing costs in isolation; striking the right balance between build, buy, borrow and bot; capitalising on AI; and leading with compassion and empathy. When it comes to the issue of strategic planning versus reducing costs in isolation, the consultancy firm says, “... reducing costs in isolation can leave the company without critical talent - eroding trust and morale at the same time. Instead, companies need to think about lowering costs in conjunction with business model upgrades and strategic workforce planning. Integrated transformation can help companies emerge with a new target operating model along with a workforce of the right size, shape and with the necessary capabilities to execute it.”

“Entertainment and media companies can access new digital skills and capabilities in a range of ways,” it says, “such as upskilling their workforce, recruiting and hiring new employees, using contractors, and tapping into AI-enabled tech solutions.

“The industry will always need creative talent, but companies can use technology - particularly AI - to become more productive and effective. There are risks, to be sure - as recent strike action triggered by the use of AI in creative industries has shown. Leaders need to take a careful approach to bringing in AI, but they should also recognise the opportunities it presents.

“News organisations may be able to spin off multiple pieces of content from a single interview using generative AI. Similarly, advertising companies can use the technology to create new video,

print and radio spots, in multiple languages.

Traditional AI can help companies segment their audiences more effectively and personalise marketing messages.

“Perhaps most importantly, leaders need to be open, empathetic and flexible. Especially when employees are rattled, top-down, authoritative leadership styles are likely to fall flat. Leaders who prepare their workforce for the future will be in the best position to benefit from new technologies - and they shouldn’t underestimate the power of an integrated workforce strategy to bring about the best results.”

In an attempt to address an industry skills shortage, a new membership organisation, the Global Media & Entertainment Talent Manifesto, alongside its founding members Deluxe and Vizrt, has launched an initiative to build a global agreement and approach to address the issue.

‘’As an industry we need to work collectively and collaboratively across the global sector to address this imminent skills crisis. Sharing good practice and delivering new initiatives that have impact to drive the pipeline of talent into the industry is absolutely vital. We also need to educate and inspire young people about the breadth of roles across our industry and we’ll be working with education institutions across the globe,” says Carrie Wootten, Co-Founder of the Global Media and Entertainment Talent Manifesto.

Alongside Vizrt and Deluxe as founding members, the Manifesto also has an active supporting network of industry leading organisations, including: A + E Networks, AMD, BBC, Dell, DTG, Harmonic, Imagine Communications, ITV, Media City Odense, Microsoft, Redholt, Signiant, SMPTE UK, SWR, Tek Systems and WarnerBros. Discovery.

In 2024 the Manifesto will focus on five key projects that will raise the profile of the industry internationally as a viable and creative career path for students to follow. The year will culminate with the creation of a physical manifesto that members will sign their names to and commit to deliverables and actions to take forward. Knowledge-sharing and collaboration on the physical manifesto will take place at IBC this year at a “World Cafe” event.

Visit https://www.mediatalentmanifesto.com

All the best for 2024.

Phil Sandberg

October 22-24, Royal Randwick Racecourse, Sydney.

The 2024 ABE Exhibition, Conference & Workshops are being held at Sydney’s raciest venue, the Royal Randwick Racecourse from October 22-24.

Hear from industry experts on hot topics such as IP production and delivery, 4K, HDR, HEVC, OTT, VR, cloud broadcasting, AI in Media, and more.

See the latest solutions to empower production and delivery of your content. Register now for updates & notifications on exhibitors & speakers.

Vale Ian Wyles

THE AUSTRALIAN BROADCAST industry has farewelled pioneering engineer and bon vivant, Ian Wyles, who passed away in February.

Wyles, whose career began in the 1960s, was a key figure in the Kerry Packer-era Nine Network engineering team, led by Bruce Robertson, and an outstanding contributor to the wider broadcast industry, both at home and internationally..

After studying Engineering at the Royal Melbourne Institute of Technology, specialising the study of radio spectrum propagation techniques, he began working at Melbourne’s ATV 0 undertaking many projects for the station’s OB department, including Federal Election Coverage.

Shortly after this period, Ian accepted a post in Hong Kong with Station TVB, based in Kowloon. Under the mentorship of Tech Chief, Tommy Chow, he honed his skills of C-Band Studies with Intelsat Labs Satellite Transponder technologies. He was also responsible for the design of TVB’s newsroom/studio system, a tour of which by former Chief Engineer at GTV9, David Padgett, led to the selection of Ian by Nine owner, Kerry Packer, as Satellite Design Engineer for the network in 1981.

Ian significantly contributed to numerous broadcast RF pioneering firsts for the

Nine Network, including: the establishment of a permanent full-time lease for an international transponder; the establishment of a satellite C-Band Earth station, the first to be owned by a private company; a KU-Band network for domestic program distribution; and the Asiasat receive dish to pull in International Horse racing. He had major roles in the planning and construction of 18 metre TX/ RX antenna at Willoughby as well as the designing and integration of the Earth Station equipment. Ian also played a major part in testing and evaluating emerging technology in these fields, notably SNG, microwave and compression equipment.

He also helped in the planning of numerous overseas RF projects in Vietnam, India, South Africa, Indonesia, Fiji and Papua New Guinea, where he prepared numerous technical and spectrum reports for these ventures.

The nation’s preeminent expert on satellite and RF communications, Ian Wyles literally wrote the book on technical and operational standards adopted by all Australian broadcasters, and was a contributing author on some 124 research papers submitted to the working groups of the International Telecommunications Union between 2001 and 2015.

In 1989, Ian Wyles was awarded the highest recognition of Australian broadcasting engineering

Sporting a characteristically understated tie, Ian Wyles [left] seals the deal to bring wireless camera transmitters to Nine’s ENG operations. Circa 2004.

in 1989 by the Federation of Australian Commercial Television Stations (now Free TV Australia) for his contribution to satellite engineering and RF communications operational standards.

In November 1996, Ian participated in the first TEST transmission of Digital TV service, which led to the adoption of the DVB-T standard . On the 9th of July 1999 , the first Digital TV Broadcast signal compliant with High-Definition Television (HDTV) with 5.1 Dolby surround sound was transmitted by Nine Network on Channel 8, with full time commencement of the new digital standard from January 2001.

In addition to his technical prowess and achievements, Ian Wyles has also been remembered

EMG/Gravity Media Names Scott Kinlyside MD Australia

EMG/GRAVITY MEDIA has confirmed the appointment of Scott Kinlyside as Managing Director, Australia. According to the company, the appointment aligns with the group’s recent announcement of key global executive leadership positions, following the merger of EMG and Gravity Media to form one of the largest broadcast and technology production companies globally.

As Managing Director, Scott will steer strategic leadership, and manage operational and financial aspects to further the company’s development in Australia. Boasting 30 years of production and operational experience across media, technology, and creative industries, Scott previously held the role of Business Administration and Commercial Director within

the company, orchestrating administration, commercial, and business development initiatives, as well as overseeing finance, HR, and legal functions.

Commenting on his new role, Scott Kinlyside remarked, “As Managing Director, I’m committed to cultivating a future rich in innovation, creativity, and expansion with our proficient team in Australia. Leveraging the strengths of our merged organisation, we’ll continue to excel in delivering top-tier services and pushing the envelope in this vibrant industry.”

Peter Bates, CEO of the UK, USA, Australia & Middle East, added: “We’re elated to welcome Scott as our Managing Director in Australia. With this unified team, we’re

for his larger than life personality, his love of Asian cuisine and his classic Morgan convertible.

“A mentor, critic, satirist, humorist and, most importantly, a valued friend,” commented former Seven Head of Engineering Roger Bunch who had known Ian since the late 1960s. “He will be our missing link in many lives.”

Many thanks to Tim McDonald, Technical Services Manager at Nine Network Australia, for providing background for this article.

well-equipped for a riveting new chapter in EMG/Gravity Media’s narrative, and anticipate a prosperous trajectory under Scott’s stewardship.”

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

Blackmagic

Videohub

12G-SDI video routers let you connect all your equipment without creating a complex cable mess!

Blackmagic Videohub routers support 12G-SDI so they allow you to connect and route any combination of SD, HD and Ultra HD on the same router at the same time. Plus they have zero latency so are perfect for live production and broadcast!

Elegantly Designed Front Panel

Advanced 12G-SDI for SD, HD and Ultra HD Routing

Blackmagic Videohub 12G features advanced 12G-SDI connections which are multi rate so they support any SD, HD and Ultra HD video format up to 2160p60. Plus Blackmagic Videohub 12G supports routing any video standard on the same router at the same time. 12G-SDI gives you high frame rate Ultra HD via a single BNC connection that also plugs into all of your regular HD equipment!

Features Full SDI Re-Clocking

Videohub includes built in SDI re-clocking on every 12G-SDI input. SDI re-clocking regenerates the video signal for maximum video quality. This is extremely important because longer video cables degrade the signal. With SDI re-clocking all of the SDI devices in your studio receive a regenerated signal with improved jitter performance. That means longer cable lengths, and no drop outs in your video. Route any combination of SD, HD and Ultra HD at the same time!

The built in front control panel lets you route video, so you get the perfect solution for live production racks that don’t have the space for extra hardware panels. The front panel features a spin knob for browsing, direct entry buttons for speed and an LCD for displaying labels. As the panel is built into the router, you can also see live video on the LCD! The LCD also has menus so you can change router settings.

Change Router Crosspoints Visually!

With a built in LCD, Blackmagic Videohub 12G can show you live video of all your router inputs! This means you can see all router inputs as live video before you change a route. There are also labels displayed below the live video to make it easy to identify the input you are viewing. What this means is you can scroll up and down the router sources in alphabetical order and see each input as live video.

EXHIBITS: APRIL 14-17, 2024

EDUCATION: APRIL 13-17

LAS VEGAS, NV

NAB Show Tackles the AI Revolution

The NABShow continues on its upward post-COVID trajectory from 13-17 April, 2024. Much has changed since last year’s show, which attracted some 64,600 attendees, not the least of which has been the explosion of artificial intelligence (AI) platforms and applications.

FROM CONTENT CREATION to delivery to revenue, artificial intelligence (AI) is reshaping the broadcast, media and entertainment industry. NAB Show will be exploring the latest advancements, impacts, opportunities and challenges AI is making throughout the production pipeline. Sessions will delve into tools and efficiencies, disinformation and deep fakes, content security and cyber security issues.

A newly announced Main Stage discussion, AI in Media and Entertainment, brings together heavy hitters in the field to explore the many applications of AI in Hollywood. Panellists include Renard Jenkins, president, SMPTE, Hao Li, CEO & co-founder, Pinscreen, Alejandro Matamala Ortiz, co-founder and CDO, Runway and moderator Sam Matheny, CTO, National Association of Broadcasters. They’ll discuss their different approaches to AI, including the benefits and pitfalls of its continued and growing use in productions and development.

AI highlights in the show’s Create conference stream include:

• AI in the Newsroom: The Good, Bad, and What’s Ahead for the Industry: Executives from Sinclair, Scripps News, Al Jazeera Channel, Channel 1 and BBC discuss the impact of AI on the news business.

• Best AI Tools for Creators: Top creators explore how AI tools are the new sidekick of the production process.

• Unscripted Evolution: How AI is Reshaping Reality TV and Documentaries: Panellists from Microsoft, Quickture and Haymaker West, Birman Productions, Inc., Deepdub and StoryTech look at how AI is helping unscripted creators.

• AI Revolution in Entertainment: One Year On…: Senior media practitioners Melody Hildebrant, FOX, Bill Baggelaar, Media Technology, Rick Hack, Intel Corp., Scott Rose, VSI, and moderator Andy Maltz, General Intelligence, to deep dive into the successes, failures and best

practices of AI-augmented entertainment.

• Ask Me Anything: AI Post Production Workflow Experts

Tell All: Unpack how AI and machine learning (ML) are changing the landscape of content creation.

Connect stream highlights include:

• Generative AI for Content Production: From Storytelling to Visual Effects, AI Lip Sync, and Beyond: This NAB BEIT Conference Opening Session delves into the cutting-edge world of generative AI with Dr. Hao Li.

• Convergence of Artificial Intelligence, Cybersecurity, and Broadcasting: Understanding a new way of looking at a legacy service.

• Generative AI for Media: Transcription, translation and re-voicing, and their ethical implications for media editing.

Capitalize highlights include:

• AI Strategies for Programmers

- How to Leverage AI to Create Winning Content: The use of AI in broadcasting content creation as a growing opportunity – and concern.

• AI Strategies for Sales, Marketing and Operations: Leveraging AI at stations to support ad sales and operations to help increase revenue and improve efficiency.

AI Put on Trial

Also newly announced, it’s the trial of the century when AI faces charges for Conspiracy to Conformity in Content Creation. This mock trial will examine the positives and negatives of AI content creation, human credit for AI-generated material and will include plenty of courtroom drama as expert witnesses take the stand.

