Content+Technology ANZ September-October 2024

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,

04 NEWS+PEOPLE

PacificAus TV Expands Services to the Cook Islands and Niue; EMG/Gravity Media Makes Largest Order of FUJINON Lenses; ABC Australia Launches TV Channel in Palau; People on the Move.

08 ABESHOW2024 PREVIEW

20 CAMERAS & LIGHTING

Cameras in Focus at IBC; The Comedy That’s Unapologetic About Blackmagic Cameras; Winners of 2024 Catchlight Film Festival; Aputure Lights Up a Storm; PAG Powers Up IBC; Nikon and RED Release LUTs for N-Log; Canon EOS C80 6K Full-Frame Cinema Camera; Wooden Camera Accessories for Canon’s EOS C80; Leitz HUGO Lens Family Grows.

27 SPORTSCASTING

Visualising Wind Patterns for America’s Cup; VisionTV Saddles Up with Blackmagic; JAM TV, EMG/Gravity Media Take on A-Leagues Production; Fijian Broadcasting Corp and Gencom Team Up for Rugby; AI Enhancements for Evertz’s DreamCatcher BRAVO; SportsBox - the Smallest Remote Switcher?; LALIGA Takes Content Everywhere.

31 NEWS OPERATIONS

Nine Selects Sony PTZ Cameras for Canberra Studios; Gravity Media Supports Pope Francis in Timor-Leste; Malaysia’s Astro Launches AI-hosted News in Chinese; Qvest and Vidispine Enhance Newsroom Collaboration; Intelsat Unveils New Terminal Strategy; XD Motion and Brainstorm Virtual Production Partnership.

34 POST PRODUCTION

New Academy a Gamechanger for Victorian VFX; Blackmagic Design DaVinci Resolve 19; Adobe Photoshop Elements & Premiere Elements 2025; Techtel Integrates Adobe Premiere Pro into inflo; Colorfront Writes New Chapter in Colour Tools for Cinema & Television; LucidLink Integrates with Adobe After Effects.

38

AUDIO, RADIO, PODCASTING

Audiotech Peaks at IBC2024; WA’s NG Media Selects AEQ for Six New Studios; Radio NZ Upgrades Editorial System with Dalet; RØDE Crosses the Streams with Integrated Video and Audio Console; AI Soundscapes from Text-Based Prompts; Shure’s Game-Changing Mic; Sony Closed Monitor Headphones.

44 CONTENT

DELIVERY

Empowering Broadcasting: How the Cloud Removes Barriers in APAC; TPN Rising to the Challenge to Enhance APAC Content Security; IBC2024 Delivers on Content Delivery.

Getting Into Bed with AI

By Phil Sandberg

THE HEAD-SPINNING arms race that is artificial intelligence continues apace with many of the announcements being buried by, well, yet more announcements.

One of the more recent stand-out announcements was a partnership between video Gen AI company Runway and North American studio Lionsgate to “explore” the use of AI in film production.

The partnership is centred around the creation and training of a new AI model, customised on Lionsgate’s proprietary catalogue. The model will generate cinematic video that can be further “iterated” using Runway’s suite of controllable tools.

“Runway is a visionary, best-in-class partner who will help us utilise AI to develop cutting edge, capital efficient content creation opportunities,” said Lionsgate Vice Chair Michael Burns. “Several of our filmmakers are already excited about its potential applications to their pre-production and post-production process. We view AI as a great tool for augmenting, enhancing and supplementing our current operations.”

“As we continue our work with Lionsgate and other studios,” said Runway, “we’re also considering ways to licence or otherwise offer these models as templates that can be made available to individual creators interested in building and training their own proprietary models.”

This will by no means be the last time we see AI and content companies dancing around each other. OpenAI has done similar deals with the likes of Conde Nast, Time, News Corp, The Atlantic, Financial Times and Vox Media. Its board also features industry veteran Nicole Seligman, a Paramount Global board member and former President of Sony Entertainment, Inc.

Even James Cameron, who gave us AI’s ultimate cautionary tale in the Terminator series, has signed up having joined the board of Stability AI, the developer of Stable Diffusion and Stable Video Diffusion.

“I was at the forefront of CGI over three decades ago, and I’ve stayed on the cutting edge since,” said Cameron. “Now, the intersection of generative AI and CGI image creation is the next wave. The convergence of these two totally different engines of creation will unlock new ways for artists to tell stories in ways we could have never imagined. Stability AI is poised to lead this transformation.”

But, not everyone is so enthused about AI becoming part of the content production pipeline.

At the forefront of 2023’s Hollywood writers’ strike, actress Justine Bateman (Mallory of 80s sitcom Family Ties), has launched the CREDO 23 Film Festival. To be held in Los Angeles in 2025, it is billed as “a filmmakerfirst, no-AI event”. Bateman describes Gen AI as a “blender” which offers up Frankenstein teaspoonfuls of copyright-infringing content. It is her opinion that AI will “flatten” the entertainment business and that, if enough “chunks” in the pipeline are removed, it will collapse.

But, exactly where are we with AI and content production? While many AI Gen Video platforms can produce short pieces of content, most AI creators still have to rely on traditional NLE’s to finish their work. Issues still remain around producing consistent-looking characters, as well as marrying up different AI platforms for audio, lip-sync, etc.

Perhaps the biggest impediment to AI replacing traditional content making is the compute power and energy needed. Microsoft has recently signed a deal with the operator of the nuclear reactor on Pennsylvania’s infamous Three-Mile Island to take its power output exclusively for the next 20 years to power its data centers in the region. It is enough capacity to power hundreds of thousands of homes. Could Hollywood put in the necessary infrastructure to produce slates of feature length AI films? Not without a lot of help and not in the near future.

ABESHOW2024

C+T is proud to be the media partner of this year’s ABESHOW2024. One of the highlights for those interested in AI is a session from Marcus Byrne, Head of Art & AI at creative agency Thinkerbell on using AI-generated video in TVC production. Marcus will be sharing his production process from image generation to video generation and discuss how tools like Midjourney, RunwayML and Luma Dream Machine can enhance the creative process.

Register today at https://abeshow.com

In our next issue, we’ll be profiling those AI tools available that will help boost the productivity of your content business. Look out for it.

In the meantime, enjoy the work of these creators we’ve been following: Singapore-based https://www.youtube.com/@niceaunties https://www.youtube.com/@AIandDesign https://www.youtube.com/@katsukokoiso-bz4be Melbourne-based https://www.youtube.com/@ainfinitetv https://www.youtube.com/@Uncanny_Harry https://www.youtube.com/@NeuralViz

Thanks for reading,

Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811

2024 C+T DEADLINES

NOVEMBER/DECEMBER 2024 THE AI IN MEDIA ISSUE

Editorial Submissions: 07-11-24

Ad Bookings: 14-11-24

Ad Artwork: 14-11-24

For more information www.content-technology.com +61-(0)414 671 811

Email: papers@broadcastpapers.com

NEWS + PEOPLE

PacificAus TV Expands Services to the Cook Islands and Niue

PACIFICAUS TV, part of the Australian Government’s recently announced Indo-Pacific Broadcasting Strategy, has announced its expansion to the Cook Islands and Niue. This significant development is set to enhance the availability of quality free-to-air television content from Australia across these Pacific nations, fostering stronger cultural ties and sharing stories throughout the region.

Starting in September, Cook Islands Television, Vaka TV, and the Broadcasting Corporation of Niue will gain access to a diverse range of Australian television programming, including acclaimed dramas, documentaries, sports coverage, news, entertainment, and children’s shows. They join free-to-air broadcasters across Fiji, Kiribati, Nauru, Papua New Guinea, Samoa, Solomon Islands, Tonga, Tuvalu, and Vanuatu already accessing Australian content through the initiative.

This expansion is aligned with the broader goals of the Indo-Pacific Broadcasting Strategy, which aims to strengthen connections within the region through accessible and engaging

Australian media content.

PacificAus TV, which is managed by Free TV Australia, has played a crucial role in delivering high-quality content that resonates with Pacific audiences since 2020. By extending its services to the Cook Islands and Niue, the initiative reaffirms its commitment to strengthen Australia’s connections with the people of the Pacific, offering programming that entertains and informs.

“We are excited to bring PacificAus TV to the Cook Islands and Niue,” said Free TV CEO, Bridget Fair. “This expansion is a key component of Australia’s Indo-Pacific Broadcasting Strategy, demonstrating our commitment to deepening relationships across the Pacific.”

The content will be broadcast through local free-to-air channels, ensuring that all residents of the Cook Islands and Niue can enjoy the programming at no cost. The lineup features a broad array of genres catering to all age groups, with a special emphasis on sporting and other content that is of direct interest to Pacific

nations.

The Director of PacificAus TV, Shane Wood, said, “With the addition of our new partners in the Cook Islands and Niue, PacificAus TV will now be sharing the best of Australian television with 17 free-to-air broadcasters in 11 Pacific nations across 6 time zones.”

“We are extremely grateful to be able to access such a wide variety of Australia’s top programming for airing on Cook Islands Television at no rights and delivery cost. This really means a lot to us,” said Jeane Matenga, CEO of Cook Islands Television. “Being able to offer relevant, engaging, and top-quality content is extremely beneficial towards us providing a continuous service.”

This expansion underlines PacificAus TV’s role in the Australian Government’s efforts to enhance media accessibility and support local broadcasters across the Pacific by providing high-quality Australian content that complements local programming.

Visit https://www.pacificaustv.com

EMG/Gravity Media Makes Largest Order of FUJINON Lenses

IN WHAT IS its single largest order of FUJINON lenses ever, production, content, media services, and facilities company, EMG/Gravity Media, has purchased hundreds of units, including the latest UA125, UA107, UA23x7.6, and UA14x4.5 lenses.

As Pete Newton, Director – Media Services & Facilities at EMG/Gravity Media, explained, “Our decision to purchase and use these FUJINON lenses was driven by a combination of strategic planning, technological advancement, and our long-standing relationship with Fujifilm Australia. As part of a comprehensive refresh of our lens stock, we aimed to upgrade our equipment to ensure we were utilising the latest innovations in broadcast technology. FUJINON lenses have consistently met our high standards for quality, performance, and reliability, making them a natural choice for this upgrade.”

EMG/Gravity Media undertook a significant and comprehensive evaluation process to assess which lenses would best meet their requirements for this sizeable upgrade.

Newton added, “Our primary requirements were exceptional image quality and versatile zoom capabilities, which were required to provide flexibility for various shooting scenarios. We also wanted lenses with a robust and dependable construction to ensure they can withstand rigorous use in different environments. We also needed superior optical performance, which is essential for high-resolution, sharp images with accurate colour reproduction and minimal distortion. Finally, we also required a comprehensive support package that included maintenance and ongoing expert advice. All of this was and

is supplied by the Fujifilm team.”

The new FUJINON lenses also needed to be compatible and work seamlessly with EMG/ Gravity Media’s existing Sony HDC-3500, HDC-4300, and HDC-5500 camera systems, whilst being durable and weather-resistant for varied shooting locations.

Newton said, “Meeting these requirements ensures that the lenses enhance our production capabilities, maintain the highest standards of quality, and deliver exceptional performance across all key areas. Their superior optical quality ensures high-resolution, sharp images with accurate colour reproduction and minimal distortion, and the versatile zoom ranges, such as those offered by the UA125, enable us to capture a wide array of scenes. They are also built to withstand rigorous use in many different environments, which means they offer reliable performance and minimal downtime. As a result, the new FUJINON lenses have garnered overwhelmingly positive feedback from our internal team and clients alike.”

a wide range of European football leagues, including the Italian and English football leagues.

The UA107 lens is utilised for capturing detailed shots over long distances as it is ideal for sports broadcasts or any scenario where getting close-up shots from a distance is crucial.

EMG/Gravity Media have used and will continue to use their FUJINON lenses on a variety of high-profile projects, events, and productions. Most recently, the company utilised the lenses for comprehensive coverage of the 2024 UEFA EUROs Football Championship to ensure exceptional image quality and reliability throughout the event. Notably, they also employ these lenses for their ongoing coverage of

The UA125 lens is employed for capturing extremely distant subjects with remarkable detail, excelling in scenarios such as largescale sports events, outdoor productions, or any situation where capturing expansive landscapes or distant action is essential. The UA23x7.6 lens is utilised for capturing expansive scenes or settings where space is limited, wellsuited for indoor shoots, interviews, and events where a broader field of view is advantageous. Finally, the UA14x4.5 lens is used for capturing immersive and dramatic perspectives, ideal for landscapes, interior shots, and any scenario where a wide field of view is desired.

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

Now you can build affordable live production and broadcast systems with SMPTE-2110 video! Blackmagic Design has a wide range of 2110 IP products, including converters, video monitors, audio monitors and even cameras! You get the perfect solution for integrating SDI and IP based systems. Plus all models conform to the SMPTE ST-2110 standard, including PTP clocks and even NMOS support for routing.

Build Professional SMPTE-2110 Broadcast Systems

The Blackmagic 2110 IP Converters have been designed to integrate SDI equipment into 2110 IP broadcast systems. The rack mount models can be installed in equipment racks right next to the equipment you’re converting. Simply add a Blackmagic 2110 IP Converter to live production switchers, disk recorders, streaming processors, cameras, TVs and more.

Conforms to the SMPTE-2110 IP Video

Standard

Blackmagic 2110 IP products conform to the SMPTE ST-2110 standard for IP video, which specifies the transport, synchronization and description of 10 bit video, audio and ancillary data over managed IP networks for broadcast. Blackmagic 2110 IP products support SMPTE-2110-20 video, SMPTE-2110-21 traffic shaping/ timing, SMPTE-2110-30 audio and SMPTE-2110-40 for ancillary data.

Uses Simple 10G Ethernet for Low Cost

Blackmagic 2110 IP Converters are available in models with RJ-45 connectors for simple Cat6 copper cables or SFP sockets for optical fiber modules and cables. Using simple Cat6 copper cables means you can build SMPTE-2110 systems at a dramatically lower cost. Plus copper cables can remote power devices such as converters and cameras. There are also models for optical fiber Ethernet.

Incredibly Easy to Install

One of the biggest problems with SMPTE-2110 is needing an IT tech on standby to keep video systems running. Blackmagic 2110 IP converters solve this problem because they can connect point to point, so you don’t need to use a complex Ethernet switch if you don’t want to. That means you get the advantage of SMPTE2110 IP video with simple Ethernet cables, remote power and bidirectional video.

ABC Australia Launches TV Channel in Palau

IN PARTNERSHIP with Palau

National Communications Corporation (PNCC), the Australian Broadcasting Corporation’s (ABC) international television channel, ABC Australia, will now be available in full to residents of Palau.

Audiences across Palau will be able to enjoy the extensive range of ABC Australia content through Palau’s telecommunications provider under the PNCC Digital TV service.

ABC Australia operates across the Asia and Pacific region through partnerships with local rebroadcast partners. As the ABC’s international television and digital service,

People on the

Move

The Seven Network has announced the appointment of ERIN EDWARDS as Brisbane and Gold Coast News Director, effective 2025. Reporting to Seven Network’s Director of News and Current Affairs and Seven West Media Editor-in-Chief Anthony De Ceglie, Ms Edwards will be responsible for the editorial and managerial leadership of the Brisbane and Gold Coast newsrooms.

Queensland-born Ms Edwards is a Walkley Award-winning journalist and will return to Seven from Network 10, where she has been Executive Editor, 10 News Queensland, since June 2023. Before that role, she spent 22 years as a senior journalist with Seven in Mackay, Townsville, the Sunshine Coast, and Brisbane.

The Chair of the Special Broadcasting Service (SBS), MR GEORGE SAVVIDES AM, has advised the Government that he will not seek reappointment following the completion of his second term in July 2025.

Mr Savvides has chaired the Board of SBS since July 2020, before which he was Deputy Chair from February 2017. Mr Savvides has consistently championed inclusion and, as SBS Chair, has had oversight of numerous strategies to increase the prominence of First Nations and multicultural stories and perspectives at the broadcaster.

The Government has begun a

the channel delivers content that informs, entertains, and inspires audiences with a uniquely Australian perspective.

Content across ABC Australia includes the very latest in news and current affairs from flagship programs The Pacific, Foreign Correspondent and The World, alongside weekly sporting news delivered by That Pacific Sports Show and coverage of iconic sporting events. Audiences can also enjoy all of Australia’s favourite high-quality drama, lifestyle and culture programming, including Gardening Australia, Compass

and Back Roads, as well as new documentaries capturing regional storytelling across the Pacific with Canvas of Oceans, Changing Course and Cloud Under The Sea. PNCC Chief Executive Officer Simon Fraser said: “We’re happy to announce the addition of ABC Australia to our Digital TV Channel line-up. This exciting new channel brings a diverse array of high-quality, Pacific-focused entertainment, news, sports, and documentaries to our viewers. We believe ABC Australia will enrich our programming and provide our audience with fresh and

engaging content. Stay tuned for an exceptional viewing experience!”

ABC Head International Claire M. Gorman said: “PNCC is a trusted partner of ABC Australia and we are thrilled that we are able to now share the full breadth of the channel to audiences across Palau. Viewers can anticipate an exciting and extensive range of programming, featuring outstanding bespoke Australian content and regional stories.”

Visit https://www.abc.net.au and https://www.pnccpalau.com

merit-based selection process to appoint the next Chair, in accordance with the Special Broadcasting Service Act 1991.