Extra! Extra! AI to Stand Trial for Crimes Against Creativity! is Tuesday, April 16 from 2 - 3:15 p.m. in the Create Zone Theater.

In addition, an autonomously AIpowered humanoid robot, Ameca, joins Futuri CEO Daniel Anstandig for the first-of-its-kind Welcome Session kicking off NAB Show to deliver an unprecedented study

on audience perspectives on AI’s use in broadcast media. Reach out to NAB Show’s media relations department for interview requests with Ameca and Anstandig. Attendees can also take AI Training and Certifications to stay current in the face of this ever-changing technology. NAB Show and Future Media Concepts (FMC) partnered to launch this series of live, innovative workshops.

Halls Open, Halls Closed

Las Vegas is the town of constant construction, and the LVCC is no exception. This year, the North Hall is closed for renovation, but South Hall lower and upper levels are now

open.

The exhibition halls will be grouped around the following general categories:

• South Hall Lower LevelAcquisition & Production; Post Production; Content Management & Systems

• South Hall Upper LevelAcquisition & Production

• Central Hall - Main Stage [Sessions Open to All]; Motion Picture & TV Production; and the Grand Lobby

• West Hall - Distribution & Delivery; Management & Systems; and Radio.

Ameca, the autonomously AI-powered humanoid robot, will join Futuri CEO Daniel Anstandig for a first-of-its-kind NAB Show Welcome Session.

Las Vegas Convention Center West Hall.

New Experiences on the Show Floor

Creator Lab - South Hall

Upper Level

With a spotlight on the fast-paced creator economy, this show floor experience features hands-on interaction and workshops, expert panels and networking events focused on creators, equipment, distribution channels and monetisation techniques. New this year, Creator Lab includes interactive exhibits, expert panels, hands-on workshops and networking events that focus on creators, equipment, distribution channels and monetization techniques.

Designed for both creators and organisations looking to partner with them, this initiative encompasses the creative, tech and business of today’s creator economy.

CineCentral – Central Hall

CineCentral is back again for 2024 and remains the destination for Hollywood’s cinematic trends and techniques. With expanded space and programming, production and post-production professionals alike will be able to take advantage of hands-on learning led by notable industry leaders, across a wide range of technology and methods, to advance their creative storytelling skills.

Open Air Labs

New for 2024 are the CineCentral Open Air Labs, where hands-on workshops will offer exclusive access to the latest content capture technology in drone use and large action filming equipment. Rare opportunities to train in real-world environments will be featured, including with cranes, remote heads, and drones. Working professionals will be highlighting storytelling methods, as participants gain practical skills to take to their next projects.

Indoor Labs and Lecture Space

CineCentral’s Indoor Labs and Lecture Space will continue to showcase a robust variety of the latest products, gear and services being used in production and post. Career advancing skills and techniques with an emphasis on interactive experiences, presented by industry leading partners will also be featured.

These Cine Central Workshops that will take place in the CineCentral Theater on the Show Floor:

• The Society of Camera Operators Present: Women Camera Operators Workshop • Drones and the Art of Cinematic Camera Movement

• Kodak Presents: Film Loading Workshop

• Cranes, Dollies, Stabilized Heads: Motion and Movement Workshop

Also new for this year will be the opportunity to learn from the producers of the HBO Camera Assessment Series(CAS).

PropelME - West Hall

PropelME is the destination to see early-stage products and companies that are eager to explore, learn, collaborate and drive impactful change within their respective markets. PropelME serves as a hub for conversations on regulatory shifts, technological advancements, content consumption trends and other crucial industry dynamics, fostering an environment for collaborative solutions honed through personal discovery and growth journeys.

Broadcast District in West Hall TV and radio broadcasters will enjoy a curated NAB Show experience featuring educational sessions, networking and special events located in one convenient location – Broadcast District – the

official home for the TV and radio community.

• TV and Radio HQ - The Television and Radio HQ is the premier networking destination for the television and radio broadcast community at NAB Show.

• NAB Sip-and-Speak Series

– Grab a beverage and enjoy a series of quick, intimate Q-and-A discussions with today’s most influential leaders in broadcasting.

• Discussion Den – Join your peers for a series of deep-dive discussions and workshops on current industry hot topics.

• Happy Hour Events – Radio Happy Hour, Monday, April 15 | 4 – 5:30pm; TV Happy Hour, Tuesday, April 16 | 4 – 5:30pm.

Main Stage - Central Hall

Sunday, April 14 –Wednesday, April 17

The Main Stage is where it’s at for a most impressive lineup featuring powerful thought leadership, exclusive know-how, aha moments shared by some of Hollywood’s most sought-after cinematographers, and more.

Show Floor Tours

NAB Show Floor Tours are a paid activity for attendees where all the legwork for you! Attendees can explore cutting-edge products and discover new workflows with curated tours related to top-ofmind industry topics.

Tours include:

• AI and Machine Learning TourSunday, April 14 @ 4pm; Monday, April 15 @ 4pm; Tuesday, April 16 @ 1:30pm

• Capture Your Vision, an Overview of the Show Floor - Sunday, April 14 @ 10am; Sunday, April 14 @ 1pm; Monday, April 15 @ 10am.; Monday, April 15 @ 1pm.

• Data Gets Smarter, how data

V-RAPTOR

is improving efficiencies in the media and entertainment

value chain - Sunday, April 14 @ 10:30am; Sunday, April 14 @ 1:30pm; Monday, April 15 @ 10am; Monday, April 15 @ 1pm; Tuesday, April 16 @ 10am; Tuesday, April 16 @ 1pm; Wednesday, April 17 @ 10am.

• Evolution of the TV/Video

Landscape - Sunday, April 14 @ 1pm ; Sunday, April 14 @ 4pm; Monday, April 15 @ 10:30am; Monday, April 15 @ 1:30pm ; Tuesday, April 16 @ 10:30am; Tuesday, April 16 @ 1:30pm; Wednesday, April 17 @ 10:30am.

• New Workflows - Sunday, April 14 @ 10:30am ; Sunday, April 14 @ 1.30pm ; Monday, April 15 @ 10:30am; Monday, April 15 @ 1.30pm; Tuesday, April 16 @ 10:30am; Tuesday, April 16 @ 1pm; Wednesday, April 17 @ 10:00am.

Getting Around

Attendees can travel underground between the West and Central Halls via free Teslas in ‘The Vegas Loop’ . From the Central Hall, it is a quick walk to South Hall. NABShow is also offering golf cart transportation between the Central and South Halls.

The Orange Parking Lot, between the Central and South Halls will also be open and accessible, offering another walking route between the two halls. This is also where attendees can register to participate in CineCentral’s outdoor live drone workshop or stop for a libation in the Beer Garden.

Attendees can still travel on foot from Central to West Hall using a new hallway that will be created. There will be directional signage, campus maps and volunteer assistance to ensure easy navigation.

Visit https://www.nabshow.com.

LARGE FORMAT 8K 120FPS

V-RAPTOR [X] 8K VV combines the strengths of RED’s two families of cameras into one powerful all-purpose workhorse.

CAMERAS & LIGHTING CAMERAS & LIGHTING

Nikon to Acquire RED.com Camera Company

NIKON CORPORATION (NIKON) has announced its entry into an agreement to acquire 100% of the outstanding membership interests of RED. com, LLC (RED) whereby RED will become a wholly-owned subsidiary of Nikon, pursuant to a Membership Interest Purchase Agreement with Mr. James Jannard, its founder, and Mr. Jarred Land, its current President, subject to the satisfaction of certain closing conditions thereunder. Headquartered at Foothill Ranch, California, U.S.A., RED.com, LLC has some 220 employees.

Since its establishment in 2005, RED has been at the forefront of digital cinema cameras, introducing industry-defining products such as the original RED ONE 4K to the cuttingedge V-RAPTOR [X] with its proprietary RAW compression technology. RED’s contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions.

According to the two companies, the agreement brings together Nikon’s expertise in product development, exceptional reliability, and knowhow in image processing, as well as optical technology and user interface, along with RED’s knowledge in cinema cameras, including unique image compression technology and colour science.

In a post-acquisition statement, Nikon said, “We are deeply grateful for the overwhelming support and anticipation we have received after the announcement of the RED acquisition. “We are planning that there will be no changes to the RED‘s current product lineup, the partners, and the relationship with the dealers. “RED will continue to support its policies with warranty, repair service, customer service, and overall product support.”

RED Digital Cinema recently released the V-Raptor [X] 8K VV and V-Raptor XL [X] 8K VV cameras with RED Global Vision. Featuring the low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-Raptor predecessor, the V-Raptor [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-Raptor [X] and V-Raptor XL [X] systems offer

increased exposure times, a further optimised optical cavity and improved audio performance. RED Global Vision uses the global shutter sensor in V-Raptor [X] and V-Raptor XL [X] to open unprecedented capabilities. Global Vision’s Extended Highlights mode allows the camera to see colour and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops. Phantom Track dual-capture streamlines any virtual production environment employing GhostFrame or frame remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI.

The V-Raptor [X] compact body is built with the keystone features found in the original V-Raptor platform, now bolstered by newly engineered incamera audio pre-amps and an optimised sensor cavity for improved contrast. The V-Raptor [X] has 2x 12G SDIs, capable of unique monitoring views, a locking Canon RF style lens mount for rigid and flexible lens selection, and CFexpress Type B media for up to 800MB/s formats such as 8K at 120fps.

The V-Raptor XL [X] is designed to support high-end television and motion picture productions, as well as storytellers requiring an elite all-in-one solution. It features dualvoltage battery support compatible with a wide range of common batteries found on set today, including both 14 V batteries and high-voltage 26 V V-Lock or Gold Mount options. A premier

Miller Tripods Unveils Robust Solo-Q Pod

PROVIDER OF professional fluid heads and tripods for the world’s leading camera operators in the film and television industries, Miller Tripods, unveils its new Solo-Q Pod (Cat#314) monopod at NAB 2024 (Booth C6925).

The Professional Solo-Q Pod is designed to be robust and long-lasting. It employs the same technology and materials used in Miller’s popular Solo-Q tripod but in a monopod configuration. The Solo-Q Pod weighs just

2.2lbs (1kg) and features a height range between 23in (59cm) and 69in (173cm).

“The Solo-Q Pod employs Miller’s unique, patented Solo-Q lock/release system for fast setups,” says Charles Montesin, Global Sales and Marketing Director, Miller Camera Support.

“The Solo-Q Pod’s 3-stage rapid leg locks make it a perfect combination for videographers on the go taking a payload of up to 22lbs (10kg).”

feature remains the built-in electronic ND which allows cinematographers to precisely select their density in 1/4, 1/3, and full-stop increments, providing control of exposure and depth of field. Along with the introduction of these groundbreaking cameras, RED says it remains committed to its filmmaker first approach with upgrade programs available for current V-Raptor and V-Raptor XL owners to advance into the [X] systems featuring RED Global Vision. Current V-Raptor and V-Raptor XL owners can upgrade directly via RED.

RED has also announced all new accessories including the RED Compact EVF Pack and V-Raptor Advanced V-Lock Plus & Gold Mount Adapter Plus battery adapters. The EVF Pack, currently available, is a single cable monitoring solution for all DSMC3 camera systems, featuring a 1080p micro-OLED display, and user assignable buttons to quickly access tools such as peaking and magnify or assignable to control the camera’s setting such as ISO, FPS and White Balance.

The Advanced Adapter Plus, available soon, will be sold with the V-Raptor Tactical Top Plate and includes all new features including a 6-Pin DC-IN port for continuous power to camera and auxiliary power outputs for additional flexibility and use with external power sources. Visit https://www.nikon.com/ and https://www.red.com/ and https://blonde-robot.com.au/

The swivel rubber foot, which delivers smooth stable action, can be interchanged with an optional Miller monopod base stand for additional flexibility. The camera can be mounted directly onto the monopod or via a Miller AirV head.

The new Solo-Q Pod will be exhibited at NAB and will be shipping immediately after the show.

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

AI & THE FUTURE OF ROBOTIC STUDIOS

By adopting new automation technologies, broadcast studios can enhance efficiency and ensure long-term success in a rapidly changing industry.

Vinten has produced a series of free technology guides, exploring the applications and benefits of AI and machine learning in modern studio production.

Marshall Unveils CV612 Auto Tracking PTZ Camera

MARSHALL ELECTRONICS will debut its newest auto-tracking camera, the CV612-TBI/TWI PTZ camera, at NAB 2024 (Booth C5912). The Marshall CV612, available in black (CV612-TBI) and white models (CV612-TWI), features the ability to automatically track, follow, and frame presenters using AI facial learning for accurate and smooth self-adjusting manoeuvres.

Equipped with 12X optical and a 15X digital zoom, the CV612 offers a 4.1mm-49.2mm (6.670.3 degrees) field of view. It is built around a professional-grade 2-Megapixel 1/2.8-inch, high-quality HD CMOS sensor, which provides format resolutions from 1920×1080, 1280×720 down to 640×480, making this the ideal solution for production and live streaming.

The CV612 has a flexible networkable IP interface with simultaneous 3GSDI, HDMI, and USB 3.0 Type C outputs for ease of connection for various applications. One Ethernet (CAT) cable installation with PoE+ simplifies setup and operation. Control interface includes RS232, Visca/Pelco protocols as well as LAN control. Also included is a handheld IR remote control. The PTZ features a pan rotation of 170 degrees, tilt rotation of -90-+90 degrees, and variable pan and tilt and preset speeds.

Marshall VS-PTC-300 PTZ Camera IP/NDI Controller

Marshall Electronics will also showcase the VSPTC-300 which can control multiple cameras via serial and IP interfaces simultaneously and allows easy NDI/IP set-up utilising the NDI/IP discovery. The use of different connection and control

Sachtler Cine Fluid Heads

SACHTLER HAS LAUNCHED a new range of fluid heads, the Cine Series, which fuses Sachtler’s rich cinematic heritage with its core values of quality, speed, and practicality to meet the diverse needs of cinematographers, from solo operators to larger production crews.

The Cine fluid head series comprises three models – Cine 20, Cine 30, and Cine 50 – each the smallest and lightest in its class. Combining innovative features, reliability, and flexibility, they offer controlled and smooth camera movement through variable drag settings and fine counterbalance, catering to the nuanced demands of cinematography.

The compact Cine 20, designed for lighter setups, offers a payload range of 2-22 kg (4-48 lb), featuring 16 steps of SpeedBalance technology counterbalance, and seven steps

methods can be beneficial when migrating to larger set-ups while keeping legacy products in the same system.

“The VS-PTC-300’s layout provides seven ‘instant access’ camera control buttons, which reduces fumbling when quick action is required,” says Greg Boren, Product Marketing Engineer at Marshall Electronics. “There is no need to type in a camera number before it can be accessed. Just select the camera number and you’re in control. The built-in information display screen doubles as a video monitor for NDI and RTSP streams confirming the integrity of the stream.”

exposure, red/blue balance, shutter speed, focus, pan/tilt speed, and zoom speed.

The VS-PTC-300 is designed to operate seamlessly across multiple camera protocols and connection types. Used in broadcast, live event production, content creation, and house of worship, the VS-PTC-300 offers detailed operation through a high-quality PTZ joystick, zoom rocker, and individual fine-tune adjustment knobs. Settings include iris, white balance,

The VS-PTC-300 can store up to 256 camera presets, which include image setting parameters. Dedicated knobs and control buttons simplify direct access to frequently used functions without needing to use on-camera menus. The VS-PTC-300’s joystick allows “one hand” PTZ/ Focus or a convenient rocker for Zoom. Its solid construction ensures that the controller will not slide while operating the joystick.

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

of pan and tilt drag. With a 100 mm bowl, the compact Cine 20 can be combined with a choice of Sachtler carbon fibre tripods, including the award-winning flowtech100.

The versatile Cine 30 caters to daily cine use with a payload range of 3-32 kg (7 – 71 lb), incorporating 18 steps of SpeedBalance, seven steps of pan and tilt drag, a 150 mm bowl, an ARRI compatible camera plate, and front box mounting points.

Cine 50, the largest in the series, supports payloads from 10-50 kg (22 – 110 lb), 18 steps of counterbalance, nine steps of pan and tilt drag, a 150 mm bowl, an ARRI compatible camera plate, and front box mounting points.

Shared features across the series include a secure sideload mechanism, simplifying the mounting and balancing of highly accessorised

FUJINON HZK24-300mm Duvo Portable Lens

FUJIFILM CORPORATION has announced the second lens model in its Duvo series, the portable-type broadcast zoom lens “FUJINON HZK24-300mm” (Nickname: Duvo Portable). The Duvo24-300 is a dual format lens, supporting two types of large image sensors. Delivering 12.5x zoom covering 24-300mm, a focal range that is frequently used on set, it achieves compact size and lightweight at 270.5mm in length and 2.95kg in weight and producing high mobility.

In addition to the box-type broadcast zoom lens “FUJINON HZK25-1000mm” (Nickname: Duvo Box), released in March 2023, we have added the portable-type “FUJINON HZK24-300mm” to the Duvo lineup. This versatile portable lens can be used with a tripod, shoulder-mounted, with a Steadicam or for high-angle shooting using a crane. The shallow depth of field allows for cinematic image expression with beautiful bokeh effect, making it ideal for bringing the desired cine look to sporting events, live concerts, reality

cameras to quickly adapt to dynamic shooting challenges. A rosette allows for the use of a front pan bar, providing extra control.

Features:

• Cine 20: 100 mm bowl; Payload: 2–22 kg (4–48 lb); SpeedBalance: 16 steps; Pan and Tilt Drag: 7 steps; Sideload platform; and Front pan bar rosette.

• Cine 30: 150 mm bowl; Payload: 3–32 kg (7–71 lb); SpeedBalance: 18 steps; Pan and Tilt Drag: 7 steps; Sideload platform; and Front pan bar rosette.

• Cine 50: 150 mm bowl; Payload: 10–50 kg (22–110 lb); Counterbalance: 18 steps; Pan and Tilt Drag: 9 steps; Sideload platform; and Front pan bar rosette.

Visit https://www.sachtler.com/en/cine/

shows, and other live broadcasts.

The newly released “FUJINON HZK24-300mm” will be showcased at the 2024 NAB Show, one of the world’s largest international broadcast equipment shows to be held in Las Vegas, USA from April 14 to April 17, 2024 (Booth #C5325). Also, the third Duvo, “HZK Wide” a portable wide angle zoom lens covering a focal length of 14100mm, will be on display.

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

Grass Valley Live Production Solutions

CELEBRATING 65 YEARS of innovation in production switchers and broadcast cameras at NAB Show 2024, Grass Valley (Booth C2308) will showcase significant enhancements to the LDX 100 Series broadcast camera platform and the K-Frame video production switchers. These improvements underscore Grass Valley’s dedication to continuous product evolution and its commitment to addressing the complex demands of live production environments.

LDX 100 Series: Elevating Broadcast Camera Technology

According to Grass Valley, the LDX 100 Series has set a new benchmark for broadcast camera systems, offering unparalleled flexibility and performance. The latest updates include:

• Advanced HDR/SDR Operations: Integrated LUT processing in all LDX 100 series cameras ensures optimal HDR/SDR signal quality directly from the camera head and base station, reducing the need for external converters.

• Improved Design for Enhanced Usability: Modifications to the shoulder pad, handgrip,

and housing materials have made the camera lighter and more ergonomic, airflow optimisations have resolved previous heat generation issues.

• Innovative High-Speed Shooting: New capabilities allow for 6x 1080p shooting with native UHD resolution of the live signal output, supported in both NativeIP and XCU base station operations.

• Wireless Camera Version: A new camera model optimised for wireless operation paves the way for seamless integration with wireless transmission technologies and cloud-based production solutions.

supporting the most demanding UHD/HD and HDR/SDR applications.

K-Frame XP: Redefining Production Switching

The K-Frame XP series continues to be the first choice for high-profile live productions, thanks to its exceptional signal processing capabilities and versatility. The latest enhancements include:

• Advanced IP I/O Cards: New generation IP I/O cards with JPEG XS encoding/decoding,

Hitachi Kokusai DK-H700 4K Box Camera

AT THE 2024 NAB SHOW, for the first time (Booth C4516), attendees will see the nowshipping Hitachi Kokusai DK-H700 4K box camera, designed to suit a variety of high-end broadcast, professional AV and government applications.

The DK-H700 features smooth operability, artistic capabilities and striking visual quality. The latter two benefits are amplified through the camera’s advanced digital signal processing and HDR support. The DK-H700’s design also includes 2/3-inch, RGB 3-chips, 8.3 million pixel each CMOS sensors. Collectively, these features add up to produce sharp and clear images with minimal noise, lifelike colour fidelity, and extraordinary sensitivity.

The DK-H700 is a multi-format solution that complies with ITU-R.BT-2020 wide colour

• UltraMatch Format Conversion: Enhanced format conversion capabilities with added HDR/SDR and 3D LUT transform functionality, simplifying the HDR/SDR workflow.

• ClipStore II: A new generation of clip stores offering up to 4-channel recording and playback in UHD resolution, compatible with both IP and SDI interfaces.

Visit https://www.grassvalley.com/

gamut specs and operates within REC BT2100 High Dynamic Range standards. These allow content creators to produce independent programs in a dual workflow configuration for both HDTV and/or UHD SDI output formats. The new DK-H700 has also added a ¼ ND filter to be able to produce a shallow depth of field with iris open, which will add to artistic value and reduce the Moire Effect on video walls. Providing the ability to produce shallow Depth of Field, while also having 2/3” Native Global Shutter sensors for maximum depth of field, offers the best of both worlds in creating a maximum artistic experience.

Hitachi Kokusai will also demonstrate its SK-

UHD7000 Series, including the now-shipping SK-UHD7000-S2 camera introduced last year. The SK-UHD7000-S2 is a multi-format camera with an affordable licence option for 4K. This offers a lower initial purchase point for customers that want high-quality 1080p immediately and a field-upgradeable path to 4K.

Visit http://www.hitachikokusai.us/

IPS Delivers Hybrid Magic with 4K ONE Production Vehicle

It was a post-COVID surge in projects that set Innovative Production Services (IPS) on the road to launching one of the industry’s most cutting-edge broadcast trucks, 4K ONE.

HELMED BY DIRECTORS Jeremy Koch and Brendan Sadgrove, the company has a 25 year history covering all aspects of live production including bands, theatre, TV, art, performance, and corporate events. Up until the end of the COVID lockdowns, the mainstay of its facilities had been ‘The HUB’, a flexible studio technical package that could be deployed in the studio or venue of a client’s choosing.

Equipped with 4K studio cameras, studio pedestals with CueScript and talent monitors, a 6m camera jib, 4K Barco E2 screen management system, a studio lighting system, and bonded cellular platforms, the Hub is effectively a full TV broadcast studio that can be set-up and operational within five hours.

With the end of the lockdowns, demand for the company’s services, in the words of Jeremy Koch, went “bonkers”.

“We were having to pack up and set up and pack up and set up constantly, because we had a stream of bookings,” says Koch. “So, we needed a way to do ops without setting up every time. We looked at buses, we looked at side sheds, and we looked at shipping containers.”

Finally, an unused Isuzu OB truck owned by

Technical Direction Company (TDC) came to IPS’ attention and, after approaching TDC owner Michael Hassett, IPS purchased the vehicle and set about refurbishing it with a 12G SDI/4K backbone a view to realising a hybrid events/broadcast truck concept which would give IPS the flexibility to deliver any project.

TAILBOARD

According to Jeremy Koch, the tailboard of the 4K ONE differs from those of conventional OB trucks in that there are fewer connectors.

“That’s because a lot of the magic happens in an external rack. We have a few of those, based on Riedel’s MicroN UHD System, which is part of the MediorNet system.

“In the rack, we have 16 bi-directional 3G SDI links. There’s two MADI streams and three discrete Ethernet links, so we run comms through there. We can run Dante, MADI, control networks, sync, word clock.

“It all comes out of the rack, and the rack goes in the venue, and it all transports over just one (Opticon Quad) fibre cable, which is fantastic.” The Tailboard also features support for eight SMPTE cameras, additional Ethernet patching, as well as further SDI, MADI, 3G SDI, analogue

audio, and AES connections.

“Because this is a control position, there’s a keyboard and mouse facilities here,” says Koch. “So we’ll actually normally put comms out here, and whoever’s operating comms and managing comms, they’ll have all the belt packs out here for Bolero. They can make panel changes, they can tweak people’s belt packs, and that way, as far as comms is concerned, we’re not going in the truck and bothering those guys or girls who are inside there.”

ENGINEERING/CAMERA CONTROL

A large compartment at the rear of the truck hosts 4K ONE’s engineering, replay area and camera control. The latter features Panasonic AK-UCU600 CCUs for four Panasonic AKUC4000GSJ 4K SMPTE camera chains - with capacity to add a further four as needed. This is complemented by PTZ control for four Panasonic AW-UE160KEJ 4K PTZ cameras. To augment

the studio cameras, IPS also recently purchased Panasonic AG-CX350EN 4K handheld cameras with wireless backs. Lenses available include Fujinon UA107x8.4 4K Box lenses; UA46x9.5 4K lenses; UA22x8 4K lenses and UA13x4.5 4K lenses.

The Remote Operation Panels can also paint and shade the AK-UC4000GSJ cameras, AGCX350EN cameras, and AW-UE160KEJ PTZ

cameras.