Industry veteran PETER STRZECHOWSKI has announced his retirement from the broadcast industry and his position with Evertz as a Sales and Support Engineer for the Australia and New Zealand region.

With a career stretching over four decades, Peter’s involvement in the ANZ broadcast industry began after he and his wife emigrated to Australia from Poland in 1980.

For the first two years, he worked for Toshiba in Sydney before joining Hagemeyer BV as a Technical Support Officer for professional JVC and For-A products and then, five years later, taking on the role of Service Manager with Quinto Communications.

In 2008, Peter moved to the USA to work with Evertz in its Los Angeles office. Returning to Australia in 2010, his work with Evertz continued up until the present day. Peter’s work will be continued by Studiotech Australia, the sole Evertz distributor for the region.

Magna Systems & Engineering has bolstered its team with the addition of two new Broadcast Support and Deployment Engineers – SANDRA SOH and MUHAMMAD NURHISYAM JASNI (Hisyam) – based out of its

Singapore office.

Most recently, Hisyam held the role of Content Operation Editor at The Walt Disney Company and Master Control Officer (Sports) and Network Origination Controller at Encompass Digital Media. He is also bilingual in English and Bahasa Melayu.

Sandra Soh is proficient in English and Mandarin and has technical skills that cover broadcast systems, workflow design, system integration, networking, and VOD workflow. As a result, her new position at Magna also includes the role of Project Manager. She has previously served as Broadcast Support Engineer and Executive in Broadcast Operation at Globecast Asia Singapore and Technical Assistant at The Star Performing Art Centre Singapore.

Amagi, the provider of cloudbased SaaS technology for broadcast and connected TV (CTV), has announced that THOMAS PARSONS has joined Amagi’s APAC revenue leadership team as Senior Director of Sales and Business Development.

In his role, Parsons will be responsible for driving strategic customer relationships, accelerating SaaS revenue for the company, and driving business development in the Oceania region. He will work with broadcasters, content owners, and video service providers in the region to improve cloud adoption

and maximise efficiencies. He will specifically focus on cloud migration for broadcasters, FAST channel launch, distribution and monetisation, and live linear sports and news solutions.

The Seven Network has announced the appointment of MAJELLA HAY to the new role of Director of Content, Unscripted.

Ms Hay will report to Seven’s Chief Content Officer, Brook Hall, and will work closely with the network’s Director of Production Operations Andrew Backwell; Director of Content, Scripted, Julie McGauran; and Head of Production Mandy Roberts.

In her new role, Ms Hay will head a team that includes Head of Reality Sylvia D’Souza, Supervising Executive Producer Digby Mitchell, and Executive Producer Ewa Dobrowolska.

She will be responsible for the creative direction and content of Seven’s unscripted entertainment programs and work closely with the Seven sales team to drive new revenue and integration opportunities.

Ms Hay joined Seven as Head of Entertainment in June 2022. She had previously been Head of Entertainment at ITV Studios Australia for more than four years. Her résumé also includes senior roles at Endemol Shine Australia, Nine Network, Network 10, and Southern Star.

SIBC and ABC Expand FM in the Solomons

LISTENERS in the provincial capital of Malaita Province, Auki, in Solomon Islands, and surrounding communities can now be able to hear the national service of the Solomon Islands Broadcasting Corporation on its FM 96.3 frequency through their transistor radios, in their vehicles, and on their mobile phones.

This follows the recent installation of an FM 96.3 transmitter on a Solomon Telekom transmission tower in Auki.

At the same time, listeners in Auki and surrounding communities will also be able to hear the Australian Broadcasting Corporation’s Radio Australia service on FM 107.

“This great milestone has been achieved as SIBC celebrated its 72nd anniversary of broadcasting in this country earlier this week. Our listeners in Auki and surrounding communities will now be able to listen to programmes from the national service in Honiara via livestream with much clearer digital audio,” said SIBC Chief Executive Officer, Mr Johnson Honimae.

“This is another step forward in the implementation of the Unity FM service, which has been part of the Corporation’s strategy for the past several years. This adds to the FM 96.3 services already available in Honiara and in Gizo in the Western Province.”

Mr Honimae added, “SIBC would not have achieved the FM service in Auki without the great support of the Australian Broadcasting Corporation, which provided equipment and engineers. SIBC’s own engineers worked

alongside them to set up the two FM transmitters over the past several days.”

The project marks a significant achievement for the two public service broadcasters under their current threeyear Memorandum of Understanding (MoU). As part of their collaboration, SIBC and ABC share technical expertise, including SIBC infrastructure that enables ABC to broadcast in the Solomon Islands. ABC and SIBC broadcast technicians work closely together.

in content exchanges in areas such as news and current affairs, sport, music, lifestyle, and general interest content. Staff exchanges are also possible under the SIBC-ABC MoU.

ABC International Head Claire M. Gorman said: “We are delighted that our two teams were able to come together to execute this exciting new development in FM transmission, connecting communities across Auki and the Malaita Province. The collaboration between our technical teams encapsulates the true spirit of our longstanding friendship and partnership with SIBC. We congratulate them on the tremendous milestone of their 72nd anniversary and look forward to future opportunities to support one another’s work as public broadcasters.”

Both public service broadcasters also engage

Black Box Names Amber Technology ANZ Distributor

BLACK BOX, a leading IT solutions and consulting services provider to businesses worldwide, has announced a strategic distribution agreement with Amber Technology, a leading distributor of audiovisual solutions into the broadcast, media and communications, defence, law enforcement, and security markets. Under the agreement, Amber Technology will be a key distributor of Black Box Audio Video (AV); Keyboard, Video, Mouse (KVM); and IoT products throughout Australia and New Zealand.

The new distribution agreement enables Amber Technology to offer its customers a large selection of AV, KVM, and IoT solutions to meet their evolving technology needs while ensuring Black Box’s products are readily available in both countries.

Managing Director of Amber Technology, Peter

Amos, commented: “We are pleased to welcome Black Box to our Media Systems and Defence portfolios. This addition allows our team to further expand in our current markets and explore new market segments.”

“We are thrilled to join forces with Black Box as a distribution and value-add partner in the Australia and New Zealand markets,” said Garrick Simeon, General Manager, Professional Products and Media Systems at Amber Technology. “Black Box is known for its reputation for delivering high-quality AV, KVM, and IoT solutions. Our customer commitment is to provide bestin-class technology products, and this new partnership with Black Box builds our ability to meet a broad range of customer requirements.”

“The Australia/New Zealand market holds immense potential for Black Box, and we are

AVW Partners with AeroAudio

AVW HAS ENTERED into a strategic partnership with AeroAudio, the Belgian manufacturer of premium professional audio solutions, to distribute their high-end products across Australia and New Zealand.

AeroAudio’s premium product line includes a wide range of broadcast hardware solutions,

such as the MOS series, Bluetooth transceivers, headphone amplifiers, and station audio control units, all designed to meet the rigorous demands of the professional audio industry. With a focus on delivering reliable, user-friendly solutions, AeroAudio’s products are engineered to solve common connectivity and control issues

SIBC is currently in discussions with the Malaita Provincial Government for a piece of land to establish an FM studio in Auki, which will focus on producing programs dedicated to Malaita Province. For now, Auki FM 96.3 will broadcast programs from the SIBC National Service in Honiara.

Listeners in Malaita Province can also receive the SIBC National Service on AM 1035khz, SW 5020 khz, and online at sibconline.com.sb.

partnership with Amber

said Emilijo Mihatov, Senior Sales Manager, Black Box TPS ANZ. “Amber’s strong presence and expertise in the Australia/New Zealand technology industry make the company an ideal distribution partner. Together, we offer customers a comprehensive suite of AV, KVM, and IoT solutions that provide exceptional value.”

Visit https://www.ambertech.com.au and

while maintaining exceptional durability and performance.

AVW says the partnership reinforces its commitment to delivering the highest quality audio solutions to its customers.

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

delighted to be launching this promising new

Technology,”

October 22-24, Royal Randwick Racecourse, Sydney.

Gold! Gold! Gold! from Nine at ABE2024

The Paris 2024 Olympic Games were historic for Australia, not only in terms of medal performance, but in the scope of coverage undertaken by rights holder Nine Entertainment. With outlets ranging from free broadcast and streaming channels to specialist subscription video channels, radio, audio, print and online, Nine’s crossplatform approach set the bar for Games coverage and set the company up for the 2024 Paralympics, and Summer and Winter Games leading up to Brisbane in 2032.

Australian Broadcast Exhibition

AND JUST AS THE number of delivery options for Olympic coverage have grown, so, too, have those for remote production, resulting in the reduction of people and equipment on the ground. Join us at Randwick Racecourse (October 22-24) to hear from Keynote Speaker Geoff Sparke, the Nine Network’s Director of Broadcast Operations, how Nine brought home Every Moment, Every Medal.

Date: October 22, 2024 Time: 9:00am

Following Geoff Sparke’s presentation, attendees of the free conference at this year’s ABEShow will hear how ABE Exhibitor TVU Networks helped france.tv leverage cloud technology, 5G, Starlink, and drones through TVU’s ecosystem to achieve unprecedented coverage of the 2024 Summer Games, including the Olympic Torch’s 1625

The Future of Broadcasting

WITH UPHEAVAL across the media industry in both metro and regional markets, ABE2024 will attempt to discern what’s in store with a keynote panel session

The Future of Broadcasting. Is media’s future in Streaming, Free-to-Air, Cloud, IP, 5G, 6G or a suite of delivery technologies?

Join our panellists Alan Sweeney, CEO, MediaHub Australia (pictured); Giles Tanner, Director of Technology Strategy at Free TV; Jason Tuendemann, Industry Specialist BD Leader with Amazon Web Services (and formerly with Network 10); and Niels Ahren, Sales & Marketing Director, Rohde & Schwarz to find out.

As CEO of media services company MediaHub for over a decade, Alan Sweeney has been both an observer and influencer of technology and business trends across the industry. MediaHub Australia is a multi-client digital media, play-out and distribution facility, currently delivering over 400 channels throughout Australia and internationally. Its digital infrastructure platform includes FiberHub connectivity. Private Broadcaster clouds, and ArkHub Data Storage services.

Giles Tanner, meanwhile, is

an advisor on communications and media regulation and policy, including radiofrequency spectrum management and broadcasting.

Until December 2018 he led the team responsible for managing the radiofrequency spectrum and technical regulation at the Australian Communications and Media Authority (ACMA).

He has previously worked in broadcasting, media and radiocommunications regulation and policy. From 2009 until 2013, he led the ACMA’s work on realising the ‘digital dividend’ from the digitisation of television and the clearance and sale of 700 MHz and 2.5 GHz spectrum.

Giles Tanner was awarded the Public Service Medal in 2014 for his work on the digital dividend and longstanding contribution to broadcasting and spectrum regulation.

Time: 9:00am, Wednesday October 23.

km journey to the Games themselves.

Edouard Griveaud (Sports and AI Product Manager at Vizrt) will then take the stage to present Winning New Audiences: UEFA’s GameChanging Use of Social Media and Sports Analysis. On the Vizrt booth, Edouard will be available to meet with customers and share the Vizrt Sports roadmap, IBC announcements, and a sneak peek into what the next 12 months have in store for the Vizrt Sports team. Admission to both the Exhibition Floor and Conference is FREE. Register at https://abeshow.com/

AI @ ABE2024

AI IS CHANGING the media production landscape profoundly. North American studio Lionsgate recently entered into a partnership with video gen-AI company Runway to allow its catalogue to be used for the training of a new AI model. Facebook/Meta has unveiled its text-to-video platform, Movie Gen. Then there’s OpenAI and the looming possibility it might actually release Sora.

In this vein, the ABE Conference is proud to host an insightful presentation from Marcus Byrne, Head of Art & AI at creative agency Thinkerbell.

Marcus Byrne is a highly awarded digital post-production

Register Today!

AS WELL AS EXHIBITS from the production and broadcast industry’s key technology suppliers, ABE2024 also offers attendees the chance to hear from local and overseas experts on IP production, NDI,

specialist and visual storyteller who will take attendees through his process from image generation to video generation and discuss how tools like Midjourney, RunwayML and Luma Dream Machine can enhance the creative process. Marcus will also look at what’s coming down the line and the rapid developments that are taking place.

Time: 1:00pm, Wednesday October 23.

4K cinematography, audio, radio, HDR, HEVC, OTT, remote production, streaming, AI & more.

Both the Conference & Exhibition are Free to Attend. Register at https://abeshow.com/

Geoff Sparke, Nine Network Director of Broadcast Operations.

Magna Brings IBC to ABE 2024

MAGNA SYSTEMS is bringing a full and legal download of all the latest products and trends from this year’s IBC to Sydney at this month’s ABE 2024 conference and exhibition. As well as the very latest industry news there will be full demos of RTS, IPconneX and TAG solutions and remote demos of Arkona, Enensys, EVS, Manifold, MediaKind and Synamedia solutions on Magna stand 20. While leveraging the power of AZedit, the RTS NEO Intercom Management Suite software takes configuring intercom systems into the future, by offering users new workflows ensuring fast, intuitive configuration and operation. Users can command their system using the Intercom Manager where every local and remote intercom resource is available to view, as well as assign to any device. You can also harness the power of the Intercom Resource Search Engine to find any resource in the system quickly using the incremental search function, which scours all the most important data fields, such as Alphas, Resource types, Descriptions and Matrix Names looking for matches. This feature is for all local resources, as well as all trunked resources, regardless of the size of the

dynamic configuration.

Magna’s IPconneX contribution, distribution and delivery solution is an end-toend, low latency acquisition to delivery solution with reduced dependency on hardware.

IPconneX leverages awardwinning technologies from Magna’s partners and brings together Magna’s expertise in encoding, IP streaming, monitoring and cloud distribution. This, in turn, enables professional broadcast companies including TV broadcasters, TV operators, teleports and content providers to broadcast live with confidence.

There will be a full IPconneX demo on Magna’s ABE stand which will also feature Mediaport SONJA, the powerhouse of agile connectivity. A range of rugged, lightweight, and battery self-powered multi-WAN routers, SONJA offers the most potent combination of advanced features available ensuring secure and reliable internet connections.

Magna’s ABE TAG presence will include a demonstration of the new features of TAG’s Medial Control System (MCS) Operator Console and QC monitor.

The Post-IBC Panel Session

THERE WAS A TIME when Australia very nearly adopted ATSC, the US digital television standard, as Europe had not formulated a solid roadmap for high definition. Fast-forward and the Europeans are leading the world in technologies and business models.

This year’s IBC show in Amsterdam boasted greater APAC attendance than in previous years and arguably more than April’s NAB show in Las Vegas.

TAG’s transformational Medial Control System (MCS) serves as a data aggregation engine, system manager and orchestrator that allows media companies and content owners to extract and utilise their own data using an open-source paradigm. TAG’s Bridge technology, powered by the MCS, allows a stream to be ingested once and delivered in any size or format to multiple locations, making it a valuable enhancement for multi-studio live production applications such as news and sports.

TAG’s operator console, an intuitive touch panel console, provides a live, interactive view of the multiviewer output on any touch-controlled device.

Operators can effortlessly switch between layouts, modify tile content and isolate audio sources for verification. Additionally, they gain instant access to pre-defined and customisable configurations, simplifying complex workflows.

Alongside these will be remote demos of the latest solutions from Arkona, Enensys, EVS, Manifold, MediaKind and Synamedia.

Magna and its technology partners will be on stand 20 at the ABE Show in the Kensington Room at Royal Randwick Racecourse from 22-24 October 2024.

To book a demo for any of the above email sales.au@magnasys.tv or call +61 2 9417 1111 today. Visit https://www.magnasys.tv

Hear from some of those who were there and howEuropean trends are influencing the global media technology business.

Date: October 22, 2024

Time: 4:00pm.

ABE2024 Daily Schedule

Queen Elizabeth II Grandstand, Royal Randwick Racecourse, Sydney October 22-24, 2024

Conference Hours:

Tuesday-Wednesday 9:00 am-5:00 pm

Thursday 9:00 am-12:30 pm

TUESDAY 22ND OCTOBER

08:00 \ Day 1 - Registration & Check In

08:50 \ Welcome

09:00 \ KEYNOTE: Paris 2024: Bringing the Olympics Home - Geoff Sparke, Director of Broadcast Operations, Nine

09:25 \ Olympic Torch Relay - TVU networks

09:50 \ Winning New Audiences: UEFA’s Game-Changing Use of Social Media and Sports - Edouard Griveaud, Sports and AI Product Manager, Vizrt

10:15 \ Coffee Break

10:45 \ ZIXI - end-to-end live IP video delivery

11:10 \ Betting on a New Way to Produce - How Tabcorp QLD Went all in on Remote Production - Chris Dredge, LiveU

11:35 \ Innovation in Live Video Delivery Over the Open Internet - Adrian French, BDM, Magna Systems & Engineering

12:00 \ Lunch and Exhibition Time

12:30

13:00 \ PANEL: Bringing Cinema Production to Live Events

13:25 \ Panellists: Shane Johnson, Head Of Recording & Broadcast, Sydney Opera House

13:50 \ Cinematic Broadcast/Live Event capture with the ARRI Alexa 35 Live Raoul Cospen - Director Bus Dev, Dalet”

14:15 \ Cinema Production for Sports - RED

14:40 \ Hybrid SDR/HDR on-set monitoring - Wes Donahue, Small HD, and guest DoPs

15:05 \ Coffee Break

15:30 \ Remote Production Editing with Iodyne - Pro Data & Blonde Robot

16:00 \ Panel: The IBC Download - Insights from from those who were there

16:30

17:00 \ Exhibition Time

17:30 \ Exhibition Time

18:00 \ End of Day 1

18:30\ CONTENT+TECHNOLOGY AWARDS

WEDNESDAY 23RD OCTOBER

08:00 \ Day 2 - Registration & Check In 08:50 \ Welcome

09:00 \ PANEL: The Future of Broadcasting - Streaming, Free-to-Air, Cloud, 5G, 6G

Panellists: Alan Sweeney, CEO, MediaHub Australia; Giles Tanner, Director of Technology Strategy at Free TV; Niels Ahren, Sales & Marketing Director, Rohde & Schwarz

09:50 \ Cloud Broadcasting - AMAGI

10:15 \ Coffee Break

10:45 \ Hybrid cloud/on-premise approaches for media organisations - Techtel

11:10 \ Use cloud-native technologies to create efficiencies and remove production bottlenecks - Stem media

11:35 \ Blackmagic Design: IP 10 Codec - transport of high frame rate 4K Video and Audio over 10G Ethernet using SMPTE 2110

12:00 \ Lunch and Exhibition Time

13:00 \ AI in Commercials Production: What’s Practical & What’s Around the Corner - Marcus Byrne, Head of Art/AI at Thinkerbell

13:25 \ Mediatech AI insights - Techtel

13:50 \ Panel: Virtual Production Panellists: Jonathan Sea, Vizrt

14:40 \ What can Media Pros Learn from the Creator Economy?

15:05 \ Coffee Break

15:30 \ The Sound Session - Jands

16:00 \ OnAir Solutions - Dante & AES mixing on a single network

16:30 \ Black Box - Connectivity within the Networko

17:00 \ Exhibition Time

18:30 \ HAPPY HOUR DRINKS

End of Day 2

THURSDAY 24TH OCTOBER

08:00 \ Day 3 - Registration & Check In

08:50 \ Welcome

09:00 \ PANEL: The State of Post & VFX

09:50 \ Silver Trak Digital - Content management in the fast lane

10:15 \ Coffee Break

10:45 \ Eizo - Colour Management

11:10 \ Avid - Elevate storytelling by making your media assets mean something!

11:35 \ Eizo - Dolby Vision Workflow

12:00 \ Exhibition Open

14:00 \ Conclusion of Show PROGRAMME SUBJECT TO CHANGE

Our Venue | Queen Elizabeth II Grandstand, Royal Randwick Racecourse

THE ABE2024 Conference & Exhibition will be held in the ample surroundings of the Kensington Room on the Ground Floor of

the Queen Elizabeth II Grandstand. Entry to the Racecourse is via Gate 1 on Alison Road, opposite the Royal Randwick Light Rail stop.

AMAGI

Stand 1

https://www.amagi.com

Amagi is a next-generation media technology company that provides cloud broadcast and targeted advertising solutions to broadcast TV and streaming TV platforms. Amagi enables content owners to launch, distribute, and monetize live linear channels on Free Ad-supported Streaming TV and video services platforms. Amagi also offers 24×7 cloudmanaged services bringing simplicity, advanced automation, and transparency to the entire broadcast operations. Overall, Amagi supports 800+ content brands, 800+ playout chains, and over 3800+ channel deliveries on its platform in over 150 countries.

AMBER TECHNOLOGY

Stand 23

https://www.ambertech.com.au

At Amber Technology, our range

of leading broadcast and media suppliers cover acquisition, storage, processing, management and delivery solutions all being carefully selected to deliver 24/7 performance and reliability with maximum flexibility and efficiency –supported by an engineering team with the expertise and experience to match. Representing a range of industry-leading brands such as Avid, EVS, Telestream, Vinten, and Haivision, our complete end-toend consultancy service ensures that your system requirements are matched perfectly to the most suitable products from the available technology platforms.

ARRI

Stand 16

https://www.arri.com/en

ARRI has unveiled new products for the broadcast market, enhancing production quality. Highlights include the ALEXA 35 Live, designed for multi-camera live productions, offering superior image quality with its 4.6K Super 35 sensor. This camera integrates seamlessly into live broadcast environments, providing robust

connectivity and flexibility. The Trinity 2, an advanced stabilisation system, delivers exceptional stability and creative freedom for smooth camera movements. Additionally, the new SkyPanel X, known for its high output and precise colour control, offers exceptional versatility and quality in lighting. These innovations underscore ARRI’s commitment to providing reliable, high-performance solutions for broadcasters, ensuring superior content creation and operational efficiency.

BLACK BOX

Stand 10

https://www.blackbox.com/en-au/home

Black Box, the world leader in enterprise ready KVM, AV, and IT Infrastructure products, is proud to be an ABE member. Black Box will be presenting its acclaimed and award-winning range of Emerald IP-Based KVM technology at this year’s ABE convention. Stop by the stand and speak with our representatives to discuss your facility’s challenges with KVM technology and see how Emerald

can revolutionise your company’s efficiency and workflow.

BLACKMAGIC DESIGN

Stand 21

https://www.blackmagicdesign.com/au

Blackmagic Design creates the world’s highest quality video editing products, digital film and broadcast cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please visit www. blackmagicdesign.com.

BLONDE ROBOT

Stand 3

https://blonde-robot.com.au

Blonde Robot will be displaying

industry leading products and workflows from AJA, BirdDog, CatDV, Portkeys Monitors, Promise Technology, SNS Storage Solutions, RED Camera, Skaarhoj Control and Vizrt.

EIZO

Stand 15

https://www.eizo-apac.com

EIZO (“image” in Japanese) is a leading visual solutions company based in Japan. Since 1968, we’ve designed, manufactured, and tested all our products in-house. The ColorEdge series, powered by ColorNavigator, delivers exceptional accuracy in reproducing every tone and detail. It’s ideal for colour-critical workflows, incl. video postproduction, regardless of your team’s location. Our premium hardware calibration monitors are pre-loaded with industry standards for consistent visual experiences across different users. Supported by a 5-year warranty and trusted by leading studios worldwide, our products give peace of mind,

certainty, and the confidence to inspire creative excellence.

FUJINON/FUJIFILM

Stand 19

Visit us at ABE 2024, where we will be showcasing our range of FUJINON broadcast lenses. Starting with our broadcast workhorses the UA23x7.6BERD-S10 and the UA14x4.5BERD-S10B, as well as our flagship box lens the UA125x8BESM-S35A. We will also have the full range of Duvo PL mount lenses, starting with the HZK25-100, and the recently launched HZK14-100 and the sister lens the HZK24-300mm. While on the stand, you must check the industry-leading GFX100 II which has 102 million pixels and the latest 5th Generation X Series cameras, the X-H2S with its open gate 6.2k shooting and ultra-low rolling shutter and the 8K capable X-H2. Both will be displayed with the MKX cine lenses to showcase how Fujifilm can offer the complete solution of camera and lens.

JANDS

Stand 18

https://www.jands.com.au

Jands, an Australian-owned independent company established in 1970, is a trusted distributor of leading audio, video, and lighting brands for the installation, production, and retail industries in Australia and New Zealand. With a commitment to excellence and innovation, Jands offers solutions from world-renowned brands, tailored to individual needs and budgets. Come visit us on Stand #18 to discuss your Audiovisual needs.

trusted source for high-quality equipment and services. In our extensive portfolio, we proudly showcase top-tier brands like Teradek, Small HD, Wooden Camera, Aputure & Godox lighting and Inovativ carts that set the industry standard. Our inventory includes a wide range of accessories, lighting equipment, and studio gear with all the tools required to keep the show on the road. Kayell Australia is not just a distributor and retailer; we are committed to providing exceptional customer service and support. Our in-house repair centre means we can repair all the brands that we represent right here in Australia reducing downtime and keeping creative projects on track.

LIVEU

Stand 6

https://www.kayellaustralia.com.au/

For over 50 years, Kayell Australia has firmly established itself as a

Stand 9

https://www.liveu.tv

LiveU will be showcasing its radically efficient and nimble cloud live production solutions and new tech advancements. Leveraging the latest developments in Remote Production and cloud-based services, LiveU’s

Produce high-quality live content in the cloud

KAYELL AUSTRALIA

Lightweight Production offers a swift-to-deploy turnkey solution, designed to dramatically reduce the cost of live production, and enable more stories to be told to a wider audience. LiveU’s new Lightweight Sports Production solution will be featured as well as a groundbreaking new user experience for LiveU Studio. The complete LiveU IP-video EcoSystem, known for its contribution, production and distribution solutions, will be on display with new developments across ground-to-cloud-to-crowd technologies and story-centric workflows for greater efficiency and flexibility.

MAGNA SYSTEMS & ENGINEERING

Stand 20

https://magnasys.tv

Magna Systems & Engineering (Magna) is a leading systems integration specialist and provider of technology solutions, specialising in the broadcast and telecommunications industries. Magna has a strong focus on partnering with and providing best of breed technology and solutions for our customers that meet both their current and future requirements. As such, Magna also offers advanced services in network design and integration along with full and comprehensive broadcasting solutions. We also offer true end-to-end project management that can deliver any project on time and on budget, from concept to completion.Magna represents many of the world’s leading broadcast technology manufacturers and also offers the very best customer service and support from our offices in Australia & New Zealand.

ONAIR SOLUTIONS

Stand 12

https://onair.au/

We are a system integrator and solutions provider for Broadcast, Audio Visual and Video Production. OnAir Solutions is the exclusive distributor of Meinberg timing products, MultiDyne transport solutions, multiCAM automated video switches and Logitek audio consoles. We also have all the leading AV and broadcast brands on our web store.

PANASONIC

Stand 14

http://business.panasonic.com.au

Panasonic Broadcast and Professional Camera solutions offer some of the industry’s bestperforming professional imaging products. These include 4K studio cameras for broadcasting and live events, Pro PTZ robotic cameras for remote operations, live switchers for smooth and seamless workflows, and intuitive software to create cutting edge productions.

ROHDE & SCHWARZ

Stand 11

http://www.rohde-schwarz.com.au

Rohde & Schwarz will showcase its expertise in distribution systems, specifically the new TE1 and TH1 TV transmitters. The TE1 is a liquidcooled transmitter optimised for high-power applications, reducing energy costs and carbon footprint significantly. It is the first nativeATSC 3.0 transmitter, ready for new business opportunities and future extensions like 5G Broadcast. The TH1, also liquid-cooled, focuses on sustainability and efficiency, reducing energy consumption and carbon emissions while supporting new broadcast applications for the automotive industry and the Internet of Things. R&S will also demonstrate T&M equipment and network monitoring solutions for DVB-T/T2, DAB+ and FM.

SILVER TRAK DIGITAL

Stand 13

https://www.silvertrak.com.au

one of the most feature rich MAM platforms. Media Room, a file agnostic application certified to the highest standards, enabling file upload, transcoding, cataloguing, screener creation, secure screening rooms and rapid file delivery. We has partnered with TBS to bring about the first 5G delivery platform for rapid transfer of Cinema releases and open for “live” event screening.

SONY Stand 8

https://pro.sony/en_AU/

Sony will exhibit numerous new products including the ultra-low latency NXL-ME80 LAN/WAN Media Edge Processor with broadcast quality HD and UHD signals to be transported across low bandwidth network connections. The new BVM-HX3110 industry standard 4K HDR master reference monitor has a peak brightness of 4000 cd/m² and integrated ST.2110 support. The HXC-FZ90 4K and HD studio camera offers the same operation and accessory compatibility as the rest of the Sony system camera range. From our CineAlta line up check out the BURANO compact full frame 8K cinema camera. We will also be demonstrating the broadcast quality BRC-AM7 pan tilt zoom camera with built in AI auto framing capability.

Silver Trak Digital is Australia’s premier media services company, providing content solutions for all media companies. We provide gold standard services including Content QC, Theatrical Mastering, Trailer Creation, Captioning, Subtitling, Audio Description, Aggregation and Theatrical Delivery. We own and operate

CONNECTION, AMPLIFIED.

Blonde Robot stand #3,

Show 2024. Blonde Robot are proud exclusive distributors of BirdDog in Australia.

Randwick Racecourse, Sydney.

STEM MEDIA

Stand 2

https://stemmedia.com.au

Stem Media is the reseller of newsroom control system Dina, video collaboration tool Mimir and cloud editing tool Cutting Room. Our cloud-native suite of products come out of Media City Bergen and have an emphasis on modern architecture, workflow efficiency and collaboration for newsrooms and production companies.

TECHTEL

Stand 17

https://www.techtel.com.au

Techtel, a leading broadcast technology specialist, is showcasing their award-winning content management software, inflo™, at ABE 2024. Inflo™, awarded for ‘innovation in News Production Technology’ and renowned for its enterprise reliability and dynamic capabilities, leverages the latest web technologies to deliver robust broadcasting solutions. Recent enhancements include IP content support, AI capabilities, Automatic Speech Recognition (ASR), and an all-new Dashboard module for detailed metrics and configurable visual panels offering real-time data insights. Techtel’s inflo™ provides superior software for optimal control room management, covering digital content capture, storage, processing, and analytics of broadcasting media.

TVU NETWORKS

Stand 5

https://www.tvunetworks.com

From live production to global reach, TVU’s cloud and hybrid solutions streamline media workflows, offering easy operations and superior broadcast quality at lower costs.

VIDEOCRAFT

Stand 4

https://www.videocraft.com.au

Videocraft’s new Pro division will be showcasing the best products, services and solutions that Videocraft and Digistor bring to the market. As the the pre-eminent source of equipment and solutions, and services for the media production industry. We always strive to help our customers produce the best videos possible within their budget and experience level by providing them with the best equipment, knowledge and support.

VIZRT

Stand 22

https://www.vizrt.com

Be sure to visit Vizrt at booth #22 at ABE 2024. With over 25 years of innovation in storytelling workflows, Vizrt is the leader in real-time graphics and live production for creators. Vizrt shapes video creation with ground-breaking solutions in graphics, cloud, live streaming, virtual production, and more.

From the single user to the world’s largest media organisations, Vizrt empowers its users with creative tools to captivate audiences with expert support.

ZIXI

Stand 24

https://zixi.com

Zixi provides the cloud based and on-premises SDVP that enables reliable broadcast-quality video delivery over any IP network, any protocol, any cloud provider and any edge device. The Zixi Enabled Network has grown to over 1400+ media customers, including broadcasters, enterprises, over-

the-top video providers, sports leagues, service providers and cable operators, as well as 400+ OEM and service providers that deliver 20,000+ channels daily, a powerful ecosystem of the largest media organisations in the world exchanging live video allows for the creation and acceleration of new content acquisition, business models, and opportunities to reduce cost and generate revenue.

Silver Trak Digital Demonstrates One Stop Digital Supply Chain

ON STAND 13 at this year’s ABE show Silver Trak Digital will demonstrate their capabilities as One Stop Digital Supply Chain. Included in a range of live presentations will be demonstrations of the company’s unique Media Room and Media Room Connect solutions alongside discussions around the many services Silver Trak offers. These services include Technical Assessment QC Services for SD, HD and 4K - SDR and HDR content and DCP creation and management including DCP deliveries via their Cinema Direct solution.

Silver Trak will also cover the deliverables they provide to top

tier streaming companies such as Netflix, iTunes, Amazon Prime and Stan and localisation services including closed captions, audio description, subtitling and dubbing. For those in the production side of the industry Silver Trak will present their skills and services in and around DVD, BluRay and 4K BluRay creation and highlight their broadcast duplication services alongside file based, multimedia and audio services.

Finally Silver Trak will be providing demonstrations and details of their subsidiary DAMsmart, one of the industry’s leading specialists in audio, video and film digitisation services.

Silver Trak Digital were recently awarded the Services & Facilities Business of the Year at the SPA Screen Producers Awards whilst Media Room, the company’s Media Management software and Cinema

Jands Leads Broadcast, Production, and Comms Solutions

ESTABLISHED IN 1970, Jands is a trusted distributor of world-class audio, video, lighting, control, and broadcasting technologies across Australia and New Zealand. With over 50 years of industry expertise, Jands delivers premium products and tailored solutions to meet the evolving needs of the broadcast and content creation markets.

At ABE 2024, Jands will feature renowned brands such as Shure, ROBE, ETC, Clear-Com and RGBlink at booth #18, each offering cutting-edge technologies designed to enhance

the efficiency and quality of content production and delivery.

ETC, known for its advanced lighting and control systems, provides precise solutions for the broadcast industry. Jands will showcase the versatile FOS 4 and the smooth-wash Desire Fresnel, delivering ideal lighting for studios, live productions, and high-performance applications.

ROBE, a leader in innovative lighting technology, offers powerful and reliable solutions for the broadcast sector. Explore the ROBE iT12, a versatile fixture

designed for exceptional performance, durability, and precision in demanding environments.

Shure, a global leader in professional audio, delivers highquality sound solutions for broadcast and production settings. The ADX Digital Kit, known for its exceptional audio performance and innovative features, will be on display, ideal for live production, studio recording, and broadcast applications.

Clear-Com, a leader in real-time communication systems, ensures reliable and scalable

Direct their Media Room-based 5G asset management and content delivery solution, have also both won many local and international awards of late.

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

communication for broadcast environments. Discover the FreeSpeak wireless system and Arcadia Base Station, offering seamless communication for control rooms, studios, and onlocation productions.

RGBlink, known for its advanced video processing and streaming solutions, provides versatile tools for professional production environments.