All the cameras are ‘connected’ and so can all be tied back to the 4K ONE or central control – the AKUC4000s via SMPTE fibre, the AG-CX350s via wireless link and the AW-UE160s via LAN/fibre.

Aside from wanting a top-level broadcast camera with features such as 4K and Super Slow Motion, Innovative had two big requirements that played a major role in their decision to buy the Panasonic cameras.

“We’re kind of combining everything that we have known and loved from 26 years of producing events and smashing that together with the world of broadcast to have something really unique as far as having a hybrid truck concept”

According to Jeremy Koch, “The two kickers were having excellent colour reproduction in particular for stage lighting, especially rich saturated colours like Congo blue and having the ability to sub-hire more cameras of the same type from other companies we knew. Having Panasonic cameras ticked all of these boxes and more.

“We also have the capabilities to bring in multiple people via Zoom using Zoom ISO and they just appear as eight more additional cameras to the director and we’ll control from this area as well.” Opposite camera control are the engineering racks where all systems, including air conditioning, can be controlled. Routing is controlled via Ross Video’s software-defined 12G Ultrix router which supports SDI, Fibre, and IP signal I/O. Being 12G native, it can also be upgraded to support UHD production.

The racks are also home to 12 Blackmagic Design Hyperdecks for multi-camera ISO recording onto solid state drives (SSDs), and a Barco E2 Gen2 screen management system. The E2 Gen2 supports native 4K input and output, allowing 4K ONE to service big screens at an event or venue.

“And that’s where the events world is coming into this truck,” says Koch, “We’re kind of combining everything that we have known and loved from 26 years of producing events and smashing that together with the world of broadcast to have something really unique as far as having a hybrid truck concept.”

The new “jewel in the crown”, says Jeremy Koch, is an EVS XT3 live production server with two-controller ChannelMAX configuration for recording Super Slow Motion from the Panasonic cameras.

GRAPHICS DEPARTMENT

Next to Engineering and Camera Control, a smaller compartment houses the 4K ONE Graphics Department, illustrating the hybrid events/broadcast make-up of the vehicle.

“We have six Mini Macs and six PCs (Intel NUXs) for running presentations, slideshows, notes, video playback, whatever is required usually for an event,” explains Jeremy Koch. “And this is where the truck is quite different - all of these machines feed into the Barco E2 system.

4K ONE Camera Control.

“That has eight lines that feed back into the Ultrix, plus another eight SDI lines that come from the Ultrix.

“So, the E2 can be the last thing in the chain as far as the truck’s content delivery, which would feed projectors and LED screens and fallback monitors and the like at a live event or, obviously, the Ultrix can also be the last part of the chain, and that’s feeding your broadcast feeds, streaming services, satellite trucks, whatever else is required to get your signal to the outside world.”

Using software customised by IPS, a Ross UltriTouch panel provides control of the Mini Macs and PCs over an SDVoE-based KVM network. SDVoE (Software Defined Videoover-Ethernet) is a software-based AV-over-IP platform for control and distribution of audio visual systems on Ethernet/Fibre networks. The Graphics Department can also house additional EVS operators if needed.

“If you want two AVS operators here, we just click to the SDI signal and then we can put the multi-views in here, whatever’s required.” says Jeremy Koch.

AUDIO

At the heart of 4K ONE’s audio area is a LAWO MC2 36 audio production console supplied by Professional Audio & Television (PAT).

The LAWO MC2 36 is an all-in-one console, boasting 256 DSP channels, both at 48kHz and 96kHz. All industry-standard audio inputs and outputs are built-in, with native IP connectivity at its centre. Powered by Lawo’s A__UHD Core software-defined processing technology, the console delivers the flexibility offered by IP technology — but with intuitive tools that make setup and management simple. The console is fully geared to manage any kind of remote application and provides easy deployment for on-site scenarios, including effortless point-topoint connectivity for A__stage IP stageboxes.

According to Jeremy Koch, “The LAWO MC2 36 console is a game-changer for us, offering unparalleled flexibility and sonic precision. It’s the perfect fit for our mission to deliver flawless audio experiences to our diverse range of clients.”

Professional Audio & Television, LAWO’s exclusive distribution partner in Australia and New Zealand, supported and facilitated the acquisition of the LAWO MC2 36 console for Innovative Production Services by providing its own LAWO mc2 36 console for testing and various demo sessions.

“The biggest thing that made such a difference

with this decision is the support we got from PAT, and then also the support we got with LAWO because we had multiple Zoom sessions and meetings online, training sessions. So, it’s just nice to know that you’ve got a lot of support from the industry when you’re making such big decisions, because this is not a small purchase.

“But for us, being a video production truck, we had to pick something that was going to kind of not be too sports oriented and not be too music oriented. It had to sit squarely in the middle to give us the best possible range of what’s userfriendly in this environment and offer all the features that we would need or could need.”

“Later this year, we’re putting in a full Dolby Atmos system into this room,” says Jeremy Koch. “The brand of speaker is going to be a surprise. It’s going to be a little bit left of field, but something certainly appropriate for largescale surround sound applications in the concert market.

“It’ll definitely grab the attention of a whole lot of regular engineers, and it’ll be the first of its kind in the broadcast world.

“At the moment, we’re just running stereo. There’s two sets of Genelecs. There’s the big ones for regular mixing, and then there’s some little ones for PFL or for reference.

“And we’re running Ravenna, Dante, and MADI as the audio formats that are currently in the truck. All of this, again, interfaces through that external truck rack, because we have Dante and Maddy and Ravenna outside the truck as well.

“We also have LAWO stage boxes, the A_stage 64. That also goes with this console and gives us analogue I/O outside.”

features 25 Crosspoint Buttons with Mnemonics; two Mix Effects Control Rows (Stripes); three Crosspoint Row Selectors per Stripe; and Advanced Effects Memory keypad on each stripe. A rear desk serves as a Producer’s position but, like the front desk’s Xpression seat, can be allocated to any function needed.

“We have the flexibility to put anything anywhere,”says Jermey Koch. “You can choose any Mac or any PC that’s in the truck and route that here and control that as appropriate. We can route various different sources to the monitors as well. You can put a producer out the back here. You can run graphics from here. We can put the E2 controller here. It’s an anything anywhere truck.”

FUTURE

“I know some of the bigger companies are scaling back on trucks and doing remote production and, look, it’s an interesting topic, remote production”

With 4K ONE well and truly on the road, Innovative Production Services has plans to add more vehicles to its arsenal.

“Well, there’s two more coming after this, but they’re complimentary,” says Jeremy Koch. “It’s not two more 4K ONEs, it’s a 4K ONE A, a 4K ONE B.

“I know some of the bigger companies are scaling back on trucks and doing remote production and, look, it’s an interesting topic, remote production. I won’t say I hate it, but I don’t like how something like cloud production or remote production gets sold as the new everything. It’s another tool in the shed. Cloud production is not the solution for everything, and remote production is far from the solution for everything.

PRODUCTION AREA

Situated at the front of 4K ONE, the Production Area is the vehicle’s command and control centre. Dominating the space is an array of four LG 4K 49” IPS screens providing multi-viewing and monitoring.

Along a front desk are positions for a Director (with Ross TouchDrive TD2S Control Panel), Director’s Assistant and a Ross Xpression graphics controller. The TouchDrive TD2S

“I think what’s really important for the broadcast industry to recognise and remember, the magic happens when you get people together. I couldn’t think of anything worse than having everyone sit at home in their little caves producing a show. How disconnected do you want to be? You may as well put everyone in the Matrix tomorrow, if that’s where we’re headed.”

To see an overview of the 4K ONE camera set-up, go to https://www.youtube.com/ watch?v=y_zWpJsACdw Visit www.innovative.net.au

NEWS OPERATIONS NEWS OPERTAIONS

First Newshub, now TVNZ: the news funding model is broken – but this would fix it

By Peter Thompson

THE ANNOUNCEMENT THAT [New Zealand news service] Newshub would be shut down [in June] was not the “canary in the coalmine” some suggested – it was the explosion. If it is not to be the first of many, then New Zealand needs a new model for its fourth estate.

The fate of [Warner Bros Discovery-owned] Newshub and projected newsroom cuts at TVNZ threaten to leave a significant gap in the news sector, particularly television. But beyond that, the causes and solutions are very much up for debate.

There are both specific institutional factors and deeper structural trends at play within the television and news sectors. And Newshub’s tangled financial history serves as a reminder of the dangers of foreign ownership of strategic media assets.

Beyond the shifting fortunes of one company, however, the local news ecology has faced wider structural problems. The imminent loss of so many working news producers and journalists makes finding workable solutions even more urgent.

Fragmenting Audiences

Over the past 25 years, the TV sector’s share of the advertising market has roughly halved, from 34.3% in 1999 to just 17.7% by 2022.

The capture of advertising revenue by Google and Meta (the parent of Facebook and Instagram) has played a key role. Google alone now accounts for almost two-thirds of the roughly NZ$1.8 billion digital advertising spend in New Zealand. But the decline in TV revenues is also related to the fragmentation of audiences, as viewers shift to new on-demand services. TV3’s daily audience reach for its linear services declined by almost 50%, from 35% in 2014 to 17% in 2023.

Perhaps not surprisingly, Newshub’s demise has amplified calls from the news sector to expedite the Fair News Digital Bargaining Bill. This would require the online platforms to negotiate payments to news providers for hosting, linking and sharing news content.

Some estimates suggest this could

be worth $30–50 million annually to the news sector. On the face of it, this may appear to be a logical solution – but it’s not that simple.

A Flawed Bill

There are a number of problems with the proposed bill. Fundamentally, it misdiagnoses the market relationship between the platforms and the news media. The tech platforms’ capture of digital advertising stems not from its co-option of news content, but from the mass harvesting of audience data (enabling targeted advertising), and algorithmic influence over content discovery. The bill also provides no fixed benchmarks for payments. And the arbitration process in the event of non-agreement is potentially very complex, because different media outlets will have varying relationships with each platform. Making those agreements will depend on the goodwill of the platforms. But arbitration could well determine the advantages the platforms confer on news providers (increasing their visibility and directing traffic to their websites) outweigh the commercial benefits to the platforms of hosting or sharing news content.

Indeed, Meta’s resistance to the news bargaining frameworks in Australia and Canada underlines the risk of a platform exempting itself from bargaining obligations by prohibiting the hosting and sharing of news. [Facebook has blocked news in Canada since August 2023 and will “deprecate” news in Australia from April 2024].

News media depending on platform payments might also be motivated to provide content that maximises value to the platforms – for example, populist or controversial content more likely to be shared. Or they may be less inclined to critically investigate issues involving their benefactors. Ultimately, there is no guarantee any platform payments will actually be reinvested in news production, let alone commercially unattractive genres such as local government or regional reporting.

A New Form of Funding

There is no realistic possibility of the government bailing out Newshub or any other individual news outlet. And while the news media’s function in upholding democratic processes and holding power to account remains vital, it doesn’t follow that market competition and plurality are sufficient to sustain that.

Indeed, it was the introduction of commercial competition for eyeballs and advertising that drove measurable declines in the length and substance of television news through the 1990s.

Democracy cannot thrive if the fourth estate is in a commercial race to the bottom. It requires diversity of perspectives and competition for substance that treats the audience as citizens, not just fodder for advertisers. This requires a new form of funding and a new institutional arrangement. One way to achieve this would be through a small levy on digital advertising expenditure, and potentially other commercial revenues such as internet and streaming services. The revenue would be reinvested in news content through an independent agency on a contestable basis. There are different possible mechanisms, but an initial model could apply a levy to digital advertising spend across the media sector. This would mean the advertising spend currently going to Google and Meta would generate the majority of the revenue.

Although the spend going to other media would, in principle, also incur the levy, there could be rebates for local content producers. News operators would, in any case, be the recipients of the journalism funding which the levy makes possible. Even a 1% levy on the $1.8 billion digital advertising spend would generate as much revenue as the (now defunct) Public Interest Journalism Fund. A 3% levy would equal the higher estimates of what the proposed Fair News Digital Bargaining Bill would deliver.

Over the past 25 years, the TV sector’s share of the advertising market has roughly halved, from 34.3% in 1999 to just 17.7% by 2022. Google alone now accounts for almost two-thirds of the roughly NZ$1.8 billion digital advertising spend in New Zealand.

Collaborative News Sharing

Being administered by an independent agency (perhaps NZ On Air) would help ensure the levy supported news based on public service principles – including investigative, local government, regional and minority coverage – and that a wide range of news operations received support. There is also a need for some form of collaborative news-sharing model. RNZ already shares its news content, and there have been proposals for a regional news network to cover local issues often overlooked by the mainstream. An independent, multi-platform news publisher model could underpin such an initiative. It would operate across both broadcasting, print and online media, and allow members to make use of any pooled content on their own channels or websites.

A levy mechanism and public news publisher model would be a far better basis for rescuing New Zealand’s fourth estate than throwing the news media some crumbs from Big Tech’s table.