Experience the Aura Monitor, TAO1 Pro, and Mini MX, delivering highperformance video monitoring, switching, and streaming capabilities.

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

The Silver Trak Media Room in action

CAMERAS & LIGHTING CAMERAS & LIGHTING

The Comedy That’s Unapologetic About Blackmagic Cameras

The producer behind Independent Australian comedy feature film “UNAPOLOGETIC” makes no bones about his production being filmed with Blackmagic cameras.

USING THE BLACKMAGIC URSA Mini Pro 12K, Blackmagic URSA Mini Pro 4.6K G2, and Blackmagic Pocket Cinema Camera 6K Pro, post-production was completed using DaVinci Resolve Studio editing, colour grading, visual effects (VFX), and audio post-production software.

Perth-based filmmaker Peter Renzullo, who is legally blind, drove this project as director, writer, and actor. It’s one of his most ambitious projects yet, utilising muted colours in the film to emphasise comedic moments. The quirky film features the story of a doctor who delivers home visits to patients experiencing agoraphobia, an extreme fear of leaving their homes. “UNAPOLOGETIC” was shot in Perth and is already captivating audiences following its premiere.

While the film’s visuals appear washed out at first glance, viewers are quickly drawn in by the fast-paced witty dialogue and eccentric characters. “I wanted to have fairly desaturated visuals to juxtapose and highlight the comedic madness unfolding,” shared Renzullo. This unique approach to storytelling effectively subverts audience expectations, continually offering elements of surprise.

After losing all but three percent of his vision, Renzullo has embraced technologies that make the creative process more accessible. “I use DaVinci Resolve full-time for editing and

colouring. The way it’s set up is easy to use,” he said. “Same with the Blackmagic cameras, they’ve put a lot of thought into the user interface. It all makes intuitive sense, which is important to me.”

Opting for a multicam setup, the entire film was captured on location in Perth, using homes and other local settings, with only one shot using a greenscreen.

The URSA Mini Pro 12K was the main camera used throughout production, capturing wide coverage shots and allowing for flexibility in reframing and punchins during post. Meanwhile, two URSA Mini Pro 4.6K G2s and two Pocket Cinema Camera 6K Pros captured close-ups and additional angles to keep the audience visually engaged with the dialogue-heavy nature of the film.

to achieve the film’s distinct look. “Using DaVinci Resolve Studio’s effects library, I had control in making scenes look smoky or even translucent, enhancing the drab tones to contrast the film’s quirky action,” he said.

With multiple locations booked on the same day, the filming of “UNAPOLOGETIC” meant a lot of travel, packing up, and setting down. Renzullo’s crew were surprised by the portable nature of the Blackmagic Design gear. “When everything was set up it looked huge in the room, but once it was all packed up it was actually nice and compact,” he shared.

During post-production for “UNAPOLOGETIC”, Renzullo relied heavily on DaVinci Resolve Studio

Sony Announces Winners of 2024 Catchlight Film Festival

SONY HAS ANNOUNCED the winners of the fourth annual Catchlight Film Festival, which recognises filmmakers from Australia and New Zealand that have chosen to tell their stories with a Sony camera. The 2024 Catchlight Film Festival judges, (Fiction) Mark Wareham, ACS, (NonFiction) Professor Rachel Landers, (Music Video) Sony Music, (Student Fiction) Simeon Bryan, and (Cinematic Social) Sony Australia, chose the five winning films from the remarkable finalist films in this year’s line-up.

And the winners are:

Fiction Winner

Die Bully Die by Nick & Nathan Lacey

Shot on: Sony CineAlta VENICE & Sony CineAlta BURANO

Max meets his high-school bully, Adam, 17 years later, in a fancy restaurant where Max’s grudge

against Adam begins to manifest in horrific ways.

Non-Fiction Winner

DAD by Jones Riley Eli

Shot on: Sony Alpha 7S II, Sony Alpha 7S III & Sony Alpha 1

A documentary featuring three children who talk about a family tragedy – when their dad was diagnosed with brain cancer.

Music Video Winner

Queen of Sin by Cameron Zayec

Shot on: Sony FX6

Queen of Sin sits on a throne as guards bring in male sacrifices. One at a time the men present their offerings, hopefully in exchange for freedom. They bow down, then suffer her mighty fury.

Student Fiction Winner

The Great South by Ormsby Taniora Shot on: Sony FS5

“UNAPOLOGETIC” premiered in independent cinemas across Perth, including The Back Lot and Luna Palace, with the help of local distributor Small Hand. Following its Australian release, Renzullo hopes to pursue worldwide distribution.

The film’s premiere comes after Renzullo won two awards in the WA Made Film Festival for his projects “Her Creature” and “Emerald Wasp.” Visit https://www.blackmagicdesign.com

Two best friends must navigate the tough streets of South Auckland to buy a bottle of milk.

Cinematic Social Winner

Japan – Lost by Elliott Sauvage Shot on: Sony Alpha 7S III

From Shinjuku to Shibuya, Kamakochi to Kyoto, this (very very) short film captures the essence of our 2-week long trip getting around Japan in the summer of 2024. What a beautiful place – we will be back.

Special Laurels Judged by Bonnie Elliott, ACS Best Cinematography in Fiction, supported by Videocraft: For Joan by Micaela Osfield

Best Cinematography in NonFiction, supported by VA Hire: Making Revisions by Matt Deavin

Best Cinematography in Music Video, supported by Lemac: Bindi in the Dirt by Nick Sullivan

Best Cinematography in Student Fiction, supported by Atomos: When Dogs Go To Heaven by Riti Ramanujachari

Best Cinematography in Cinematic Social, supported by Southern Cross Cameras: Ground by Maharaj Krish

Best Sony Lens Work: Sing Sings – Keepers of the Culture by Arango Guerrero Mateo

The Catchlight Film Festival will return in 2025. For updates, visit http://bit.ly/3XQDpsP

View 2024 winning and finalist films at https://filmfestival.sony. com.au/

Deploy

Capture

Steadicam Axis

TIFFEN HAS ANNOUNCED that Steadicam Axis – its first professional body-worn stabiliser with integral three-axis Volt stabilisation – is now being delivered. Ready to support midweight cameras, Steadicam Axis is the only complete system offering Steadicam Volt technology for roll, tilt, and pan to provide increased stability and control.

Building on the Steadicam, with its traditional Sled, Arm, and Vest, this breakthrough system features Powered by Volt electronic assist stabilising technology, which adds an unparalleled advance to body-worn camera stabilisation. A stage-mounted control box powers the electronically assisted 3-axis Volt gimbal that facilitates

greater and more subtle control of framing while still providing the Operator with tactile, hands-on control of the sled. Three knobs at the top adjust ROLL, TILT, and – for the first time – PAN. Alongside them is a fourth knob to set just the right DAMPENING to finesse the move.

With a payload capacity of up to 20 lbs./9kg, Steadicam Axis is designed to help the operator directly control the framing of the shot without feeling disconnected from the camera. Operators can achieve high-quality camera movement, with faster setup times, greater range of movement, and a shallower learning curve than previous electronic gimbal systems. The time-saving features

Palm-Sized Drone for Vlogs

DJI RECENTLY ANNOUNCED the DJI Neo, which at just 135g, is the company’s lightest and most compact drone to date. The drone can be fully controlled without a remote control, launched and landed on the palm, and features AI subject tracking, QuickShots, and offers 4K ultra-stabilised video with a flight time of up to 18 minutes. Whether flown indoors or out, full-coverage propeller guards give users a safe experience when recording.

By simply pressing the drone’s mode button and selecting the desired shooting mode, Neo automatically does the rest without the need for a remote control. After snapping 12MP stills with its 1/2inch image sensor or using DJI’s powerful stabilisation algorithms to produce 4K UHD stabilised

videos straight out of the camera at 4K/30fps, the drone will return to the user’s palm.

Neo’s AI algorithms have been created to follow the subject within the frame. Whether cycling, skateboarding, or hiking, captivating follow shots are created with ease. Additional creativity can be achieved by taking advantage of Neo’s QuickShots, which has six intelligent shooting modes, offering a range of different recording angles:

Dronie: The drone flies backward and ascends, with the camera locked on the subject, and records a video.

Circle: The drone circles around the subject.

Rocket: The drone ascends with the camera pointing downward.

BirdDog X5 Ultra PTZ Camera

BIRDDOG IS SHIPPING the X5 Ultra, a PTZ camera featuring an advanced motor drive system that allows for ultra-fine and precise movements. With BirdDog’s signature Halo Tally system, AI auto-tracking and framing capabilities, and NDI | HX3 support, the X5 Ultra ensures unparalleled performance in every production scenario. Its latest generation Sony 4K60 image sensor delivers the highest quality NDI | HX3 output, making it the ultimate tool for professional content creators. The X5 Ultra includes BirdDog’s Halo Tally system features a

also include absolute encoding for the pan axis, eliminating the need to re-align the sled upon start-up.

Steadicam Axis, complete with Sled/Volt, A-30 Arm, and A-30 Vest,

Spotlight: The drone rotates while keeping the object of interest within the frame.

Helix: The drone ascends and spirals around the subject.

Boomerang: The drone flies around the subject in an oval path, ascending as it flies away from its starting point and descending as it flies back.

Control it Your Way

The DJI Neo has been designed to be operated without an additional remote control, however, it can also be paired with the DJI Fly app, remote controllers, RC Motion, DJI Goggles, and even voice control, for increased flight and camera control.

A Wi-Fi connection to smartphones enables Neo to be controlled using virtual joysticks on the DJI Fly app

is available now in versions for Gold or V-mount batteries.

Visit https://www.tiffen.com/ steadicam-axis

large, daylight-visible border that ensures talent knows exactly where to look, keeping cast, crew, and audience in sync.

BirdDog’s X5 Ultra features network-friendly video production with its NDI | HX3 implementation. This latest generation of NDI not only significantly reduces network impact while maintaining excellent image quality but supports all resolutions, including full 4K60. This ensures that the X5 Ultra performs across a wide range of production environments.

The X5 Ultra also features an integrated NDI | HX decoder, a first

in the PTZ camera world. This allows for seamless confidence monitoring, return feeds, and teleprompter usage with minimal setup. By consolidating all connectivity into a single cable, the X5 Ultra minimises complexity and maximises efficiency in a production setup.

The X5 Ultra offers flexibility with its 12G-SDI output, dual HDMI outputs, multiple network formats including NDI | HX3, SRT, RTMP, RTSP, and USB webcam connectivity. It also features dual e-ink displays

interface with a control range of up to 50 metres. The app also allows the tracking angle and distance to be set, giving extra freedom to shoot from afar or up close. When combined with the DJI RC-N3, DJI Neo can achieve a maximum video transmission distance of 10 kilometres and offers the opportunity to flexibly operate the camera using traditional RC control sticks to capture professional-level shots. For those looking for an immersive drone experience, DJI Neo can be paired with DJI Goggles 3, RC Motion 3, or FPV Remote Controller 3. When used with RC Motion 3, DJI Neo masters the art of onepress aerobatics, seamless indoor navigation, and can be manoeuvred through tight spaces with ease. Visit https://store.dji.com/

Aputure Lights Up a Storm

APUTURE, creators of LED lighting for filmmakers, used this year’s IBC Show to announce the STORM 1200x, the first light in Aputure’s STORM family.

Features of the 1200x include the new BLAIR light engine (Blue/ Lime/Amber/Indigo/Red), which produces full white spectrum light, with all emitters contributing across a wide CCT range (250010,000), and great fine-tune adjustability of +/- Green as well as other colours.

Aputure calls the 1200x the new industry standard point source COB lamp. With its ProLock Locking Bowens mount, it can accept modifiers to become a fresnel, a soft light, a projector, or a hard open-face par. Adding its portable size, IP65 weather rating, and CRMX / DMX / Bluetooth connectivity, the STORM 1200x is a workhorse do-everything light.

Additional features include:

• CCT Range from 2500-10,000K: The BLAIR Light Engine’s colour flexibility allows the STORM

PAG Powers Up IBC

PAG USED the recent IBC2024 show to launch its new 150Wh MPL150 battery, an addition to its MiniPAGlink range of smaller, lighter, intelligent linking batteries.

The MPL150 features built-in USB Type-C (5V, 9V or 12V 30W); USB-A (5V 2.4A) and D-Tap (12V unregulated) outputs. In addition, it has a plug-in USB Type-C PD 36W output unit which can be swapped for other output unit options that include Hirose, Lemo and 2.1 –

1200x to offer a greater CCT range than traditional bi-colour lights without compromising on the accuracy or brightness of the white light.

• Extended Range +/- Green Control: The STORM 1200x is the first light of its kind to offer 100 percent +/- Green control, the full ASC MITC range of adjustment. Colour adjustability has both a wider range and finer control than traditional systems.

• ProLock Locking Bowens Mount: STORM lights feature the ProLock Locking Bowens Mount, a more secure clamping design for attaching modifiers. Bowens accessories were held rigidly in place, and precision optics like fresnels and spotlight projectors were precisely aligned with the light engine.

• Extreme Colour-Accurate Dimming: Bit-depth control is increased for improved low-end dimming. The STORM

1200x uses PWM dimming down to 0.1 percent without shifts or dropoff, maintaining colour accuracy even at extremely low brightness levels.

• IP65 Weather Protection: Head-to-toe IP65 dust and weather protection allow the STORM 1200x to work in extreme environments. Seals on every connector and component allowed not only the lamp head but also the control box and cabling to be used outside in the rain.

in and out, sACN and ArtNet over etherCON, and Sidus Mesh Bluetooth.

• CRMX, DMX, and Bluetooth Connectivity: The STORM 1200x offer full connectivity options, including CRMX, DMX

• 360-Degree Tilt: The extended size of the STORM 1200x yoke allowed the light to fully rotate 360 degrees. This allowed the lamp to be quickly pointed straight up without needing to re-patch cables.

Visit https://www.aputure.com/

2.5mm DC (available separately).

The MPL150 can be linked with other MPL batteries, of any rated capacity, for discharge or charging. Batteries with flight-friendly capacities could be linked on location to provide longer run-time or to support an increased currentdraw of up to 12A. Batteries can be added or hot-swapped to ensure continuous shooting. Simultaneous discharge prolongs overall battery life and provides a better ROI.

Nikon and RED Release LUTs for N-Log

NIKON HAS ANNOUNCED the release of four types of Creative LUTs and one type of Technical LUT created with RED, all available free of charge. These LUTs can be utilised when grading video footage recorded in N-Log with Nikon mirrorless cameras and for confirming a close-to-finished look while shooting on location by installing them on external monitors.

The Creative LUTs have all been created under the close supervision of RED Digital Cinema, Inc., now a subsidiary of Nikon. The line-up consists of

ACHROMIC, FILM BIAS, FILM BIAS BLEACH BYPASS, and FILM BIAS OFFSET. These LUTs enable users to apply the essence of RED’s colour science to Nikon mirrorless camera video workflows, making it possible to achieve a look comparable to video shot on RED cinema cameras when working with N-Log footage.

Cameras compatible with N-Log recordings are supported. Supported products include Z9, Z8, Z6III, and Zf.

Features of the creative LUTs include:

The 14.8V 10Ah MPL150 is available in V-Mount and Gold Mount formats. It features PAG’s modular battery design which enables the authorised replacement of an expired cell-pack whilst maintaining the battery’s flightsafety credentials. Case parts and electronic modules can be reused, reducing e-waste for greater sustainability.

PAG also showed the recently launched MPL99 Cinergy Battery

which can be linked with other MPL batteries in series, combining the voltage output to power highvoltage equipment (24V-33.6V), such as the Arri Alexa 35. It could also be linked in parallel, combining capacities and increasing run-time and current draw for powering 12V equipment. Cinergy uses a barcode on the battery mount and a sensor built into the battery, to switch to high-voltage mode.

Visit https://www.paguk.com

• ACHROMIC – Low contrast monochrome - gives footage a low-contrast monochrome look while still maintaining the detail of the textures. It creates a soft and refined atmosphere and gives a classical feel.

• FILM BIAS – Warm colours and a satisfying level of contrastproduces a film-like warmth and texture onto N-Log footage with balanced colours and a subtle contrast, as well as rendering skin tone very naturally. It can give a sophisticated feel to footage.

• FILM BIAS BLEACH BYPASS –

Shallow tones and high contrast - inspired by the bleach bypass film processing technique, has a very specific high-contrast and desaturated look to it. It reproduces footage with a harsh and faded feel.

• FILM BIAS OFFSET – Deeply warm nostalgic coloursoffers a film-like warmth and softness by applying a unique combination of colour correction and contrast adjustment.

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

Cameras in Focus at IBC

AT THIS YEAR’S IBC, ATOMOS announced several updates to its flagship Ninja and Shogun family of monitor-recorders, including NDI 6 support, the re-introduction of the Shogun Classic, and enhanced camera to cloud workflows supported by key industry partners frame.io and Dropbox.

The newly reintroduced Shogun Classic, previously known as Shogun 7, unlike the current Shogun Ultra, has XLR connections and four independent, switchable SDI inputs.

“Broadcast customers missed this connectivity,” commented Jeromy Young, Atomos CEO. “So, we’ve reintroduced the product as Shogun Classic to meet demand. As with Shinobi II and touch auto focus, Ninja Phone and 4K, it’s all about listening to customers.”

Also announced was support for NDI 6 on Ninja and Shogun.

“Since I returned to Atomos at the start of the year, I’ve been stressing the importance of HDR and 10-bit colour depth in video production,” added Young. “Both have been core components of Atomos products for some time now, and it’s great to see NDI 6 supporting both. The Atomos products will support 10-bit HDR NDI in the coming months. I think this initiative will be a key driver for NDI in broadcast environments.”

Camera to cloud and remote collaboration workflows remained important technology pillars for Atomos, too. With new firmware updates for the Ninja and Shogun series, demonstrated at the show, connected monitorrecorders could send footage directly to frame. io or Dropbox.

Visit https://www.atomos.com

IKEGAMI announced the IPX-100, a full-featured IP-oriented mini base station designed to provide a bridge between conventional broadcast and ST-2110 infrastructure.

According to Gisbert Hochguertel, Ikegami Europe Product Specialist, the IPX-100 is “... compatible with all cameras in the Ikegami XE and HD series. It offers core features of our established and industry-proven BSX-100 base station plus optional SMPTE ST 2110 Media-overIP support. The new model is one third smaller in size at just 2U high by half 19-inch rack width. ST 2110-22 (JPEG-XS) encoding is available as a software option, an important feature allowing the data rate to adapt to the available IP bandwidth.”

Equipped to operate as a fully self-contained unit, the IPX-100 includes an integral signal generator which allows system configuration before cameras or other sources are connected. ST-2110 connectivity can be set up independently by IT specialists prior to an event. On the day of the event, the cameras can then be connected easily to the IPX-100 by a conventional SMPTEhybrid fibre cable with up to 3.5 km cable extension. The camera head is powered by the IPX-100 so there is no operational difference compared with using a conventional fibre-cabled camera.

The IPX-100 converts broadcast signals to ST-2110 compliant signals, serving as a gateway to IP. The IPX-100 is also available with an optional 3G/HD-SDI input/output to serve as an external SDI-to-IP or IP-to-SDI converter. An HD-SDI video monitoring output allows direct

connection of a field monitor to the IPX-100 to control the related video signals on location.

Connecting an Ikegami OCP-300/-500 via Ethernet to the IPX-100 enabled camera control on location, even if an IP connection to the wider ST-2110 infrastructure was not yet established. A PC running Ikegami XE Web View software could simultaneously be coupled to the network hub, enabling system supervision via an optional Protocol Gateway. Automated setup could be performed using an NMOS IS-04/IS-05 feed from the IPX-100 to a local or remote central automation system.

Supported video formats provided as standard included UHD (2160p59.94/50), HD (1080p59.94/50, 1080i 59.94/50, and HD-HFR in 1080i/p (2x/3x/4x speed) and 720p59.94/50). Other supported standards included SMPTE ST 2022-7 redundancy, ST2110-10, ST-211020/-21/-22/-30/-40 and ST 2059-1/2 PTP synchronisation, and a wide range of control protocols such as NMOS IS-04/-IS05.

The IPX-100 could optionally output JPEG-XS signal streaming data (software option) at selectable rates of high (1/6), medium (1/8), low (1/16) and minimum (1/32). Other options included a 3D-LUT output for HD simulcasting

(compatible with 33 x 33 x 33 or 65 x 65 x 65 .cube files created using DaVinci Resolve), HD to 4K-UHD upscaling, or a data trunk output.

Visit https://www.ikegami.de

BLACKCAM announced the launch of the RP1 Robotic Pedestal and the ARRO2 Modular Robotic Arm. The RP1 Free Roaming Robotic Pedestal is built to meet the needs of fast-paced settings such as news studios. With its robust payload capacity of 60kg and multi-directional wheels, RP1 can glide through studios at up to 250mm/s while carrying a diverse range of equipment. Its features include a 7” touchscreen display, digital lens control for both Fujinon and Canon systems, and an integrated 48V power supply for cameras, prompters, and converters. A modular design allows for smooth operation with tool-free wheel cleaning and efficient cable management.

Also on display was Mantis, a combination of the Pedestal RP1 and a robotic arm. Developed by KST Moschkau, Mantis showcased RP1’s ease of use and compatibility.

Additionally, Blackcam introduced the latest version of its robotic arm, ARRO2: a lightweight,

Sony’s HDC-P50A can directly output in IP using SMPTE ST 2110.

Marshall CV620 PTZ Cameras.jpg

modular, and whisper-quiet solution designed to deliver versatility in broadcast environments. Weighing only 80kg, ARRO2 is capable of manoeuvring through a 3.6-meter diameter 3D space and can rotate 360° with near-silent precision, allowing mounted cameras to capture dynamic shots during sports, newscasts, and more. ARRO2’s modular design facilitates easy set-up in under 30 minutes and compatibility with many broadcast cameras and lens systems. It has a payload capacity of 17kg at 1.8 m length and scales accordingly with adjustments, capable of reaching up to 2.2 m in length. Featuring dual operation in manual and automatic modes, it offers the ability to pre-program movements or control them in real-time.

Visit https://blackcamrobotics.com

GRASS VALLEY set itself a new benchmark for affordability with the launch of its new LDX 110 and LDX C110 entry level cameras.

Building on the LDX 90 series, the LDX 110 and compact LDX C110 version provide native UHD cameras boasting features at entry level budgets, suitable for a wide range of applications including sports, studio, and entertainment productions.

The LDX 110 series cameras offer a native UHD 2/3” CMOS-Imager equipped with Global Shutter technology to ensure flawless image capture in every operational mode. Both models support native HDR and WCG (Wide Color Gamut) operation (PQ, HLG, S-Log3), with onboard custom LUT processing within the camera head for precise HDR-to-SDR conversion. The LDX C110 also comes with XCU connectivity while the LDX 110 series also includes NFC licensing functionality and the Grass Valley Scanner App, providing enhanced options management and diagnostics even while the camera was not powered, ideal for dry hire solutions.

The LDX 110 series supports video formats from 1080i and 1080p up to native UHD. Both models are compatible with the current XCU UXF camera base stations and all C2IP-based camera control solutions including Creative Grading and Creative Grading X. The LDX 110 is also compatible with the camera viewfinders and other accessories from the LDX 100 series. Visit https://www.grassvalley.com/

Camera control developer Iris Studio announced a partnership with Marshall Electronics Inc. which sees Iris’ embedded software integration with Marshall cameras, allowing users to control their devices via the cloud directly in the Iris cloud control technology platform.

This allows Marshall cameras to be fully managed from anywhere in the world in real time without any additional hardware. Users can seamlessly control camera movement, adjust settings, and deploy AI-driven capabilities like auto-tracking –all from a single, cloud-based interface. Visit https://www.tryiris.ai/ and https://www.marshall-usa.com/

BOLIN TECHNOLOGY brought its NDI-certified outdoor and indoor PTZ cameras to IBC 2024. Among the new features were: FreeD protocol support with accurate data reporting; 255 PTZ control steps; and NDI-Certified, NDI 6-ready high bandwidth and HX3 support. Bolin says it is the only NDI 6-certified company for outdoor

PTZ cameras.

FreeD (Free Dimensional Video) is a protocol developed by Replay Technologies that enables the capture and rendering of immersive, threedimensional video content. FreeD helps provide PTZ camera axis data to sophisticated software, which then performs complicated analysis to issue CGI and/or VISCA commands to move the camera intelligently and smoothly. FreeDenabled Bolin cameras were recently used by a European professional sports organisation to automatically track an indoor bicycle race smoothly and intelligently.

FreeD-generated positioning data is supported by the likes of Axximetry, Brainstorm, Future Group Pixotope, Ross UX XPERIENCE, Vizrt Viz Virtual Studio, Vislink, and Zero Density.

Bolin’s support for NDI 6 takes advantage of the standard’s deeper colour, lower latency, reduced bandwidth, and Embedded Bridge. NDI 6 high bandwidth introduced 4:2:2 colour. NDI HX3 is the latest version of HX – a bandwidth-efficient version of NDI. It uses advanced compression algorithms to reduce network bandwidth without visual artefacts.

The new NDI Embedded Bridge utility enables Bolin cameras to send encrypted NDI streams autonomously over a WAN, streamlining remote production. Users can connect their cameras to a remote LAN with the NDI Bridge tool in host mode as independent sources without a local network or additional equipment.

Developed by Sony, VISCA outputs control commands to the camera, such as pan, tilt, and zoom. The number of steps indicated the increased granularity of the camera movements. The VISCA standard supported 24 PTZ steps, so an increase to 255 steps represented an exponentially smoother pan, tilt, or zoom.

Visit https://bolintechnology.com/

SHOTOKU BROADCAST SYSTEMS announced the launch of SoftRail, a new concept that merges the path-following capabilities of a physical rail system with the freedom of a freeroaming pedestal. SoftRail maximises flexibility by opening up studio floor space to limitless software-defined paths while eliminating the restrictions of physical floor tracks on presenters, guests, and other cameras.

The SoftRail feature for Shotoku’s TR-XT studio control system and SmartPed provides the key path-following benefit of a rail camera while avoiding any physical track or guide on the floor. Then, if following the path is no longer needed, simply turn off the SoftRail function and SmartPed returns to its traditional free-roaming pedestal mode with all the benefits freedom of movement brings.

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

MARSHALL ELECTRONICS’ new CV620 20x PTZ camera was on display. With 3G-SDI, HDMI, USB 3.0 and IP outputs and 20x zoom, this new camera suits a range of mid-sized rooms, including corporate communications and teleconferencing, as well as traditional broadcast applications.

The new camera has a 57-degree field of view and supports up to 1080p/60. It features a high-quality Sony sensor and is available in black (CV620-B12) and white models (CV620-W12) to

fit varying aesthetics. It also features Mic and Line-in audio options as well as a range of IP protocols, including RTSP, RTMP, RTMPS, SRT, and MPEG-TS.

The CV620 features a panning angle of 170 degrees, tilt rotation of -90 to +90 degrees, and variable pan and tilt and preset speeds. It provides a range of setting controls, including focus, gain control, white balance, exposure control, and Wide Dynamic Range (WDR). The control interface included Visca, Visca-over-IP, and Onvif protocols. Also included is a handheld IR remote control.

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

SONY launched the HDC-P50A, a compact and lightweight multi-purpose camera with a 2/3-inch 3-chip 4K image sensor that features a global shutter function, offering high flexibility in terms of installation.

This camera inherits the features and performance of the existing multi-purpose camera Sony HDC-P50. In addition to SDI outputs from the camera body, it also supports IP transmission using SMPTE ST 2110. Furthermore, it can be connected to a camera control unit. It also comes with the variable ND filter unit HKC-VND50 (optional). With its compact and lightweight design, it can be utilised in various scenarios such as shooting in hard-to-reach locations, aerial shots from helicopters, and capturing content with cranes or wire cams.

With the optional licence HZC-SFP5A, the HDC-P50A can directly output in IP using SMPTE ST 2110. This enables standalone camera compatibility with AMWA NMOS (Networked Media Open Specifications), allowing for direct IP output without the need for additional hardware and supported IP Tally, making it suitable as a compact camera in IP-based studios. Additionally, by connecting to the IP camera extension adapter HDCE-TX50 or the camera control units HDCU-5000 and HDCU-5500, the camera delivers IP input/output and high frame rate output.

The camera is compatible with the camera control units HDCU-5000 and HDCU-5500, as well as the IP camera extension adapter HDCETX50. These units allowed for long-distance connections of up to 10km using single-mode fibre, making it possible to utilise them in distant shooting locations. When connected to the camera control unit, the HDC-P50A enabled slow-motion shooting at up to 4 times the speed in 4K and up to 8 times the speed in HD.

A new pair of professional shading monitors, BVM-HX1710 and BVM-HX1710N, combine True Black Reproduction, High Dynamic Range, and a Peak Luminance of 3,000 Nits, for live production and critical image viewing and evaluation applications.

Unique to the BVM-HX1710N is SMPTE 2110 IP support, which adds Networked Live compatibility to complement Sony’s ecosystem. Both models provide SDI and HDMI interfaces. An optional new monitor control unit for multi-monitor control, the BVMK-R10, is also expected to be released in late 2024. It features illuminated buttons and a small menu screen to accommodate use in trucks and studios.

Visit https://pro.sony/en_AU/

Canon EOS C80 6K Full-Frame Cinema Camera

ACCORDING TO CANON, its new EOS C80 camera features a 6K full-frame, back-illuminated CMOS sensor, with triple-base ISO, allowing the camera to deliver “stunning imagery” in a wide range of lighting conditions. The base ISOs of 800, 3200, and 12,800 maximise the full dynamic range of the camera.

The EOS C80 camera also features Canon’s latest Dual Pixel CMOS Autofocus, Dual Pixel AF II. The back-illuminated stacked sensor’s positioning offers superb light-capturing efficiency, which widens the area of the sensor that can be used for autofocusing. The sensor also empowers fast readout speed, as well as amazing 4K image quality from 6K oversampling.

In addition to moving to a full-frame sensor, the EOS C80 camera has also stepped up from its predecessor by adding 12G-SDI output, which enables uncompressed transfer of your video signal with a secure cable connection. The camera’s design includes a variety of other

interfaces including HDMI, miniXLR audio inputs, time code, built-in Wi-Fi connectivity, and Ethernet. This internet connectivity enables the camera to be controlled remotely via our IP-based XC Protocol using Canon’s Remote Camera Control Application (available for free on the Canon USA Website), or our MultiCamera Control App for iPhone (available for free on the App Store).

The compact and lightweight EOS C80 camera is suitable for use on a drone, gimbal, tripod, or in any configuration where compact size and light weight are important. The camera is ergonomically designed with a new, lightweight handle assembly. The Multifunction Shoe is located just above the LCD screen and the

joystick controller provides easy control and menu navigation. The EOS C80 camera can record up to 6K 30P in Cinema RAW Light. Other recording options include Canon’s standard XF-AVC codec, which can record in 10-bit 4:2:2 with oversampling from the 6K sensor, creating rich detail and smooth imagery without the need for cropping the image from the sensor.

Furthermore, autofocus is enabled when recording in slow

Wooden Camera Accessories for Canon’s EOS C80

WOODEN CAMERA has released the Elite Accessory System for the new Canon EOS C80. The collection features new designs like the Top Plate, a new ARCA Riser Plate, and NATO Side Rail, as well as all-new accessories like the Canon ¼”-20 Ridge Plate.

The collection includes an Elite Accessory System with Gold and V-Mount Battery Slide power options, a Core Accessory System allowing users to use the native Canon Carry Handle, and à la carte accessories for users to build their own system. It creates both a system that includes all the bells and whistles to start shooting efficiently, as well as a system

that gives users the fundamentals to start shooting. À la carte accessories for this system include newly designed as well as existing accessories that are compatible with this camera. Wooden Camera’s recent releases always try to account for the use of existing accessories in consideration of its loyal community.

The collection includes a two-piece Top Plate, a C80-specific ARCA Riser Plate, a new design on the NATO Side Rail, and the Canon ¼”20 Ridge Plate. The new Top Plate design allows users to remove the back portion of the plate, thereby allowing the use of the hot shoe with the Wooden Camera Top Plate.

Leitz HUGO Lens Family Grows

JOINING THE 10 existing Leitz HUGO focal lengths, HUGO II lenses, so named for their slower aperture, introduce new options that offer some size advantages and slightly different looks with the 75mm and 90mm, while the 66mm fills the gap between 50mm and 75mm.

The Leitz HUGO 66mm T2.1 lens is based on the fabled “spy lens” created by legendary Leica lens designer Walter Mandler for the US

Navy during the Cold War. Built for ultra-high-resolution imaging and never intended for the public, it’s estimated that less than 200 were ever produced. By only slightly modifying the elegant simplicity of Mandler’s original design, this lens sits alongside its modern siblings as a great pairing with an impressive pedigree. While considered extremely sharp for its time, the images match remarkably

When not using the hot shoe, the back portion of the plate adds a secondary connection to help lock in the Top Plate on the Canon EOS C80. A connection point for battery slides is also incorporated to allow a rod-less connection point for power options.

The ARCA Riser Plate was designed to reflect the camera’s body design and allow expanded connectivity when using different lens mounts. This plate includes a lens support rod adding stability when attaching lenses, and a mounting point for battery slides when the connection to the top plate is blocked or a different setup is required.

The new design of the NATO Side

or fast motion at up to 4K 120P. Additionally, the EOS C80 camera has two more recording codecs, XF-AVC S and XF-HEVC S. These formats were first introduced with the EOS C400 camera and feature an easy-to-manage naming system and folder structure, while recording in the familiar MP4 format and preserving metadata.

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

Rail includes an HDMI safety clamp to support the connector on the camera, as well as a Tape Hook mounting point to give users the option of relocating the tape hook off the camera. The side rail includes ⅜”-16 and ¼”-20 mounting points down the rail, adding mounting points to the Operator’s side of the camera.

The Canon ¼”-20 Ridge Plate was specifically designed for users who want to use the Canon EOS C80 Carry Handle with Wooden Camera accessories. Because the Ridge Plate can be mounted in any direction, it opens up the option to mount compatible accessories.

Visit https://woodencamera.com

well with the strong character of the modern-day HUGO lenses.

The Leitz HUGO 75mm T2.1 and 90mm T2.1 lenses come from the Leica Summicron-M lenses. Being one stop slower than the T1.5 lenses allows them to be significantly shorter and lighter, nearly matching the dimensions of the rest of the T1.5 set wider than 50mm. By designing housings for these lenses, Leitz will now be able

to convert full sets of Leitz M 0.8 lenses to HUGO without sacrificing the longer focal lengths.

With the addition of the HUGO II series, the Leitz HUGO family of lenses now includes 13 focal lengths from 18mm to 135mm. The lenses are available in LPL or L mounts.