Peter Thompson is Associate Professor of Media Studies, Te Herenga Waka — Victoria University of Wellington

This article is republished from The Conversation under a Creative Commons license. Read the original article at https://theconversation.com/firstnewshub-now-tvnz-the-news-fundingmodel-is-broken-but-this-would-fixit-224966

LiveU Brings Live IP-Video to Elections and Sports

THIS YEAR PROMISES to be a monumental one for live news and sports with major events including the US Presidential Election and the Summer Games in Paris. LiveU is an integral technology partner to the world’s leading content creators, helping customers develop dynamic, engaging live content using its EcoSystem of hardware, software, service, and support. The entire LiveU EcoSystem will be on display at the 2024 NAB Show and key EcoSystem players in the industry will join the LiveU Stage in the company’s booth (SL5105) to share their game plans for covering these events.

With LiveU Reliable Transport

Visitors to the booth can enjoy hands-on experiences with LiveU’s advanced connectivity offers, including Private 5G, Low Earth Orbit Satellite and IP-based distribution.

With a range of deployment choices, across cloud, on-premises, SaaS, lease, innovative pay-as-yougo, and short-term rental options, customers can easily control costs as they scale their production capability for optimal efficiency.

“2024 will be a recordbreaking year for live

NZ’s Dept of Post Automates QC with Interra’s BATON

LOCATED IN AUCKLAND, New Zealand, Department of Post provides end-to-end post-production services — from media management, dailies, and editorial, to colour grading and quality control — for film, television, and emerging media content. Operating from a state-of-the-art production facility, featuring over 4km of fibre optic network operating at speeds of 100Gb, the company’s customers include major players such as Amazon Studios, Netflix, HBO, BBC, Al Jazeera, TVNZ, Sky, and more.

Department of Post is known for pushing the boundaries of technology. Highlights of the company’s facility include a 36-seat Dolby Atmos-certified premier far-field mix stage with dual Avid S6 M40 audio consoles; Auckland’s largest and quietest ADR/Foley stage; a DaVinci Resolve UHD HDR theatrical colour grading suite that is also the only colour grading suite in the southern hemisphere to feature a 4K Christie CP4325-RGB laser projector; an Avid and VFX finishing suite; and more. And to ensure that Department of Post’s clients have complete confidence in the quality of their masters at the end of the post-production process, the facility is outfitted with Interra System’s BATON M/Land AI-enabled automated QC platform.

“When equipping our facility, we understood that servicing our elite clientele demanded an advanced automated QC tool capable of detecting a wide variety of video quality issues at an early stage,” said James Gardner, CTO of Department of Post. “In keeping with our goal of providing producers and artists with the best technology available, nothing less than the gold standard of QC tools would do. So, we did our due diligence. After looking into all the options on the market, and meeting with a range of teams at NAB, it became clear that Interra Systems’ BATON was the right solution for us and our customers.”

TITAN Shortcut Keyboard

LOGICKEYBOARD, the developer of shortcut keyboards for professionals and semiprofessionals, and Adimex Australia have announced an NABShow launch (Booth SL6036) for its latest product – the TITAN keyboard for Mac.

Logickeyboard has developed this new keyboard to address the evolving needs of modern users who demand more from their editing experience. By incorporating dual connectivity options and backlit keys, wrapped in an aluminium chassis, the company aims to provide a keyboard that not only enhances productivity and comfort but also adds a touch of style to any workspace.

TITAN Keyboard Features

Dual Connectivity: The TITAN keyboard offers dual connectivity, enabling you to effortlessly switch between wireless or wired connection with just a keystroke. It is designed and

The BATON QC platform provides comprehensive quality, standards compliance, and regulatory and baseband checks for VOD content — either in the cloud or on-premises — for linear and streaming workflows. BATON is a hybrid QC solution that implements organisational QC policy to support a combination of automated and manual QC checks. Running on a Supermicro 1RU server, connected over 40Gb, BATON was quickly installed and configured at Department of Post’s facility within two weeks. The integration and operational flow are seamless, utilising BATON’s smart folders to automatically process new files for QC – based on predefined test plans. Department of Post has registered content folders as “Smartfolders” and any content arriving at these folders is automatically picked up for QC against a specific test plan per pre-QC filter. These “Smartfolders” can then move these files to respective folders based on QC results – whether a file fails or passes the QC tests. To ensure ease of deployment, BATON offers several pre-configured test plans tailored to specific platform delivery requirements while also allowing Department of Post to adjust test plans or develop new ones to cater to custom requirements.

quickly as possible, enhancing efficiency. For instance, for a recent feature film, BATON swiftly pinpointed a significant number of dead pixels in a single frame, enabling the finishing artist to correct the issue promptly with the precise time codes provided.

Department of Post is utilising BATON to perform QC on all masters before they exit the facility, with finishing artists depending on it daily. Moreover, the platform is integrated with Slack to provide detailed feedback to artists as

“BATON allows us to bring our commitment to cutting-edge technology into the QC process,” added Gardner. “Thanks to the platform, our producers can fully trust in the quality of the masters that they distribute globally — the solution’s reports tick all the boxes they require. Beyond this, the customer support from Interra Systems is unparalleled, and the company continually advances the platform with new, sophisticated capabilities. The latest example of this is version 9.0, which introduces a brand-new engine for enhanced performance, along with support for new checks, formats, and features, including complete support and checks for the Dolby Atmos ecosystem. Although BATON 9.0 isn’t available in our region yet, we’re eager to update to it the moment it is available.

Visit https://www.interrasystems.com

optimised for use with MacOS but can easily be connected to an iPad or iPhone as well, or to two Macs – one corded and another wirelessly – making it ideal to master two workstations. The Titan keyboard uses a long-lasting rechargeable lithium-ion battery for the wireless connectivity.

Backlit keys with 5 adjustable levels: For the best adaptation to working in low-light environments the keys on TITAN are backlit, and the illumination is dimmable in 5 levels. If used without the backlight feature the TITAN keyboard provides energy for months of use before recharge is necessary.

Aluminium chassis: Titanium grey Quality design: Built to withstand the rigours of professional use, the keyboard combines exceptional durability with excellent

responsiveness, ensuring reliable performance even in the most demanding editing environments - best-in-class durability and aesthetics.

The new TITAN Logickeyboard will be available for a wide range of editing software, including industry-leading platforms such as Adobe Premiere Pro, Avid Media Composer, Avid Pro Tools, Blackmagic DaVinci Resolve and Apple Logic Pro X.

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

Mocha Pro Adds SynthEyes 3D Camera Tracking

MOCHA PRO, the planar tracking plugin for the film and video industry, has integrated SynthEyes’ blazing-fast 3D tracking into its toolset. The new feature enables seamless matchmove compositing, animations, and motion graphics creation within the well-known workflow.

“Today’s visual effects work includes a massive amount of CG content that needs to blend flawlessly with live-action. We’re excited to give the visual effects community at large access to the same 3D tracking algorithm that feature film matchmove artists rely on,” says Boris Yamnitsky, President and CEO of Boris FX. “Mocha Pro 2024 uses the raw power of SynthEyes 3D tracking in combination with our renowned planar tracking tools to deliver a simplified 3D tracking workflow to artists. It’s never been easier to camera solve right inside Mocha Pro.”

Boris FX will continue to develop SynthEyes’ high-end 3D camera solver application with expanded workflows and export options.

Mocha Pro 2024 adds a brand new version of the Camera Solve module based on SynthEyes’ core technology. The 3D camera solver has its own workspace views and navigation controls. Users

can automatically detect, analyse, and solve 3D cameras with the flexibility of Mocha’s planar tracking tools. The roto-spline workflow makes it easy to subtract unwanted occlusions in a 3D camera solve. Mocha’s PowerMesh can track non-planar areas of the scene and build static 3D mesh data directly into the solve, ready for export.

Artists will work faster thanks to refined track and rotoscoping tools. New Linear and Constant keyframe options make stepped tracking easier with the ability to Skip or Step over frames while maintaining a proper track. If a track goes off-screen or behind another object, the new Extrapolate Track continues tracking based on previous frames.

Mocha Pro 2024 has significant under-the-hood updates to increase the speed and accuracy of tracks. These improvements include optimisations in Insert rendering (up to 15x faster), enhanced GPU tracking precision, and upgraded Python script performance.

The 2024 release adds USD (Universal Scene Description) format imports and exports, which

Philips Creator Monitors Connect with 4K UHD Resolution

PHILIPS HAS ANNOUNCED the 27E2F7901 and 27E2F7903 creator monitors which are packed with features catering to graphic design.

To name a few, features like IPS Black, DisplayHDR 400, UltraClear 4K UHD resolution, and 1.07 billion colour gamut all contribute to making the Philips 27E2F7901 and 27E2F7903 design powerhouses.

Made with design and creation in mind, these creator monitors are packed with colourfocused features that will make designs pop on screen and print accurately off screen. One of the main focuses of the Philips 27E2F7901 and 27E2F7903 is the IPS Black panel and Pro colour standards. The IPS Black technology allows blacks to become deeper while various pro colour standards aid creatives in making a design that best fits their need. Going further into these two monitors’ Pro colour standard options, they are equipped with 100% sRGB, 100% REC 709, and 98% DCI-P3.

In addition, all imagery displayed on these two creator monitors is shown in 4K (3840 x 2160) clarity on a 27-inch screen. Not only this, but the Philips 27E2F7901 and 27E2F7903’s image quality is certified with DisplayHDR 400 and Calman Ready.

Calman Ready is ideal for colour calibration and this new technology allows for screen calibration to be done at a fraction of the time.

Both the 27E2F7901 and 27E2F7903 feature convenient USB-C connection, but the Philips 27E2F7903 takes connectivity a step further with its Thunderbolt 4 connectivity. This feature supports high-resolution video, offers multistream transport for daisy chaining, and can reach up to 96W of power delivery to external devices. Through this advanced connection, creatives are now able to work faster and increase productivity.

Apart from the Philips 27E2F7901 and 27E2F7903’s visual and connective capabilities, creatives can also benefit from other features

Magnifi Plugin for Adobe Premiere Pro

MAGNIFI BY VIDEOVERSE, an AI-driven video technology company and video-editing SaaS platform, has announced its new plugin for Adobe Premiere Pro.

Magnifi software uses AI and machine learning to detect key moments from live or recorded sports, news, and entertainment content. This helps rights-owners monetise content at scale by simplifying and accelerating the creation of highlights and short-form videos that elevate audience engagement.

The new extension for Adobe Premiere Pro enables Magnifi customers to build their projects

faster without hindering their existing video editing workflows, by eliminating the need for switching between the different platforms.

Users can now have instant access to their Magnifi-indexed libraries of assets including key moment clips and rule-based compilations, which can be used for creating highlights and short-form videos – all without leaving Premiere Pro.

By integrating seamlessly with Adobe Premiere Pro, Magnifi users can leverage the power of AI to assist content creation, creating a truly uninterrupted workflow and connected

promote seamless integration with major 3D applications such as Foundry Nuke, Blender, and Maya. Additionally, Mocha Pro 2024 delivers greater integration with Adobe After Effects. Artists can direct the generation of 3D cameras and nulls to complement After Effects’ 3D capabilities.

Attendees at NAB (Las Vegas, NV, April 14-17) can book a Mocha Pro 2024 demo in the Boris FX Meeting Room (SL9034) or visit the product team in partner booths: Dell (SL8065) and AMD (SL9099).

Visit https://borisfx.com/products/mocha-pro/

these monitors offer, such as MultiView, the SmartErgoBase, and LowBlue Mode. All these features complete the Philips 27E2F7901 and 27E2F7903’s feature arsenal by providing efficient multitasking capabilities, an ergonomic base, and a screen that guards the eyes from harmful blue light emissions. The Philips 27E2F7903 also has built-in Stereo Speakers for high-quality sound.

Visit https://www.philips.com/

experience, saving time in the creative process. Once the free plugin is installed, Magnifi subscribers can log in to their account from Premiere Pro and begin creating customised video content.

The Magnifi extension can be downloaded from the Adobe Exchange marketplace or through the Adobe Creative Cloud Application.

Magnifi by VideoVerse will demonstrate its new plugin for Adobe Premiere Pro at NAB2024 from April 14-17, 2024 at booth W1159.

Visit: https://magnifi.ai/

Matchbox Pictures Picks Avid Edit-on-Demand Cloud Solutions from Digistor

MATCHBOX PICTURES is a prolific film and television production company with offices in Sydney and Melbourne. It is a creativeled company which makes world-class content for a global audience and has worked with every network in Australia, plus a multitude of international buyers and commissioners. When the innovative production company had a requirement for a full remoteworking production platform underpinned by a comprehensive Avid solution, it turned to their technology partner and provider, Digistor.