Visit https://www.leitz-cine.com

SPORTSCASTING SPORTSCASTING

Visualising Wind Patterns for America’s Cup

AMERICA’S CUP MEDIA and consulting firm Capgemini have unveiled WindSight IQ, a visualisation system that will enable viewers and commentators of the Louis Vuitton 37th America’s Cup yachting series to “see” the wind and how it varies across the racecourse in realtime.

In addition, a yacht simulator will take the wind data and calculate the optimal routes around the course, enabling commentators and viewers to predict what teams on the water should do or analyse how teams could have won a race. Ironically, WindSight IQ will give commentators and viewers more data and insight into the international sailing event than is available to the competing teams on the water.

The Louis Vuitton 37th America’s Cup takes place up until 22 October 2024 in and around Barcelona, Spain.

Combining its expertise in technology, engineering, data, and design, Capgemini and America’s Cup Media, the host broadcaster for the event, are using LiDAR (light detection and ranging), sensor fusion, and scientific computation to reveal the wind in augmented

reality (AR) and virtual reality (VR) graphics. The wind field data is also fed in real-time to a yacht simulator and used to create a live ‘ghost boat’ simulation that can be projected onto the racecourse through AR and VR graphics. It will show the optimal path that the crews should take, given the measured variations in wind pressure, sheers, orientation, and speed. The three LiDARs used as part of the solution are supplied by LUMIBIRD.

To accurately collect raw wind data, three LiDARs have been positioned along the Barcelona waterfront overlooking the racecourse, scanning the full race area. Each LiDAR has an average 6.5km scanning range up to a maximum of 12km, and measures wind speeds, every 1.5 metres from 0 to 12km, up to

VisionTV Saddles Up with Blackmagic

VISIONTV is using Blackmagic Design equipment in its newly customised OB van, enhancing its broadcasting capabilities for live events, particularly in the niche of Australian rodeo broadcasts.

Founded by Scott Richardson, a seasoned director of photography with over 44 years of experience, including high-profile projects like Australian Idol, VisionTV has evolved from a family-run business into a pivotal player in Australia’s live event sector. The company specialises in delivering top-tier production services, recently focusing on the growing market of rodeo events, spurred by its partnership with the Australian Bushmen’s Campdraft and Rodeo Association (ABCRA) and the launch of its dedicated rodeo streaming service, watch.abcra. tv.

VisionTV’s decision to revamp a retired TV van into a state-of-the-art mobile broadcast unit has significantly amplified its operational capacity. The van is equipped with an array of Blackmagic Design technology, including the ATEM 4 M/E Constellation 4K live production switcher paired with an ATEM 2 M/E Advanced Panel, MultiDock SSD recorders, SmartView 4K monitors, and Videohub routers. This investment allows for rapid deployment and high-quality live streaming and big-screen presentations, which are crucial for rodeo events.

“The ability to quickly set up and break down at events without compromising the quality of the broadcast is essential for us,” said Richardson, CEO of VisionTV. “With Blackmagic Design’s reliable and high-performing equipment, our new OB van can meet the demands of fast-moving

JAM TV, EMG/Gravity Media Take on A-Leagues Production

THE AUSTRALIAN PROFESSIONAL LEAGUES

(APL) has appointed leading sports production company JAM TV and global media services and facilities provider EMG/Gravity Media as the new production partners of the A-Leagues.

The appointment follows a three-month tender process and will see JAM TV and EMG/Gravity Media produce all Ninja A-League Women and Isuzu UTE A-League Men matches for the next two seasons for broadcaster Network Ten and Paramount+.

The new partnership delivers the APL, its clubs, and its fans premium match production, additional resources dedicated to the Ninja A-League Women, as well as more content for

the APL and club platforms.

JAM TV is one of Australia’s most prolific producers of live sport – producing and delivering more than 300 live broadcasts each year for the NBL, AFLW, State Leagues AFL, and Golf. A previous partner of the APL, creating and producing the A-Leagues All Access series for two seasons.

EMG/Gravity Media returns to Australian football after being the broadcast provider for the A-Leagues from 2010 to 2016. EMG/Gravity Media also worked on behalf of UEFA delivering advanced workflows for this year’s UEFA European Football Championships in Germany and delivers football production for the EPL, the

38m/s (73 knots) with an accuracy of <0.1m/s. WindSight IQ supplements the LiDARs with wind data directly from the racing yachts and buoys’ wind sensors. All these data streams are fused using innovative algorithms to enable a wind field to be created over the entire racecourse. The wind field is refreshed every second based on the sensor measurements and predictive wind models.

Visit https://www.capgemini.com/

live production. Whether we are on the side of a racing track or set up in a hotel, we can rely on the OB van to ensure we deliver the best possible viewer experience.

“We’ve honestly been surprised at the enthusiastic response we’ve had from our clients after we introduced the new OB van. Whether it’s for traditional broadcast players or more niche streaming services, our ability to quickly and cost-effectively deploy professional broadcast services, almost regardless of location, is getting a lot of attention. In the modern era where budgets are under constant scrutiny, being able to outfit such a capable networking and production solution at a low cost is why Blackmagic Design has become an internationally recognised and respected part of the broadcast industry.”

Visit https://www.blackmagicdesign.com

FA Cup, and FIFA.

JAM TV and EMG/Gravity Media also combined for the Host Broadcast of the AFC Asian Cup in Australia in 2015.

The 20th anniversary season of the Isuzu UTE A-League Men kicks off on October 18, and the Ninja A-League Women start season 2024/25 on November 1, before all clubs descend on Sydney for the second edition of Unite Round on the weekend of November 22-24.

Visit https://www.aleagues.com.au, https://www.jamtv.com.au, and http://www. gravitymedia.com

SPORTSCASTING

Fijian Broadcasting Corp and Gencom Team Up for Rugby

AT THE END OF 2023, the Fijian Broadcasting Corporation (FBC) faced a challenge. It had been tasked by the Fijian Drua Super Rugby Pacific team to produce their home matches for international broadcast. This presented an opportunity to upgrade both their production facility and the capacity of their workforce.

“By doing so, we aimed to not only keep up with the current demand but also to enhance our overall efficiency and output. Operating from a small island economy presents unique challenges, including limited resources and logistical constraints. However, it also offers distinctive advantages such as a close-knit community and the potential for specialised, high-quality production,” said Vinal Raj, Director of TV Operations at FBC.

To achieve this, the FBC planned significant investments in state-of-the-art equipment and advanced technologies. They focused on expanding their workforce by recruiting skilled professionals and providing comprehensive training programs to enhance the capabilities of their existing employees.

“By aligning our production capabilities and workforce skills, we intended to increase our production capacity significantly. This would allow us to generate more extensive coverage and meet the growing demands of our customers efficiently,” Raj continued. “Ultimately, our goal was to position ourselves as a leading player in our industry, demonstrating that even from a small island economy, we can achieve substantial growth and success through strategic upgrades and investments in both infrastructure and human capital.”

The next challenge was the timing of the project, as this upgrade needed to happen before the start of the next Super Rugby season, which was less than six months away. Raj quickly sought quotes from three vendors and selected Gencom for three main reasons: cost, quality of support, and ability to deliver the project within the short timeframe.

A strong, responsive support network was high on the list for the FBC.

“New Zealand was much closer than the other companies, and we knew Gencom had a strong

network, and we trusted that they’d be able to get us back up and running much quicker than the other vendors,” explained Raj. Raj said the biggest deciding factor was delivering the project in the short time period. After the RFP process, only four months were left for design, procurement, build-out, transport from New Zealand to Fiji, setup, delivery, and training.

“And we were working with the Christmas holiday in the middle of it. The other vendors didn’t make it because the lead time to deliver the equipment was much longer.

I don’t know how Keith did it!” said Raj.

“It was quite a challenge to design a system and choose the technologies during that time frame,” commented Gencom Technology’s Director, Keith Bremner. “It was an intense project because of that constraint. We started in November and very quickly put together a design and a budget for funding. By December, we were full steam into it.”

Decisions were made specifically to support the shorter-thannormal time allotment. Normally, Gencom has six to nine months to complete a project once approved, and this one was accomplished in four.

Bremner also commented that the tight timeframe limited the equipment options. “We had to select equipment that could be sourced quickly, so vendors were chosen based on reliability and

turnaround time. Ross Video and Clear-Com were easy choices as they were long-standing, reliable Gencom partners. In the end, both companies were able to deliver their equipment ahead of schedule, despite the Christmas holiday. The production talkback systems were the first thing to arrive. Clear-Com sent more gear than we actually needed, just to make sure that we had more than enough so we could use what we needed and then send back the rest. The design was still very loose at that point. Clear-Com was amazing,” said Bremner.

Ross also beat delivery expectations. “The beauty of the Ross system is that it’s hyperconverged. The router, the signal processing, the multiviewers, the vision switcher – all of that comes in as one single Ross product: the Ultrix. It’s only one product to ship, it’s super compact, and it’s a real enabler for this project,” Bremner continued.

“If we tried to do that with four separate pieces of equipment like we used to, it never would have happened on time. It needed to be small, lightweight, and compact for the space it was going in, and the Ross Ultrix platform, being as compact and singular as it is, was just perfect for that job.”

“The team from Gencom worked really hard and worked closely with us to provide this solution and understand exactly what was required,” said Vinal.

The equipment arrived in New

Zealand and was assembled and tested by the Gencom crew. The FBC senior technical team travelled to New Zealand to assist with configuration and to receive training before the setup was shipped to Fiji, where additional rigorous training sessions occurred. The two parts came together on the ground in Fiji, and it was operational straight away with some additional training the day before the first game.

“While we were building the system at the Gencom office in NZ, the guys back in Fiji were fitting out the 40-foot container. Those two parts had to come together on the ground. Us installing what we built as a semi-portable system and having to build that into their 40-foot container,” said Bremner.

Major products used:

• Ross Video: Vision Carbonite 3ME switcher with Touchdrive control panel, Ultrix Signal processing and routing platform, Ultriscape MultiViewers

• Clear-Com: Eclipse intercom matrix, Freespeak Wireless intercom, Agent-IC smartphonebased intercom

• Cartoni: Master65 heavy-duty Camera support

• Birddog: P240 PTZ cameras

• Riedel: SimplyLive replay systems

• Glensound: Dante commentary units

• Lectrosonics: Radio mix systems

• Calrec: Brio audio console

Visit https://www.gencom.com/

I‘M AN ARTIST

OLA MELZIG

PRODUCTION MANAGER

M&M PRODUCTION MANAGEMENT

I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic.

ARTIST INTERCOM

I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“

Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.

Photo by Ralph Larmann

SPORTSCASTING

AI Enhancements for Evertz’s DreamCatcher BRAVO

AT IBC 2024, Evertz showcased new data-driven co-pilots for its DreamCatcher BRAVO Studio virtual production control suite, specifically designed to enhance creativity and empower content creators to tell even more compelling stories from live events.

This collaborative, all-in-one production platform provides ingest, playback, live video/ audio switching, replays, graphics, and more, making it ideal for applications such as live sports, local news, studio, and non-broadcast productions.

BRAVO Studio’s new advanced co-pilots are designed to make productions even more efficient while still delivering high-quality content with smaller teams. Metadata and Highlight Factory co-pilots provide the ability to automatically create clips, playlists, and stories using large language models (LLM) and deep machine learning (ML) technology. These clips and highlight packages enable content producers to enhance the production with more

options. A new Motion+ feature gives production staff the almost instant ability to turn a singlephase camera into a multi-phase high-frame for super slo-motion replays, both on-premises or with the cloud.

In addition, Evertz showcased a new range of hardware control panels for BRAVO Studio: BRAVO-AIRFLY-PRO, BRAVO-WAVEBOARD, and BRAVO WAVEBOARD-MINI, all designed for operators looking for more tactile control surfaces.

Evertz also presented its next generation DCONE platforms (DC-ONE-SE and DC-ONE-LX) for entry-level and mid-tier replay applications. This 1RU platform is targeted at companies that are looking to replace older replay technologies and take advantage of the power and flexibility of DreamCatcher.

Both DC-ONE-SE and DC-ONE-LX provide users with key features that include support for 8 x 3G/HD I/O, continuous record, 8 channels of

SportsBox - the Smallest Remote Switcher?

IBC 2024 SAW BHV present a technology preview of Camera SportsBox, which it claims is the industry’s smallest remote switcher. According to the company, Camera SportsBox brings maximum flexibility and portability to high-action multi-camera productions by transmitting 4 camera signals down a single video path.

Camera SportsBox is a super-compact remote switcher and format processor aimed at multi-camera action productions such as motor GP, competitive sailing, and aerial racing. The miniature device allowed 4 camera views to be transported over a single remote link (5G, COFDM), allowing access to 4 vehicle

cameras, all selectable in the production gallery. Capable of full 4K 60P 4:2:2, SportsBox was designed to fit the smallest spaces while

LALIGA Takes Content Everywhere

LALIGA, Play Anywhere and Ease Live (an Evertz company), were awarded the 2024 IBC Innovation Award in the Content Everywhere category for a LALIGA global interactive deployment.

The partnership has revolutionised LALIGA’s global sports broadcast and streaming experience by providing viewers interactive, contextual content through its broadcast and streaming partners, significantly enhancing audience engagement and unlocking new advertising opportunities. The results have been high levels of user engagement and dramatically increased viewing times.

Leveraging Play Anywhere’s groundbreaking Interactive Rights framework, the platform provides full transparency of rights to LALIGA’s rightsholders, as well as transparency of revenue allocation and disbursement throughout the LALIGA distribution ecosystem. Ease Live’s interactive graphics platform, integrated with Play Anywhere’s patented Clearinghouse and Compliance platform, has enabled LALIGA to deliver groundbreaking live interactivity for fans. The interactivity

enables fans to engage in real time with instant highlights, live player and game stats, polls, quizzes, leaderboards, and other interactive features during matches. The experience has driven a 25% increase in watch time and has created fresh monetisable advertising and sponsorship inventory for LALIGA and its partners.

Jorge de la Vega, Executive General Director at LALIGA, said: “Our collaboration with Play Anywhere to give viewers a truly interactive solution has provided our fans with an enhanced viewing experience while creating new revenue opportunities for our broadcast partners.”

audio per input, slow-motion replay, multi-angle clipping, playlist creation, simplified Motion+, control panel, and more. The DC-ONE-LX can be networked together with two additional DC-ONE-LX systems to create a compact replay cluster supporting up to 18 input channels, six output channels, and three operator stations in only 3RU of space. In addition, the DCONE-LX is fully field upgradable to a standard DreamCatcher with the +DCNET option.

Evertz has also integrated Studer’s Vista digital mixing consoles into BRAVO Studio, adding a new dimension to the production platform by providing access to a full mixing console featuring enhanced audio capabilities. The controls of Vista BRAVO can be accessed with the 12-fader mixing console or through Evertz VUE for incomparable remote control from anywhere.

Visit https://evertz.com

meeting the rigorous demands of OB producers and complying with the standards of sporting governing bodies.

Camera SportsBox features 4 x 4K-SDI inputs, each capable of full format conversion, allowing any camera from SD to 4K in any mix to be scaled, synchronised, and transferred by a single wireless link. Weighing in at under 700 grams (approximately 1.5 lbs) and measuring 174mm x 124mm x 45mm (6 ¾ x 5 x 1 ¾ inches), Camera SportsBox is based on a single piece of silicon, making it highly integrated and durable for the harshest of sporting environments. Visit https://www.bhvbroadcast.com

“By integrating interactive content into our broadcasts and OTT streams, LALIGA can offer fans a richer, more immersive experience that extends viewing times and boosts interaction. This, in turn, enhances the value of our media rights by creating new avenues for monetisation.

Play Anywhere and LALIGA first provided viewers with integrated interactive capabilities through LALIGA+, the league’s multi-device streaming platform and app. The interactive solution was used by viewers across multiple continents, with 30% of viewers interacting when given the chance.

Visit https://playanywhere.com and

NEWS OPERATIONS NEWS OPERTAIONS

Nine Selects Sony PTZ Cameras for Canberra Studios

AUSTRALIA’S Nine Network has installed Sony ILME-FR7 large sensor PTZ cameras in its Canberra studios.

The first studio, remotelyoperated from Sydney, is used for broadcast news production.

According to Nine Chief Technology Officer, Broadcast Operations, David Bowers, “This new studio is particularly effective for us as, by using the Sony FR7 cameras, we can remotely control all of the cameras and set-up from Sydney. This is not only a very efficient workflow, but it also saves us a considerable amount of money when compared to buying and installing a full robotic setup.”

Sony FR7 cameras are also being used in the Nine Network’s talentoperated studio in Canberra.

The new four-camera studio is capable of both full remote production from Sydney and openplan local control in Canberra. It also comprises production, news exchange, and basic edit facilities and capabilities.

Nine Broadcast Systems Integration Manager, Mark Rath, said, “We wanted to build a multi-purpose studio with full remote capability. For that, we required the best PTZ cameras that could accommodate varying lens requirements in the studio. We assessed all the PTZ cameras available in the market and found the Sony FR7 met all of our requirements perfectly.”

Sony’s FR7 PTZ camera, with its high-performance full-frame image sensor and the expressive scope of Sony’s extensive E-mount lens lineup, works with versatile remote pan/tilt/zoom control, high flexibility in zoom capability, and wide-angle shooting to break through location and space limitations, opening up creative possibilities for broadcasters and content creators in studio, live production, and filmmaking settings. It also offers versatile

connectivity and efficient multicamera workflow support.

David Bowers concluded, “The FR7 is exactly what we required for our remote-operated broadcast studio in Canberra as it provides us with large sensor studio quality cameras—our key requirement. The picture quality and the ability to interchange lenses with the FR7 is also excellent. In short, by

Gravity Media Supports Pope Francis in Timor-Leste

EMG/GRAVITY MEDIA partnered with Eurovision in delivering the global television coverage of the Apostolic Visit of His Holiness Pope Francis to Timor-Leste across 9-11 September, as part of the Apostolic Journey to Asia.

A team from EMG/Gravity Media in Australia was assigned to supply and operate a state-of-the-art satellite news gathering flyaway terminal on behalf of Eurovision to provide complete coverage of His Holiness Pope Francis’ arrival in Timor-Leste, the celebration of Holy Mass, and the farewell ceremony during his historic visit to the nation.

EMG/Gravity Media Australia, in partnership with Eurovision, delivered the technology requirements for Eurovision’s global “pool” coverage for use by international broadcasters and news agencies, with a parallel service provided for RAI Italia’s specific broadcast requirements.

using Sony FR7 PTZ cameras, the Nine Network now has the ability to have complete access to the studio in Canberra when needed and the ability to sit talent in a remote location, while we in turn do all the production including audio/video, lighting, and comms from Sydney.”

Visit https://pro.sony/en_AU/

EMG/Gravity Media Australia’s head of satellite operations, Greg Littrich, said: “EMG/Gravity Media is honoured to be involved in this momentous event, helping to bring these pictures to the world. We have deployed a fully redundant flyaway satellite uplink that, over the course of the threeday visit, has been set up at several key locations around Dili to ensure complete coverage of the visit of His Holiness Pope Francis to the people of Timor-Leste.

“The equipment and technology deployed ensures the world’s media will be provided with the highest quality pictures for news coverage as it happens. We are delighted to support Eurovision in servicing the demands of broadcasters around the world.”

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

Malaysia’s Astro Launches AI-hosted News in Chinese

MALAYSIAN pay-TV operator Astro has launched its first Chinese news program to be hosted by an AI (artificial intelligence) anchor.

“AI News Flash” is broadcast daily on Astro AEC (channel 306) at 6 pm every day starting, allowing viewers to take 100 seconds to quickly view major news events at home and abroad!

“100 Seconds AI Report” is broadcast by the AI clones of Angela Hong Xinyi, the anchor

of “News News” and Celes Luo Meiling, the host of the news website “Hot Spot”.

According to the producers, “The program introduces the latest AI cloning technology to perfectly reproduce the appearance of Hong Xinyi and Luo Meiling. and sound, making it difficult for the audience to tell which one is the real body and which one is the virtual double.”

The production team also specially customised an AI virtual anchor for “100 Seconds AI News” – Elin tAI Dai Yilin, to meet the audience with a new face and voice. Elin tAI Tai Yilin is a 23-year-old psychology graduate from Ipoh, Perak. According to Astro, the name Elin tAI Dai Yilin not only gives the audience the feeling of being approachable and the girl next door, but the true identity of the AI virtual anchor is also hidden

in the name. “Elin” is taken from the binary “one” and “zero” in the computer world. The homophonic pronunciation of “Dai”, a common Chinese surname, also hides the DNA information of her AI identity in English.

The program can be watched through Astro AEC (channel 306), Astro GO, On Demand or sooka.

Visit https://corporate.astro.com.my

Multi-Layer Downstream Keyer for Lawo’s HOME Platform

LAWO HAS UNVEILED the HOME Downstream Keyer, a sophisticated and powerful HOME App for video. According to the company, its feature set is closer to what a vision mixer provides than to what operators expect from a downstream keying function of the past.

“HOME Downstream Keyer allows operators to simultaneously and independently transition up to three key layers over an A/B background mix,” commented John Carter, Lawo’s Senior Product Manager, Media Infrastructure. “As Lawo’s first mixing processing app, it comes with eight ST2110-20 receivers and two ST2110-20 transmitters. Each of the three Keyers can perform Luma, Linear or Self keying to provide the desired processing for high-end broadcast graphics designed with transparency and drop shadows.”

The HOME Downstream Keyer app provides comprehensive keying and mixing capabilities to meet production needs and enable additional channel branding within a state-of-the-art, agile infrastructure, based on triggers issued via the VSM control system where desired.

As part of the HOME Apps suite, the HOME Downstream Keyer can be deployed in both SDR and HDR workflows. It supports SMPTE ST2110 (including JPEG XS), NDI, SRT, and Dante AV* transport as required. Like all HOME Apps, and a growing number of other Lawo solutions, the HOME Downstream Keyer can either be licensed perpetually or solicited on an ad-hoc basis through Lawo Flex Subscription credits.

“With HOME Downstream Keyer, Lawo’s HOME Apps have reached a new level of sophistication,” added Jeremy Courtney, Senior Director, CTO Office. “Architecting the container-based HOME Apps platform from scratch for bare-

RT Software Swift News with New HTML5 Interface

RT SOFTWARE has released the latest version of its newsroom graphics system, Swift News, now featuring an HTML5 interface for the Avid iNews client.

This update empowers journalists to create on-air text and images directly within the Avid MediaCentral | Newsroom Management environment through a user-friendly plugin. Swift News provides journalists with complete control over their content, while ensuring consistent on-air graphics that align with the station’s brand identity. The newly introduced HTML5 plugin offers several key advantages:

• Fully Animated Graphics Previews: Journalists can now view full animations of their graphics directly within their desktop interface, enhancing the accuracy of the final broadcast.

• Unified User Experience: The interface maintains consistency with the Swift Live browser interface available for gallery graphics operators, ensuring an efficient production environment.

• Future-Ready Technology: Built on a robust technological foundation, the new interface is designed to support future enhancements and innovations as they become needed.

Raymond Thompson, Sr. Dir Partners and Alliances at Avid, remarked, “The Swift News integration with MediaCentral | Newsroom Management is a great addition to the Avid newsroom solution. It highlights Avid’s MediaCentral | Cloud UX open-platform approach which results in flexibility and choice for broadcasters when designing graphic deployments that engage audiences.

QuickLink StudioPro 4K Video Production Platform

QUICKLINK, the provider of multi-camera video productions and remote contribution solutions, presented QuickLink StudioPro at IBC 202. According to the company, QuickLink StudioPro is an easy-to-use 4K video production platform which delivers a true-to-life ultra-low latency production experience without the complexity of legacy systems.

“Our 21 years of experience developing highend broadcast quality solutions are built into QuickLink StudioPro, which is aimed at simplifying multi-camera live video production,” says Richard Rees, CEO of QuickLink. “We have seen incredible adoption of StudioPro with those who prefer easy-to-use integrated solutions whilst maintaining high-quality standards. For those making the move to the cloud, StudioPro Cloud provides anywhere-access to video production utilising the power of the cloud, offering a fully flexible solution.”

With a one-frame delay, QuickLink StudioPro ensures flawless synchronisation between stage

speakers and large projected screens or video walls for live presentations. StudioPro functions similarly to a video-based Microsoft PowerPoint. Each scene is like a slide, allowing users to add multiple layers, effortlessly switching between scenes to create amazing productions. Without StudioPro, creators face the inconvenience of extensive training on outdated systems, the financial burden of outsourcing to external companies, and lip synchronisation issues.

metal compute has allowed Lawo’s software developers to avoid the pitfalls and limitations of lifting and shifting existing technology to a different platform. The advantages of this cleanslate microservice approach are now becoming apparent.”

Visit http://www.lawo.com/

RT Software continues to impress with their innovative solutions.”

Mike Fredriksen, RT Software’s Commercial Director, commented, “We’re confident that MediaCentral | Newsroom Management customers will be excited to experience this latest development. Our goal is to make the process of getting graphics on air as simple and efficient as possible, and we believe we can bring significant value to newsroom operations.”

Swift News is not only suitable for daily news broadcasts but also special events like election coverage, thanks to its versatile integration with external data sources.

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

Utilising built-in, industry-best QuickLink StudioCall technology, remote guests are seamlessly integrated with Teams, Zoom, and Skype calls, other camera feeds, audio sources, images, videos, and graphics. Designed for both large-scale and intimate productions, StudioPro ensures that content remains on-brand and unforgettable to audiences, broadcasting to multiple physical, digital, and social destinations,

supporting multi-aspect ratio output simultaneously.

QuickLink StudioPro also supports ASIO audio devices over IP and offers advanced audio mixing capabilities, allowing for precise tuning of audio to perfection. The platform’s AI-driven advanced noise reduction, echo cancellation, and Studio Audio features ensure crystal-clear audio quality.

Visit https://www.quicklink.tv

Qvest and Vidispine Enhance Newsroom Collaboration

THIS YEAR’S IBC show saw Qvest introduce the new version of clipbox, its studio server designed for advanced ingest and playout. With this latest release, clipbox improves studio ingest and playout and becomes the first studio server to fully support Vidispine’s new renderless workflow powered by the Web Render Engine (WRE). According to the two companies, for editors and operators in the newsroom environment, this means better collaboration and a reduction in production delays.

This latest version of clipbox gives users greater customisation for their ingest and studio playout workflows, especially in fast-turnaround news workflows where every second counts. It also provides full support for real-time rendering with transition effects, so users can play out sequences directly, without requiring a vision mixer.

Additional benefits also include clipbox’s ability to create proxy files in parallel to either HD or UHD recording, which can be opened and edited during ingest and are fully synchronised with the full resolution assets. This saves editors a huge amount of time that would otherwise be spent waiting for the recording to be finalised before being able to edit.

“Customers all over the world are already using

clipbox for their studio ingest and playout. It’s exciting to think about how much more efficient we’ll be able to help make their workflows with this latest version, while of course continuing to be the most cost-efficient newsroom studio server available,” commented Frank Mistol, Managing Director Qvest Stream GmbH.

“Vidispine’s Web Render Engine revolutionises production by allowing content to be stored and managed efficiently without creating new files for every sequence. Only metadata is generated when users edit a sequence, eliminating the need for file movement or rendering. This enables multiple editors to work simultaneously on the same content from anywhere,” said Karsten Schragmann, Head of Product Management at Vidispine.

The renderless workflow created by the Web Render Engine, which has been developed by Arvato Systems’ Vidispine team, is designed to save editors a huge amount of time, regardless of where they are. With this in place, multiple

editors can work on the same content at the same time without needing to wait for any assets to render. With clipbox supporting WRE sequences natively, a unique fast-turnaround workflow is created with no videos needing rendering in advance. Even transitions can be executed in real time. The workflow sees video clips able to playout from a shared memory, removing the need to copy them at the expense of time or costs. It also supports playout of sequences while content is still being recorded, which allows time delay playback.

Visit https://www.qvest.com/

Intelsat Unveils Terminal Strategy to Power Multi-Orbit Satellite Services

INTELSAT, operator of one of the world’s largest integrated satellite and terrestrial networks and provider of in-flight connectivity (IFC), will be the first operator in the world to offer multiorbit solutions for all relevant business units by the first half of 2025 thanks to a new satellite terminal strategy that will deliver advanced capabilities and improved economics.

“Intelsat is making strategic bets on new technologies, including new investments in innovative terminal providers,” said Intelsat CEO David Wajsgras. “More and more customers will come to count on the broad reliability profile of multi-orbit solutions, and it is key to our future success. No single-orbit solution can match what Intelsat can offer when it comes to performance, resiliency, and commercial flexibility.”

Intelsat has an unmatched network of geostationary satellites as well as partnerships with low Earth orbit providers. With the launch of a new robust terminal strategy, Intelsat is

now able to deliver multi-orbit managed-service solutions across all relevant verticals.

“Intelsat began the process of delivering operational multi-orbit terminals to the military and commercial airlines about two years ago,” Wajsgras said. “Today, our multi-orbit strategy is resonating with customers and validating our approach.”

The Intelsat multi-orbit terminal strategy includes minority investments with a few cutting-edge terminal providers. Intelsat recently invested in Paris-based Greenerwave and signed a technology agreement to develop an innovative electronically-steerable antenna that will be integrated into high throughput, multi-orbit terminals for Network and Data applications, as well.

Fast switching between multiple networks and multiple orbits, Greenerwave’s Electronically Steered Array (ESA) terminal will include Intelsat custom features to deliver unmatched reliability and performance for a differentiated

connectivity experience for broadband, mobility, media, and government customers, globally.

“Strategic investments with terminal providers allow us to work in partnership to bring these technologies to market faster while delivering a step change in the customer experience,” Wajsgras said.

The new scalable terminal will be available as part of Intelsat’s Managed Service offerings, high-throughput, reliable connectivity without the worry and hassle of managing a satellite network. This new terminal combines flexible beamforming, real-time reconfiguration, and low-power consumption. A key innovation includes smaller dimensions that feature interleaved receivers and transmitters on a single antenna panel. The antenna can operate as either a half-duplex or full-duplex terminal based on requirements, all while reducing the panel size by up to 50 percent.

Visit https://www.intelsat.com/

XD Motion and Brainstorm Extend Virtual Production Partnership

XD MOTION SAS and Brainstorm Multimedia S.L. showcased a strategic partnership “aimed at revolutionising the broadcasting industry” during the recent IBC 2024 show. The partnership combines XD motion’s robotic control and automation technology with Brainstorm’s cutting-edge virtual production capabilities. Together, they offer broadcasters a comprehensive solution for creating immersive, high-quality visual content. Attendees at IBC 2024 had the opportunity to experience this integration firsthand, with live demonstrations featuring Brainstorm’s

virtual set technology controlled by XD motion’s versatile camera systems.

Héctor Viguer, Brainstorm’s COO and Engineering Director, said, “We are thrilled to join forces with XD motion to bring this new level of integration to content creators. The synergy between our companies allowed us to quickly develop and showcase this innovative solution, opening doors for highly precise and advanced virtual production.”

“This partnership with Brainstorm is redefining the future of virtual production. By integrating

our cutting-edge robotics and automation systems with their real-time 3D graphics, we’re delivering a comprehensive, fully automated solution that unlocks endless creative possibilities. Together, we’re empowering broadcasters to push the boundaries of what’s achievable, with precision, speed, and efficiency at the core of every project,” commented Andrew Gordon, Chief Commercial Officer, XD Motion.

Visit https://xd-motion.com

POST PRODUCTION POST PRODUCTION

New Academy a Gamechanger for Victorian VFX

Melbourne-based specialist education provider CG Spectrum has announced the establishment of the GameChanger Academy – an Australian-first, animation, visual effects (VFX) and games training provider that will be run by specialist provider CG Spectrum.

BACKED BY an AUD$3.6 million investment by the Victorian Government and delivered in partnership with VicScreen, the GameChanger Academy aims to help local creatives pursue careers in the film and digital games industry, supporting the growing demand for highly skilled screen practitioners.

The GameChanger Academy will deliver worldleading training at a new studio space, offer mentoring from local and international experts, and provide real-world studio experience. Bachelor’s degrees and post-graduate courses will both be available, including the Good to Great 12-week immersive post-graduate certificate for people with industry experience, and the Elevate program, which will up-skill those already working in the sector to grow their careers and leadership capabilities.

Students of the GameChanger Academy will use cutting-edge technologies and learn the

latest industry practices through partnerships with a range of Melbourne VFX, digital games, and animation studios.

Victoria has the largest digital games workforce in the country and is home to world-leading VFX, post-production, and animation companies that have worked on globally celebrated film and television projects, including Furiosa: A Mad Max Saga, Bad Boys: Ride or Die, Deadpool, Wolverine, Ted, and leading games such as Call of Duty and The Sims.

GameChanger Academy will open for student enrolments from October 2024, with the first courses set to commence in February 2025 and further courses to roll out next year.

Victorian State Minister for Creative Industries Colin Brooks said, “Victoria’s VFX, games, and animation professionals are producing some of the most loved films and games across the globe. The GameChanger Academy, combined with our Rebate, will ensure that Victoria has more skilled workers and more projects to keep the industry buzzing for many years to come.”

CG Spectrum co-founder Jeff Pepper added,

Blackmagic Design DaVinci Resolve 19

BLACKMAGIC DESIGN recently announced DaVinci Resolve 19, a major new update that adds new AI tools and over 100 feature upgrades, including IntelliTrack AI, Ultra NR noise reduction, ColorSlice six vector grading, film look creator FX, multi-source editing, new multipoly rotoscoping tools, new Fairlight AI audio panning to video, ducker track FX, and ambisonic surround sound. Additionally, new features in Blackmagic Cloud target large customers. DaVinci Resolve 19 public beta is available for download now from the Blackmagic Design website.

DaVinci Resolve 19 introduces powerful new DaVinci Neural Engine AI tools and over 100 feature upgrades. Editors can work directly with transcribed audio to find speakers and edit timeline clips. Colorists can produce rich film-like tones with the ColorSlice six vector palette and create cinematic images using the new film look creator effect, which emulates photometric film processes. In Fairlight, the IntelliTrack AI can be used to track motion and automatically pan audio. VFX artists in Fusion have an expanded set of USD tools, plus a new multipoly rotoscoping tool. The cut page features new broadcast replay tools for live multi-camera broadcast editing, playout, and replay with speed control.

The new Organizations app in Blackmagic Cloud enables larger companies to define a single organisation or company. Customers can create

groups or teams and quickly share projects with an entire group. They can manage storage access, share Presentations, and create a single sign-on. It also allows customers to buy or rent DaVinci Resolve Studio licences, making it easier for companies to assign and manage the allocation of licences within large groups. Licences can be costed against specific projects and then removed when complete.