As Matchbox Pictures’ production executive, unscripted, Catherine Durr explained, “We were looking for efficient remote working solutions which didn’t need VPN tunnels or physical computers in our offices. Matchbox produces in every state of the country under the philosophy that we employ the best people wherever they are. The Avid Edit on Demand system which Digistor proposed enabled us to ‘best practice’ this in post, even though our Real Housewives editors and post producers were in multiple and different state, regional and city locations.”

Matchbox Pictures’ requirements were comprehensive. The company needed a remote editing solution that would work for, and with, an incoming large production that had already begun shooting. Its existing workflow involving Amulet hotkey boxes had various challenges around infrastructure and their remote connectivity, which also had to be overcome.

With five editors and three producers spread throughout Australia, all of whom needed remote access quickly, more than 350TB of secure online storage was required. Matchbox Pictures decided that the traditional shipping of hard drives was problematic and a thing of the past. Together with the local Avid team, led by ANZ partner account manager for video, Kwasi Kwakwa, Digistor sales specialist Andrew Hogan proposed a solution that included an Avid Edit on Demand subscription with eight advanced Media Composer seats for both editors and producers with the ability to work from the cloudprovisioned NEXIS cloud storage. Supervising technical producer for Matchbox Pictures on The Real Housewives of Sydney Series 2

David Oliverius said, “The Digistor supplied Avid Edit on Demand solution allowed us to overcome cumbersome VPN tunnels and unnecessary physical computer set-ups in our office and deploy

purely in the cloud. It kept all our physical hardware free to supply to team members as they came in and out of contracts and made the entire system far easier to administrate. We particularly liked the flexible nature of Avid on Demand services, how we could purchase entitlements based on the expected duration of the production, spin it up into the cloud, then turn it off. This meant lower up-front costs and no ongoing assets costs.”

Digistor was the first Avid partner to sell their Edit on Demand solution into the Australian market. By using its significant in-depth knowledge of post-production, Digistor was able to further adapt and customise the Edit on Demand SaaS solution to its customers. Digistor has also been particularly successful in leading the post market through the Covid pandemic with their expertise in and around remote workflows.

Oliverius continued, “We used the new Avid solutions to do all our offline editing work for The Real Housewives of Sydney Series 2. All post producers and editors worked from home and could easily connect to the system with everyone working on the same Avid NEXIS. Edit assistants could also log in to support the team with group work, sync and exports.”

Avid on Demand enabled Matchbox to easily scale its flexible requirements, performance attributes and storage required by editorial staff. Typical jobs using the Digistor Avid solution included offline editing by editors and sifting through a considerable amount of

footage on the Avid system by post producers.

Oliverius said, “Our entire Avid workflow was taken into the cloud with this solution. Essentially all editorial facets of high-end multi-cam non-scripted ‘reality’ production – in this case The Real Housewives of Sydney – which previously would have required significant investment in on-prem storage to assure performance for concurrent editors. Now it was all remote and at our fingertips.” In a seamless workflow, Matchbox Pictures processed the rushes and sync on a local Avid setup in their office. Once the Avid proxies were generated, they were automatically uploaded to the cloud while the edit assistants synced and organised the footage. Once the footage was organised, the local Avid projects were mirrored to the cloud to provide collaborative access to the remote editors throughout Australia.

Oliverius said, “This solution made the daily workflow extremely clean compared to setting up some kind of VPN to allow team members to connect directly to physical computers in the office or use software like Jump Desktop. Avid Edit on Demand is even more efficient as it runs on Azure servers, so we don’t have to worry about our office network at all. The system is completely independent and extremely reliable. From an administration point of view, it’s also easy to fix any problems users have and restarting a system is as easy as clicking a button. In short, no solution in the market is as efficient and scalable for

“We used the new Avid solutions to do all our offline editing work for The Real Housewives of Sydney Series 2. All post producers and editors worked from home and could easily connect to the system with everyone working on the same Avid NEXIS”

Avid NEXIS and Media Composer editors. Edit on Demand also provides a consistent experience between editing in an on-prem environment versus cloud.

“Digistor is always the first place we go if we have any issues, Andrew Hogan is amazing at prioritising our needs to make sure everyone can work smoothly. Things rarely go wrong using Edit on Demand but if we have any issues, I always know Digistor has our back and will resolve them quickly. Digistor and Avid allow the team at Matchbox Pictures to work without distraction, spend more time being creative and make the best possible entertainment.”

Visit https://www.avid.com/ and https://www.digistor.com.au

Adobe Adds Firefly Gen-AI to Substance 3D

AT THIS YEAR’S Game Developers Conference (GDC) in San Francisco, Adobe debuted new Firefly-powered generative AI features directly within Adobe Substance 3D design and creative workflows. This first integration of Adobe’s popular family of Firefly generative AI models directly into the Substance 3D ecosystem ushers in a new era of creativity and efficiency for industrial designers, game developers, and VFX professionals, accelerating iterative and creative processes in various areas including 3D texturing and background image generation.

Substance 3D’s latest releases introduce two new Firefly-powered features:

Substance 3D Sampler’s innovative Text to Texture feature offers creators the ability to generate photorealistic or stylised textures for 3D object surfaces from simple text prompts. This feature significantly enhances artists and designers’ creative and iterative processes without the need for physical prototypes, stock imagery, or manual photography.

Substance 3D Stager’s new Generative Background feature empowers users to create detailed backgrounds images from text prompts, and seamlessly composite objects into scenes with intelligent perspective and lighting matching.

Taken together, these new capabilities significantly accelerate the creative review process, making professional design workflows

more productive and seamless while saving considerable time.

For industrial designers and professionals in the gaming and VFX industries, these updates mean quicker ideation, more creative freedom, and the ability to generate high-quality, realistic textures and environments at a fraction of the usual time and cost. Marketing professionals and content creators will also find the new features invaluable as they produce high-fidelity visuals and animations, enhancing brand presentations and storytelling.

By default, Adobe Firefly attaches Content Credentials to assets created or edited using Firefly, indicating that generative AI was used in the creative process. Content Credentials are verifiable details that serve as a digital “nutrition label.” They can show contextual information including an asset’s name, creation date, what

Content Automation with SGO’s Mistika Workflows MINI-CONVERTERS

From production

post and

events, AJA

o er the

solutions, designed to the highest standards in reliability and quality. Our converters cover a full range of 4K, HD, and SD capabilities.

digital tools were used, and any edits made along the way, helping to bring more transparency to digital content. Powered by free, open-source technology from the Coalition for Content Provenance and Authenticity (C2PA), this data remains associated with the content wherever it is used, published, or stored, enabling proper attribution and helping consumers make informed decisions about digital content.

Beta versions of Substance 3D Sampler 4.4 and Stager 3.0 are accessible to all Substance 3D customers.

Visit https://substance3d.adobe.com/

PAKAM Radio Selects AEQ for Main Studio

PAKAM RADIO, an Australian radio station with coverage in Western Australia’s Kimberley and Pilbara regions, has selected the AEQ FORUM IP SPLIT as the digital console for its main broadcast studio. In many communities in the area, PAKAM is the only broadcasting service, making it essential in places that are isolated for several months of the year due to extreme weather conditions. The radio service also provides emergency information and cyclone warnings. The technical management of the company decided in the last renovation to select AEQ FORUM

SPLIT as the digital console for its main broadcast studio, for its ease of use, robustness of operation, and high audio quality. AEQ FORUM IP SPLIT is a mixing console designed for ONAIR broadcast control. It incorporates all the basic features necessary in this type of environment: automatic monitor cut, cough cut, fader start, signalling control, control signals for the automation of external equipment, external communications management, intercommunication, etc. The entire project was coordinated by AEQ’s partner in the country, Broadcast

JMC Academy Rolls Out Audient Consoles

AUDIENT’S ASP4816-HE compact console has been chosen for JMC Academy in Melbourne, the final of the three Australian JMC education facilities to upgrade to the Audient mixing desk.

As studio/facilities manager, Marcus Hernan explains the setup, “We have five studios on campus as well as numerous smaller production suites and edit labs. Each studio follows the curriculum from small bedroom style production suites with all-inone interfaces in trimester one, to the ASP4816-HE in trimester two, control surface in trimester three and a larger format console in trimester four onwards.

“Our Audient is housed in the trimester two studio as the formal introduction to analogue studio workflow. It is the centrepiece of a studio comprising a ProTools rig with an assortment of outboard gear tailored toward the demonstration and application of the basics of studio operation and recording.

“Personally, I am a big fan of the bus comp and mix processing options. They are cool additions that you generally don’t see on a lot of other options. The EQ circuit is also very easy to get good results with.”

Mainly used by Audio Engineering

Components, which was responsible for the equipment refurbishment, commissioning, configuration and especially the operator training courses. With its modular design and small size, AEQ FORUM adapts perfectly to different scenarios: self-control, control-locutory, TV production controls, sound production, mixed configurations, integration in large installations, etc. Simplicity and control power are combined in the AEQ FORUM IP console to cover both basic and advanced operation needs. The FORUM IP SPLIT version comes with the FR CORE modular engine in 3 rack units. It can be composed of up

to 6 quad fader modules and a control and monitoring unit. They can be equipped with AoIP multi-channel input and output cards compatible with the new AES67 protocol via DANTE technology. Through this connectivity, signals can be picked up and delivered to other consoles, routers, and other input and output terminal equipment from over 300 different manufacturers. It is also possible to choose MADI connectivity, and can be equipped with up to two internal digital telephone hybrids. Visit https://pakam.com.au/radio/ and https://www.aeq.eu

students, the desk can also be used in collaborative projects with other courses such as music, film, and animation.

“The first conversation regarding what was going to be the best option had a lot to do with what sort of features that were parallel to what we had been teaching, and what was going to be best to introduce to the students moving forward. The ASP4816-HE was a clear winner in these categories. An all round improvement in sound, workflow and teaching workflow and honestly, aesthetic. Our HE is an awesome looking and sounding console,” says Marcus.

SEN Syncs Commentary with TV Broadcasts

THE LATE 80S/EARLY 90S saw Triple J’s legendary sports team Roy & HG pioneer altenative match commentary with the radio turned up and the TV turned down. Now, Sports Entertainment Network (SEN) has taken the concept to the next level with its latest product offering, SEN Sync.

According to SEN, football fans are in for a game-changing viewing experience this AFL Premiership Season with the launch – in collaboration with DrinkWise – of an innovative new feature which will redefine how fans experience

the game at home.

Available at no cost on the SEN App for iOS and Android devices, SEN Sync seamlessly synchronises the SEN commentary team’s live call with the unfolding on-screen action. This new technology enhances the at-home viewing experience by giving fans unprecedented control over how they immerse themselves in the game.

SEN Sync makes aligning the SEN commentary with outstanding visual coverage from Seven and Fox Footy effortless. The

user-friendly interface flawlessly syncs the audio feed with a simple tap, enabling fans to line up the commentary with visuals so they won’t miss a moment. A manual delay setting for precision tuning is also available if a customised delay is required.

SEN is also upgrading the instadium experience, rolling out zero latency SEN commentary to every AFL venue nationwide in the early rounds of the season, building upon the existing SEN Stadium product currently available at select stadiums. This

Marcus is upbeat about the future at JMC Academy and excited about new technologies on the horizon.

“Obviously immersive audio is a huge movement right now – I’m particularly keen to see how that is implemented in a live/install environment. The next step for us here at JMC Melbourne is an immersive studio focused on Dolby Atmos,” he says.

Visit

https://www.jmcacademy.edu.au and https://audient.com

expansion will provide crystal clear SEN commentary with no delays directly to your phone and no Wi-Fi required.

SEN Chief Executive Craig Hutchison said: “SEN Sync tackles a long-standing pain point for footy fans – finally syncing up the commentary they want with the live TV action. It will be great to hear our Chief Sports Caller, Gerard Whateley, available at fans’ fingertips to pair perfectly with what’s on screen.

Visit https://www.sen.com.au/app/

Calrec Puts Sound in the Picture at NAB2024

CALREC IS USING NAB2024 to celebrate 60 years of “putting sound in the picture” with a spotlight on its Argo audio mixing control platform.

On show for the first time will be the new, reduced height variant of Argo-S, Calrec’s versatile and scalable IP-native mixer control surface. This variant combines the meter-bridge and touch UI into a single row of displays, with users able to switch between Calrec Assist full Web UI and full meters on any section, on-the-fly. It maintains Argo’s everything-from-everywhere ethos of flexibility, customization, ergonomics, resilience, and multi-user workflows in a form factor that will fit in the tightest of environments, or as a drop-in replacement for smaller consoles. It’s also suitable for applications where low-profile or better line-ofsight over the surface is required. Like its larger Argo siblings, each 12-fader wide section is fully independent in terms of processing capabilities, path control access, power supplies and connectivity, meaning there is no reliance on any individual section.

Designed to adapt to changing production needs, Calrec’s Argo Q and the Argo S model represent

a new approach to audio mixing, with a flexible control philosophy that breaks the traditional geographic tie lines between processing and control.

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

R

single point of failure with each self-contained, 12-fader section benefitting from a redundant power supply and dedicated processor. This system flexibility also means these self-contained sections can be connected together using either local or wide area networks, ideal for distributed productions. As an example, a customer can have a 48-fader main console in London and a 12-fader FX surface in New York connected to a core in Paris, allowing them to work in whatever way they wish.

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

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

level pricing.

With the introduction of ImPulse1, Calrec has made the move to IP much more attainable for all its customers, offering a range of options to suit all budget requirements. ImPulse1 works with Argo Q and Argo S control surfaces, and/or Calrec Assist, a browser-based GUI, ideally suited to remote working, multi operator and/or headless operation. Cores with smaller DSP licences can be offered without hardware redundancy. ImPulse1 is designed for small to medium single mixer applications and is offered with an all-new DSP license of 128 input channels without compromising its ST2110 capability. With a small overall form-factor, it’s immediately attractive for compact installation sites, such as outside broadcast and fly pack applications, where space is at a premium. Furthermore, it doesn’t compromise on features and DSP power; it has DSP options ranging from 128 to 384 input channels and benefits from the DSP features from the larger ImPulse core.

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

Visit https://www.calrec.com/

DPA to Showcase Compact Shotgun Mic

DPA MICROPHONES will highlight the features of its compact 2017 Shotgun Microphone at NAB 2024. From its durable construction and ease of use to its leading acoustical properties, the 2017 can capture the energy of any broadcast, AV or live event application. Measuring just 7.24 inches in length, the 2017 is more compact than many other solutions, yet it still offers extreme durability, high directivity, clarity, and consistency for capturing authentic sound. Designed to hold up to travel and repeated use in harsh environments, the 2017 can endure extreme weather and mechanical impact. The microphone persists in humid conditions and direct rain showers, as well as dry, arid environments. It has been tested for use in settings with temperatures up to 113°F

with 90-percent relative humidity, and cold environments as low as -40°F. With a consistent ability to easily withstand the effects of moisture, the 2017 ensures that any broadcast or event can go live with incredible sound, no matter the setting or forecast.

Featuring a specially designed capsule that is perfectly paired with a cutting-edge interference tube and microphone grid, the 2017 offers outstanding performance, both on- and off-axis. It has a high degree of off-axis rejection, which permits the main source to stand out. This heavily attenuated off-axis audio is authentic and extremely usable for mixing into the entire soundscape. Audio professionals can now pick up accurate, clean sounds from even the most chaotic environments. For quieter locations,

Tieline to Unveil Bridge-IT II Codec

LEADING CODEC manufacturer Tieline the Codec Company has announced it will unveil its new Bridge-IT II and Bridge-IT XTRA II IP audio codecs at NAB2024. The new codecs are designed to deliver affordable, reliable, and highquality broadcast solutions for: Home studios and simple remote broadcasts; Studio-toTransmitter Links (STLs); Studio-to-Studio Links (SSLs); and Multi-unicasting and Multicasting applications.

The new codecs include first-generation BridgeIT features such as: a front panel screen and

keypad for simple menu navigation, XLR analog and digital AES inputs, a wide range of encoding options, and support for multi-unicast and multicast connections.

the 2017’s low self-noise promises an excellent performance and accurately captures the nuance of every sound.

Visit https://www.dpamicrophones.com/2017

New features to support modern networking requirements include: Native support for AES67, ST2110-30, ST2022-7, Livewire, RAVENNA, and AMWA NMOS IS-04 and IS-05; Two full-duplex mono connections, or full-duplex stereo; Multiple Ethernet and AoIP ports; Failover to another connection, HTTP stream, or audio file playback; and Support for wireless cellular modems.

Emotion Systems Conquers File-Based Audio

EMOTION SYSTEMS will be showing its latest developments in workflow management at NABShow2024.

According to the company, the need for normalising ingested files and adding appropriate additional processing has never been more important, given the variety of different configurations available. The arrival of immersive audio formats, in addition to 5.1 or 7.1 surround, has increased the complexity of delivery standards demanded by different clients. Not only do the various channel configurations need to be archived correctly, but also Loudness Correction, Upmixing and Downmixing, Audio Description, and Dolby Encoding and Decoding are among the

processes that may need to be applied. Emotion Systems supplies the technology to handle ingest on a batch file system and to apply these processes automatically, preserving or adding to the original metadata. This automated approach to file ingest saves the distributor valuable time and resources.

Of interest this year is the Immersive Mix Module, which allows content to be upmixed from stereo to surround and immersive mixes, enabling it to blend into live content. This module provides for live transitions for commercials, promos, or even archive footage to be blended into a live broadcast mix.

Audio description is an equally hot topic. ,

The codecs support automated failover and SNMP for STL links. SmartStream PLUS redundant streaming and Fuse-IP data aggregation are also included as standard. They also connect over SIP with devices that are EBU N/ACIP Tech 3326, 3347, and 3368 compliant. The ToolBox HTML5 web-GUI and optional Cloud Codec Controller software provide realtime monitoring and remote management of connections.

Visit https://www.tieline.com/

with many countries now legislating on the percentage of programming that needs to be more accessible. Even if it is not a legal requirement, audio description is very much in demand. This provides the opportunity at NAB to focus on the Audio Description Module. The various modules are integral to the Emotion Systems’ Engine, which is the scalable solution to managing the monitoring, processing, and metadata of ingested files. Engine is designed to integrate with popular MAM products from leading vendors, or to work stand-alone on any operating system platform.

Zixi Advances Video Delivery at NAB 2024

ZIXI, THE PROVIDER of cost-efficient and highly scalable solutions for live broadcast-quality video over any IP network or protocol, and provider of the Software-Defined Video Platform (SDVP), has announced exhibition of nextgeneration live streaming features at NAB 2024, on booth W1401.

Zixi will highlight its latest advancements including: High-Performance Networking, leveraging DPDK to achieve remarkable throughput efficiency improvements while utilising only a fraction of processing power. This allows a Zixi Broadcaster to deliver 3x the amount of Zixi traffic versus previous versions and as a result, the associated costs of compute is reduced by two-thirds. Open-source alternatives require 3x the compute and therefore 9x the compute/costs versus Zixi using High-Performance networking. Dynamic Latency for the optimisation of live IP video based on real-time network conditions. High value streaming applications require as real-time, ultra-low latency as possible. Unique to Zixi, Dynamic Latency automatically finds the lowest possible latency based on network conditions, where streams can still be delivered reliably, and adjusts the latency as network conditions change.

Error Concealment replaces video frames containing errors with skip frames while keeping audio in sync, overcoming situations where unrecoverable packet loss on input streams corrupts video frames. Error Concealment improves the downstream decoding and

playback of video streams for customers deploying IRDs when there has been upstream packet loss creating some errors in the video stream content.

Timeline Normalization repairs timelines in the transport stream introduced by upstream encoding and processing, helping sensitive to timeline issue IRDs, dramatically improving stream ingest. Timeline Normalization improves downstream decoding and playback of video streams for broadcasters when there has been upstream packet loss creating some errors in the video stream timelines or timelines are not clean due to the video ingested being legacy protocols.

Smooth Live Midroll Insertion makes it possible to insert an advertisement or a fixed length slate or blackout directly into the live stream output, making it simple for the customer to insert ads or promos in the cloud into a live event video stream when they do not need the full capabilities of, and inherent complexity of, production switching/editing or ad insertion software.

Dynamic HTML Overlays will be showcased, making the transition to the cloud seamless without the need for additional on-premises hardware for these processes. Dynamic HTML Overlays makes it easy for broadcasters to overlay graphics, such as scoreboards or news tickers, to a live video stream in the cloud when they do not need the full capabilities, cost or complexity of production switching and editing software.

Actus Unveils New Multiviewer and AI Products

AFTER SIGNIFICANT R&D investment, specifically on its integrated Multiviewer and AI content analysis tools, Actus Digital has unveiled Actus MV and Actus AI. Both include exclusive features and unmatched capabilities and value within their respective markets.

These two new products join the four products already in its platform: Intelligent Monitoring (compliance logging/quality monitoring), Clip Factory Pro (automated content repurposing), OTT StreamWatch (OTT Monitoring) and Actus RVM (remote post-STB monitoring).

Each of the six products is available as an affordable standalone system or any combination of the six can be combined within one on-prem or SaaS Intelligent Monitoring Platform solution.

Actus MV – Interactive Multiviewer with Intelligent Widgets

Actus MV is a cutting-edge multiviewer revolutionising multiview monitoring with innovative features such as a penalty box/ error by exception with video-rewind. This feature enables instant review of audio-video issues directly within its interactive on-screen multiviewer.

A diverse array of advanced analysis widgets complements on-screen QoE/QoS alerts, providing visibility of areas of concern, such as: 608 and 708 captions/subtitles, loudness data, Transport Stream (TS) health, TS structure, SCTE details, media download metrics for OTT streams, and red/green channel-health.

The user-friendly GUI simplifies mosaic layout creation using snap-to grids to quickly produce any number of useful layouts to meet the needs of Master Control and individuals monitoring from their desks or remotely from any authorised browser.

Actus MV is flexible with any combination of all popular input formats, supporting many reprogrammable probe-points within video distribution workflows. Its intuitive Alert Centre enables email/SNMP notifications of outages/ issues and provides a searchable history of faults including easily shared recordings of the video that triggered them, as well as statistical reports.

Actus AI – AV Content Analysis that Delivers Intelligent Content Insights

Actus AI is a unique automated solution that provides insight from the AI-analysation of

Zixi continues to innovate with AI, ML, and advanced analytics and will demonstrate the ability to track telemetry metadata across the life of the live stream journey even as video leaves and comes back to the SDVP. Coupled with Intelligent Data Platform (IDP) capabilities including Auto Incidents utilising Multi-ObjectCorrelation-Analysis (MOCA), this not only strengthens Zixi’s ability to quickly perform root cause analysis (RCA) for the quick resolution of issues in minutes, but also to optimise workflows by replacing weak segments of the distribution with different networks or by replacing blind segments of the distribution with Zixi optimised delivery.

A diverse set of Zixi Enabled Network ecosystem partners will also be demonstrating their Zixi integrated offerings in the Partner Village, including Ad Insertion Platform; Encompass; Red5; Singular.Live; and Videon Labs.

On Sunday April 14th, Zixi will present two thought leadership events, first in the Connect Zone Tech Chat Theater at 2PM, Senior Architect Ben Gaverick will present Managing Ultra Low Latency in Live IP Video Workflows, discussing necessities in delivering mission critical video content efficiently, especially in time-sensitive scenarios like sports broadcasting. In the Capitalize Zone Theater at 3PM, Zixi will host a panel with Zixi customers and partners, bringing together industry subject matter experts to discuss trends and challenges in cloud-based, live IP workflows.

Visit https://zixi.com/zixi-at-nab-2024/

audio and video. It leverages the investment in a technical monitoring system with added intelligent content analysis either on-premises or via the cloud. It replaces current labourintensive processes, saving time, improving accuracy, and expanding the scope of analysis.

Evaluating large volumes of content becomes much more manageable with Actus AI. Indepth content insight is derived from reports generated from various AI-processes, including transcription, translation, summarisation, key topic identification, facial recognition, ad/ content matching, and metadata extraction from content.

Defining criteria directs the system to send alerts and show results when matching relevant content is aired. The system also eliminates language barriers, allowing operators to search in their preferred language.

Actus is exhibiting in Las Vegas at NAB 2024 in booth W-2059 between April 14-17.

Visit

https://actusdigital.com/Events/Tradeshows/

INVITATION

ROHDE & SCHWARZ AT NAB 2024

Booth SU4039

April 14-17, Las Vegas

Free guest code: NS3447

We invite you to join us at NAB 2024 from April 14–17 in Las Vegas. Experience our latest innovations in transmitter technology and learn about new developments across our media production solutions. This year, our focus revolves around providing solutions that offer tangible, monetisable advantages, with a key emphasis on ease of use, efficiency, and sustainability.

Broadcast Distribution: Exciting News

In the ever-evolving broadcast industry, terrestrial transmission remains paramount. At Rohde & Schwarz, we stand at the forefront, offering innovative solutions that add value and reduce energy and maintenance costs while minimiing carbon emissions. From datacasting to live broadcasting on mobile devices, our integrated approach addresses emerging services and revenue opportunities. Join us at NAB 2024 as we showcase our new high-power transmitter designed to cater to the evolving demands of the broadcast industry.

Media Technology: Reliable and Secure Solutions

Step into the world of intelligent playout and flexible multiviewing with Gallium & StreamMaster and R&S®PRISMON. Explore seamless integration and customisable workflows, ensuring automatic failover for uninterrupted performance. Dive deeper into our award-winning R&S®SpycerNode2 media storage, built for resilience and power to support various post-production and playout workflows. Experience the versatility of the R&S®VENICE ingest solution. Check out the gold standard of mastering, CLIPSTER 6 MK2, equipped with the latest Dolby Atmos and Dolby Vision support.

Visit Booth SU4039

Explore the latest innovations in broadcasting and benefit from the expertise of our media technology specialists, visit us at Booth SU4039 (South Hall, Las Vegas Convention Center). We look forward to welcoming you!

Bavarian get-together!

Join us on Monday, April 15, at 4:30 p.m. for a casual conversation with our product experts over bavarian beer and snacks.

Book a meeting

TAG Boosts Media Workflows

TAG VIDEO SYSTEMS, the provider of softwarebased IP end-to-end workflow monitoring, deep probing, and real-time visualisation, has announced plans to showcase its most extensive capabilities to date at NAB 2024 on Booth W1655.

A comprehensive monitor wall, forming the core of the exhibition, will demonstrate efficient, agile, and innovative quality at scale capabilities across all major media workflows. Highlights include new partner integrations, intelligent language detection technology, enhanced support for QoE measurements, an end-to-end HDR workflow, and a preview of an intuitive touch panel operator interface designed to streamline system configuration and operation. These new technologies will empower TAG users to deliver exceptional quality at scale with even more intuitive, automated, and precise tools.

Maximise Data Utilisation

Visitors to TAG’s Booth at NAB will be treated to an interactive deep dive into the extensive potential of the Company’s monitoring and visualisation capabilities. TAG will demonstrate in real-time how dashboards can be effortlessly built and customised using popular open toolsets like Kibana, Grafana, and Kafka to address any level of detail. This showcases how users can fully leverage their data to gain invaluable insights from TAG’s Realtime Media Platform.

End-to-End HDR Workflow Capabilities

TAG’s end-to-end HDR workflow capabilities are now expanded to include HDR up-conversion and down-conversion to facilitate combined SDR

and HDR workflows. This enhanced functionality supports deep real-time HDR end-to-end metadata monitoring, providing users with increased agility to achieve unparalleled HDR quality.

Elevating the Workflow Eco-System with Integration Partners

TAG’s recent partnerships include Amagi. The Amagi integration enhances monitoring accuracy and effectiveness through TAG’s advanced all-software and cloud-native technology. This integration, showcased for the first time at a major industry event, utilises TAG’s monitoring by exception capabilities and leverages its user-friendly APIs to efficiently monitor and manage a significant number of channels, enhancing the reliability of Amagi’s FAST and broadcast streams.

NAB attendees will also witness an integration that seamlessly incorporates support for TAG’s platform into Skyline’s Dataminer media management platform. This integration streamlines deployment and configuration and increases end-to-end visibility, automation, and user control of large-scale TAG installations. Operators benefit from simultaneous insight into the status of their infrastructure from Dataminer, along with insight into the health of their content and live streams from TAG.

New Operator Interface

Brand new for NAB 2024 is TAG’s operator interface preview. This innovative touch panel interface displays the live multiviewer output as an interactive, minimised version on any touch-controlled device. Operators can access

Nevion Extends Virtuoso Audio and Video Processing

NEVION, a Sony Group Company and provider of virtualised media production solutions, has announced that the signal processing capabilities of its software-defined media node Virtuoso have been extended with a new audio interface and additional up/down/ cross conversion (UDC) functionality. These capabilities increase the versatility of Virtuoso for live production applications, such as outside broadcast or centralised processing (“glue”) infrastructure for studio, production control room or master control room operations.

A key component of Sony’s Networked Live offering, Nevion Virtuoso has been widely deployed across the globe to transport, process, and monitor signals in real-time. The video and audio processing capabilities of Virtuoso in particular are being used daily by many broadcasters in their facilities to support their national and regional radio and TV productions. Virtuoso already offers comprehensive audio capabilities, including bidirectional AES3, MADI and SMPTE ST 2110 / AES67 IP audio interfacing. Processing features include monitoring, routing, embedding, mixing, shuffling and per-channel control of polarity, gain, and delay. With the new RPRO interface aimed at remote production applications, Virtuoso can now also interface and transport mixed digital and analogue audio signals, along with GPIO and sync distribution. For video processing, Virtuoso’s UDC capability

offers a variety of highquality format conversions for HD and UHD with native SMPTE ST 2110-20 uncompressed video input/ output. The existing functionality includes deinterlacing, scaling, HDR/ SDR conversion, legalisation, frame synchronisation and delay. The new additions to Virtuoso’s UDC capabilities include frame rate conversion and configurable 3D LUTs for colour space conversion (with a subset of BBCs 3D LUTs pre-loaded). The latest Virtuoso media function release also includes a further enhancement to the JPEGXS in TS (TR-07) capability announced at NAB 2023, adding the ability to handle IP-in/IP-out workflows.

pre-defined, customisable configuration and operational functionality with just a tap on the mosaic, dramatically simplifying day-to-day tasks and removing overall complexity.

In this interface preview, operators will be able to instantly switch between multiple layouts on the entire multiviewer, or just one mosaic, should a change of event, operation, or focus occur. Additionally, the operator can change the content of a tile to a different source, channel, or stream simply by clicking on the tile. This control extends to audio, allowing the user to select a specific source and play its audio to verify a match.

Based on TAG’s unique Content Matching Technology, the company now supports straightforward, perception-based QoE measures like the Structural Similarity Index Measure (SSIM). TAG users will be able to numerically compare the video quality before and after encoding or between any two points in the workflow, and evaluate even the most complex, high-noise levels video based on the SSIM smart algorithm.

Subtitle Quality Monitoring at Scale

This new TAG technology preview not only identifies the subtitles language but also calculates its quality with dictionary-defined precision. Users will see the caption’s language and accuracy in percentages based on the relevant language dictionary, enabling them to accurately evaluate quality and compliance without needing to review the actual subtitles, reducing overall manual monitoring.

Visit https://tagvs.com/

functionality, but it also offers exceptional media processing capabilities. This makes Virtuoso an extremely versatile media node – something that our customers recognize and appreciate. These latest extensions to the media processing capabilities of Virtuoso, cement its position as one of the highest performers for in-facilities and outside broadcast applications.”

Steve Hard, VP of Product Management, Virtuoso at Nevion says, “Nevion Virtuoso is obviously well-known for its media transport

Nevion’s Virtuoso will be on show at the NABShow (Las Vegas, 14-17 April, 2024), in the Networked Live area of Sony’s booth C8201. Visit https://nevion.com/virtuoso/

Lawo Enhances IP Platform Solutions at NAB2024

LAWO, THE DEVELOPER OF IP video, audio, control, and monitoring technology for the broadcast and AV industries, is gearing up to unveil its latest innovations at the prestigious NAB Show 2024 in Las Vegas (booth C4110).

Given the rapid changes in the broadcast and AV sectors, Lawo has decided to dedicate a large chunk of its activities to providing operators with a unified platform that addresses the requirements users have today and in the future. The result of this approach is becoming increasingly clear: all Lawo hardware and software products gravitate around the HOME management platform for IP infrastructures, and third-party vendors are most welcome to join in. Centralising all processes, from discovery and registration, stream routing, parameter tweaks and configuration changes, user management, all the way to allocating licence credits to where they are needed next provides operators with the flexibility, agility and speedy execution to shine in an increasingly hectic and budgetaware environment. All products listed below benefit from this nextgeneration platform strategy where each individual part complements all others.

HOME Apps – Revolutionary Server-Based Processing

At the forefront of Lawo’s showcase are the HOME Apps, set to take centre stage at NAB 2024. These cutting-edge applications, including HOME Multiviewer, HOME UDX Converter, HOME Stream Transcoder, HOME Graphic Inserter and the free Test Pattern/

Test Tone Generator apps, leverage the power of a flexible microservice architecture. They deliver exceptional processing capabilities with minimal compute power and energy consumption, enabling customers to swiftly adapt to changing requirements and budget constraints. Lawo’s HOME Apps support SMPTE ST2110, SRT, JPEG XS, and NDI for increasingly mixed technology environments, ensuring instant integration with a variety of workflows. Operating seamlessly on standard servers on-premise, in remote data centres, or in the public cloud, Lawo’s HOME Apps redefine versatility in media processing. At NAB 2024, Lawo will usher in a new chapter for its HOME Apps offering — be sure to visit the Lawo booth.

Evolving .edge Hyper-Density

SDI/IP Conversion and Routing Platform

Lawo presents a significant evolution in processing power for the .edge Hyper-Density SDI/IP Conversion and Routing Platform at NAB 2024. It has successfully proven that it is perfectly able to handle 8K workflows, and with licensable options such as proxy generation and JPEG XS compression, Lawo addresses bandwidth constraints, streamlining IP pipeline usage and optimising workflows directly at the source with so-called edge computing. In addition to the existing licensable options, the platform now provides JPEG XS encoding and decoding for highdensity compression in remote

workflows and bandwidth-sensitive applications. Lawo recognises the importance of standard or add-on SDI input functionality to ensure seamless integration of so-called baseband tools into a network built on an IP backbone. All of .edge’s add-on licenses can now be leveraged via Lawo’s Flex scheme. This includes the possibility to allocate free Subscription Credits originally purchased for HOME Apps to functionality that may be required for .edge units.

Empowering Live Productions with mc²/A__UHD Core/Power Core Platform

Lawo’s dedication to empowering live productions is showcased by means of the latest software release for the mc²/A__UHD Core/ Power Core platform. Featuring flexible bus routing, expanded AUX count (up to 256 busses), QSC Q-Sys proxy integration in HOME, Remote Show Control via OSC, and more, Lawo sets a new standard for live performances, broadcast and AV

SipRadius’ No Compromise IP Transport at NABShow

SIPRADIUS HAS ANNOUNCED its transformative approach to IP content transport at NAB Show 2024 (as a FOR-A platform powered by SipRadius, Booth C4507). The SipRadius software solution, already proven in use by major broadcasters, provides high quality, very secure, and ultra-low latency processing and delivery.

“The pace of technological change has transformed the media industry very quickly,” said Sergio Ammirata, Ph.D., founder and chief scientist at SipRadius. “Remote production has moved from science project to everyday reality, and our ability to deliver multiple very high quality AV1 streams with negligible latency

and high levels of protection is unprecedented.”

SipRadius has built an entire ecosystem around open standards. Ammirata was one of the key architects of RIST (reliable internet stream transport) and the author of the libRIST library of implementation routines. Using this architecture allows SipRadius to transport widely used formats like ffmpeg, VLC, and OBS, as well as the emerging IPMX standard. The software can run on COTS hardware and on appliances developed by SipRadius. The company has also collaborated closely with FOR-A to develop SOAR-A Powered by SipRadius, a flexible and powerful video

processing and delivery platform. The architecture supports the world’s first implementation of real-time AV1 over WebRTC, for optimised high quality playback on any device. The NAB demonstrations will show JPEGXS streams and AV1 production encoding in ultra-low latency applications. It will also focus on the military-grade security and encryption which is embedded in the technology.

“Alongside the rapid growth in remote production, content owners and distributors are also looking for ways of delivering content to users around the globe: for collaboration, for sign-off, for sales and more,” Ammirata

applications. Additionally, NMOS support for the mc² Gateserver enhances device compatibility, facilitating seamless integration of third-party products into Lawo’s ecosystem.

Future-Proofing Radio Broadcast with Power Core

Lawo says it is on the brink of revolutionising radio broadcasting with upcoming Power Core features. With integration as a proxy in HOME 1.8, support for MADI front ports, and dynamic recognition of DANTE and/or MADI SRC cards, the Power Core delivers a seamless audio experience for both radio and TV applications and audio production scenarios. Combined with the V8 radio and Gateway V2.1 releases, the Power Core supports extended audio I/O capabilities via Audio IO Extenders (AIOX), GPI/O integration, and enhanced gateway configurations.

Visit https://www.lawo.com/

explained. “Using the open standards and routines baked into our software, such users can quickly build virtual CDNs which dynamically reconfigure to match the load from moment to moment.”

In a system currently used by a major US broadcaster, SipRadius uses RIST along with SRP (secure remote password). Using technology to dynamically create a distribution network without decoding and re-encoding, the system achieves less than 300ms latency anywhere in North America, with zero possibility of the content being intercepted at any point.

GAME-CHANGING TOOLS Capture

Register Today!

Use code MP04 for a FREE Exhibits Pass!

Capture all things distribution and delivery in Connect, one of three curated collections at NAB Show — the preeminent event for the entire broadcast, media and entertainment industry. Here you’ll find cloud computing and media infrastructure pushing the boundaries of content delivery anytime, anywhere. Everything to boost your productivity and so much more!

EXHIBITS: APRIL 14-17, 2024

EDUCATION: APRIL 13-17

LAS VEGAS, NV

Hybrid Powerhouse

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

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

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

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

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

XVS-G1 Switcher Processor