Key features of DaVinci Resolve 19 include:

• IntelliTrack AI: Point tracker for tracking and stabilisation.

• DaVinci Resolve Replay Editor: Support for live broadcast and replay.

• Multiview Option: New multiview option in the source tape to view time-synced footage.

• ColorSlice Six Vector Grading Palette: Enhanced colour grading with subtractive colour processes.

• UltraNR Noise Reduction: AI-powered spatial noise reduction for dramatically reducing digital noise.

• Film Look Creator: Emulates photometric film properties such as halation, bloom, grain, flicker, gate weave, and vignetting.

• MultiPoly Rotoscoping Tool: New tool for faster and more accurate rotoscoping.

• Fairlight AI Audio Panning: Automatically generate precise audio panning based on motion tracking.

“We’re thrilled the Victorian Government and VicScreen recognise CG Spectrum as a worldclass educator in games, animation, and VFX.

The GameChanger Academy is a significant investment in the next generation of industry leaders, up-skilling current screen professionals and training a new cohort of job-ready graduates.”

“We believe the GameChanger Academy has the potential to become a global lighthouse for learning and development within the VFX, animation, and games industries.”

Visit https://www.cgspectrum.com

• Music Remixer FX: Adjust music to fit the style of your show, including mute and level adjustments for voice, drums, bass, and more.

• Dialogue Separator FX: Separate dialogue from background or ambient sounds with AI controls.

• Ambisonic Surround Sound: New spherical audio format for full-sphere soundtracks.

• UltraNR, a new DaVinci Neural Engine-driven denoise mode in the Color page, dramatically reduces digital noise while maintaining image clarity. Colourists can combine UltraNR with temporal noise reduction for enhanced denoising in motion-filled images.

In addition, the Film Look Creator function allows for cinematic looks by replicating film properties such as halation, bloom, grain, and flicker, giving customers a creative toolset to achieve professional-grade filmic looks.

For live TV and broadcast, the cut page’s new replay palette controls allow users to mark points of interest (POI), set replays, and switch live cameras in real time, while stinger transitions notify viewers of replays or scene changes.

New Fairlight AI audio tools, including IntelliTrack, offer advanced panning, dialogue separation, and ducker track FX.

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

L to R: VicScreen CEO Caroline Pitcher, Framestore Head of Studio Melbourne Lara Hopkins, Minister for Creative Industries Colin Brooks, CG Spectrum co-founder Jeff Pepper. Photo by Daniel Mahon.

Adobe Introduces Photoshop Elements & Premiere Elements 2025

WITH THE RELEASE OF Photoshop Elements 2025 and Premiere Elements 2025, Adobe is continuing to add new AI features to its tools across the Creative Cloud platform.

Adobe Premiere Elements 2025 features include:

• Dynamic titles with more text controls, including new templates, allowing users to style text to match their stories with new controls for alignment, size, direction, colour, spacing, and more.

• A new White Balance tool to make precise colour and brightness adjustments to a whole scene or specific areas using new colour correction Curves.

• Adjust footage colour with LUTs: Create a new mood or aesthetic by automatically transforming your colour scheme with these presets, or import and apply your own.

• Simplified Timeline: See video tracks grouped together, and audio tracks grouped together for easier navigation. Find the most used editing options in the new Quick Tools menu, lock individual tracks to prevent accidental changes, and more.

• Access free Adobe Stock title template

• Guided Edit experience: Choose from one of many Guided Edits for videos, and then follow along to make quick fixes or add creative effects, smooth transitions, or animations.

• Apple M3 chip support

• Web and Mobile Companion Apps (beta) available in English, French, German, and Japanese.

• Web companion app: Add overlays that move or frame subjects to create depth. Change backgrounds automatically, enhance with patterns, adjust photos looks, and more. Make collages and slideshows. Access, view and and share edited Elements photos and videos from any browser.

• One-click photo fixes and more in the mobile companion app: Add pattern overlays, and use sliders to adjust light, colour, and effects.

Adobe Premiere Elements 2025’s new simplified timeline.

Crop, straighten, remove backgrounds, improve tone, and more with one-click Quick Actions. Plus, bring in pictures from a wide range of files and folders on your phone, and view creations from Elements Web.

• Auto-sync photos and videos to access them anywhere: Sync across the Elements Organiser and the web and mobile companion apps, making it easy to access mobile media on all your devices.

Adobe Photoshop Elements 2025, meanwhile, incudes:

• Brush to remove objects with the new AIpowered Remove tool and the Object Removal Guided Edit.

• Add realistic depth of field with precise control: Choose a focal point, and the new AIpowered Depth Blur filter automatically adds blur just where it’s needed. Then adjust details like blur strength, focal distance, and focal range for the perfect look.

• Change the colour of any object: Use the automatic selection tools to choose what you

Techtel Integrates Adobe Premiere Pro into inflo

TECHTEL, a leading independent broadcast technology systems specialist, has announced the integration of the Adobe Premiere Pro Extension for its inflo content management solution. This latest enhancement unlocks enormous potential for inflo customers by connecting the power of Adobe Premiere Pro directly to our inflo solution, enabling a seamless and more efficient end-to-end workflow for its users.

Inflo, recognised for ‘Innovation in News Production Technology,’ combines decades of broadcast experience with cutting-edge technology to deliver enterprise-class performance for high-end production. With the Adobe Premiere Pro integration, inflo now extends its capabilities further, enabling unprecedented access to professional-grade video editing tools without the need to switch between platforms.

“We are thrilled to integrate inflo into the Adobe Premiere Pro environment,” said Mal Chandler, CEO at Techtel. “While Inflo already enables customers to easily sub-edit and export clips,

this new integration takes content creation to the next level. Premiere facilitates advanced editing features like title sequences, special effects, colour correction, stock music overlay, graphics, and more. When you’ve finished your edit, content can be published back to inflo, making it accessible across the organisation within seconds. This exciting addition not only unlocks the potential of our customers’ content but also significantly improves workflow efficiency and saves considerable time.”

The integration provides a seamless bridge between content archives and editing workflows, enhancing collaboration, and streamlining media management. It allows users to import, cut, edit, and export clips directly from the timeline, maximising the full potential of their content.

“Working on the Adobe Premiere Pro integration for Inflo has been an exciting journey. This integration not only complements Inflo’s powerful media management capabilities but also simplifies and streamlines complex workflows for our users. By combining advanced editing in Premiere and live clipping within Inflo, we’re

want to change, pick your new colour, and refine to suit.

• Seamlessly combine multiple pictures: Blend the subject from one, the background from another, and elements from many more to create a never-before-seen image with the new Combine Photos Guided Edit.

• Create motion effects with four new Quick Actions: With just one click, create a sense of camera motion or add animated sparkles, a blinking heart, or an animated frame.

• Create with modern textures and graphics: Add new textured photo backgrounds, and embellish creations, social images, and more with graphics.

• Guided Edits: Make simple adjustments, custom creations, or eye-catching effects with 59 step-by-step Guided Edits in Photoshop Elements 2025.

• Apple M3 chip support. Visit https://www.adobe.com

giving our clients the tools they need to optimise their broadcast delivery and enhance the quality of their content,” said Peter Stevens, Inflo Product Manager at Techtel.

Premiere Pro supports over 400 third-party apps and plugins, making it the most widely supported video editing platform available. Creating a bridge to such a widely supported content manufacturing machine was an obvious direction for the inflo team, and it now facilitates access for our customers to specialists in AI sports highlights, stock music and stock vision, audio processing and video special FX to name a few. This new functionality combines the best of both worlds, allowing content creators to leverage the advanced editing capabilities of Adobe Premiere Pro while retaining the flexibility and centralised collaboration offered by inflo. Through this integration, Techtel continues to support and empower its customers with technology that enhances productivity, streamlines workflows, and enables delivery of the highest quality media production experience possible.

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

Colorfront Writes New Chapter in Colour Tools for Cinema & Television

COLORFRONT HAS OPENED a new chapter in SDR/HDR colour workflows with a multitude of new tools that augment its abundant feature-set for cinema and television mastering.

Unveiled at IBC 2024 during demonstrations at The Okura Hotel, Amsterdam, the new tools are powered by Colorfront Engine, the colour-volume remapper which uses the Human Perceptual Model for multiple-display mastering, while maintaining the original creative intent, and feature in Colorfront’s Transkoder, On-Set Dailies/Express Dailies products.

According to Colorfront, its new SDR/HDR colour tools deliver the guarantee of colour accuracy and eliminate awkward workarounds to work with emerging industry standards, streamlining speed and efficiency.

The SDR to Dolby Vision roundtrip tool transitions SDR to Dolby Vision HDR, and produces Dolby Vision XML metadata, guaranteeing that the Dolbyderived SDR output visually matches the original SDR content. This method presents a unified, streamlined, singlesource workflow for mastering and distribution, enabling content owners to leverage their catalogues of film and TV programming. The SDR to Dolby Vision feature is also available in AJA’s ColorBox.

An example of the SDR to Dolby Vision round-trip workflow experience is the conversion of Taylor Swift: The Eras Tour (2023) from standard 4K SDR to Dolby Vision 4K HDR by Transkoder for streaming on Disney+.

Earlier this year, Cricket Lane Post, the LA-based postproduction services company specialising in unscripted content, also used the new tool in Transkoder to convert all episodes

of Welcome to Wrexham – Season 3 (Disney/Hulu) from final graded SDR to Dolby Vision HDR. DCI to Dolby Vision Conversion

Matching the capabilities of the SDR to Dolby Vision tool, the DCI to Dolby Vision tool in Transkoder focuses on transforming XYZ cinema master content, designed for 48-nit theatrical content, into Dolby Vision HDR for home video. This tool preserves the original creative intent and simultaneously produces a Dolby Vision master with corresponding metadata.

HDR Cinema Delivery

in creating highlight-managed deliverables for emerging HDR exhibition technologies, including Barco’s Lightsteering projection.

HDR Harmony

With the proliferation of HDR cinema technology, including projectors and emissive displays, there is growing demand for tools that can efficiently produce additional deliverables, but without adding significant hours to the colour grading process. No matter the hero grade, the new HDR Cinema tool manages the conversions for any required cinema deliverables. Colorfront also supports the latest Digital Cinema Initiatives specifications for High Dynamic Range D-Cinema, meaning that HDR DCPs created in Transkoder meet the DCI standard for HDR content.

HDR Roll-Off

Using Transkoder’s new HDR Rolloff tool, users can easily roll-off the highlights in HDR content, using controls to manage peak luminance and the softness of the roll-off curve. The roll-off is performed in the perceptual colour engine to maintain the creative intent. This new feature will prove especially powerful

HDR Harmony is specially designed to correct overly-bright and saturated and/or out of spec HDR content. Leveraging Colorfront Engine’s perceptual image-processing, it protects against colour artefacts and highlight clipping, resulting in a cleaner displayed image.

Broadcast Converter Tools

The Broadcast Converter tools deliver a set of optimised controls to manage broadcast-based display-referred conversions between SDR, HDR PQ and HDR HLG. The Broadcast Converter Advanced tool builds on the standard Broadcast Converter, with an added softness control for SDR source images, plus support for BT2408.

HDR Brightness Guard

Some HDR content can be visually disturbing when large areas of the image are overly bright, such as large titles. With the HDR Brightness Guard, users can quickly identify the shots in their timeline that may contain large blocks of overly-bright highlights,

LucidLink Integrates with Adobe After Effects

LUCIDLINK, the storage collaboration platform for studios, brands, and creative professionals, used IBC 2024 to showcase its latest integrations with Adobe, featuring the LucidLink Panel for Adobe After Effects, alongside its latest preview of LucidLink 3.0.

This Adobe integration enables creative editors and graphic artists to optimise playback performance by pinning compositions directly within After Effects, enhancing efficiency and speed. The integrations are designed to streamline workflows for creative professionals working with Adobe Creative Cloud apps.

LucidLink version 2.7 recently saw use in remote collaboration during the Paris 2024 Paralympics with Open Mike’s The Last Leg. The multicamera live studio show utilised LucidLink to enable seamless content sharing between its production teams in Cardiff and Paris, with realtime access to H.264 clips and full-resolution MXF files from clips sourced on the day of transmission from a wide range of formats and locations, including online rips, ENG multicamera shoots, and extensive show archives. This cloud-based workflow facilitated instant collaboration between editors, speeding up the

by setting the brightness warning to a custom nit value. Markers are automatically generated on the timeline, allowing for quick and easy navigation to the relevant shots for review and the potential application of different conversion settings.

Subtitle Detection

When converting from SDR to HDR, burned-in subtitles can often be much brighter than desired in HDR. Transkoder’s Subtitle Detection tool enables users to detect the subtitles and adjust their brightness independently of the background image, for an optimal HDR master.

Cloud-Based Demonstrations

During IBC2024, Colorfront showcased the quality, and security of its systems by ‘livestreaming’ SDR/HDR footage processed by Colorfront Transkoder in-the-cloud. The number-crunching took place some 900 miles away, in Stockholm, Sweden, using regular hotel broadband to view the results in real-time.

Visit https://colorfront.com

content pipeline.

LucidLink also showed demos of the LucidLink 3.0 product preview, including new mobile apps for Android and iOS. LucidLink 3.0 will ship in Q4 2024, with a series of product updates to follow. Both the Adobe After Effects and Premiere Pro integrations are compatible with macOS and Windows, ensuring broad accessibility.

LucidLink panels for Adobe Creative Cloud video applications are available on Adobe Exchange. Visit https://www.lucidlink.com

WA’s NG Media Selects AEQ for Six New Studios

NG MEDIA PRODUCES radio content from one of the most remote regions in the world, the 250,000 square kilometres of Ngaanyatjarra Lands in Western Australia, with a clear focus on cultural and community-based information for the traditional inhabitants of that part of the country. The upgrade of its technology allows these remote communities to now share their stories and news with each other.

NG Media’s management, in collaboration with AEQ’s local Australian partner Broadcast Components, have selected AEQ’s digital radio technology as it allows for easy implementation and simple remote access for technicians and crew members. This new digital audio technology also means that stations can easily share high-quality content between different station locations.

To equip the heart of the system, the popular AEQ FORUM LITE digital console has been selected for its flexibility, robustness and ease of operation. AEQ FORUM can be configured between 4 and 12 faders to meet the needs of each of the 6 new studios, and more can be added in future expansions as the station and its operational requirements grow. This helps an organisation like NG Media on such an important project to adjust the investment when the budget is limited but prepares the station for the future.

NG Media opted for a 12-fader AEQ FORUM LITE at its main site in Wingellina (Irrunytju) and 8-fader AEQ FORUM LITE for its other 5 RIBS studios.

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, faderstart, signalling control,

control signals for the automation of external equipment, external communications management, intercommunication, etc.

With its modular design and small size, it adapts perfectly to different scenarios: self-monitoring, control-locutory, television 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 consist 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.

Broadcast Components’ technical team coordinated the installation of all cabling and electrical work for all locations, as well as

Radio NZ Upgrades Editorial System with Dalet

NEW ZEALAND’S INDEPENDENT public media organisation RNZ is partnering with leading media technology and service provider Dalet to deliver a much-needed internal editorial systems upgrade, freeing up RNZ’s kaimahi (staff) to spend more time on what really matters – the story.

Chief News Officer Mark Stevens said the replacement was long overdue.

“One of the existing systems we’ve been using in RNZ dates back to 1999. That might not seem that old, but in 1999 the biggest selling phone was the Nokia, it was also the year Google hired its first employee.

“RNZ kaimahi have performed admirably with these outdated tools and have come up with creative workarounds where they can, but we owe it to our storytellers to make the technical

side easier and allow them to focus on what matters for our audience.”

The replacement of RNZ’s legacy internal editorial systems will increase productivity and represents an investment of NZD$4.5m for the establishment and first five years of operation. The replacement also aligns with the recommendation of the Independent Review Panel for RNZ to update its software and systems to ensure they are fit for purpose, efficient and effective.

Chief Technology Officer Mark Bullen said the level of investment reflected RNZ’s overall strategy of digital transformation while maintaining its role as a public media cornerstone.

“RNZ celebrates its 100th birthday next year, but it’s really been in the last 10-15 years that

supplying all other ancillary equipment such as microphones, loudspeakers, processors, ONAIR indicators, etc., in an ambitious turnkey project in one of the most remote locations in the country. To ensure continuity of transmission and minimise security issues, the equipment rack furniture has been moved from inside the studios to a separate room with controlled access.

Australian engineer Ben Pridmore was ultimately responsible for the installation and was in charge of coordinating the commissioning and on-site training, as well as the requested remote work.

Visit https://ngmedia.org.au, https://broadcastcomponents.com.au and https://www.aeq.eu

we’ve experienced the biggest changes in our digital landscape. This is about RNZ catching up, embracing the modern technologies that will streamline our processes and uplift our ability to deliver news and information quickly. We want to make sure we are prepared for the next 100 years and whatever comes our way.”

The selection of Dalet to deliver the new system was made after a rigorous six-month tender process with almost 200 specific requirements, including around RNZ’s role as a lifeline utility needing a hybrid solution (cloud and on-premise) so it can stay on air and deliver news broadcasts during civil defence emergencies.

RNZ will now work with Dalet on a comprehensive training programme for staff before transitioning to the new system in 2025. Visit https://www.dalet.com

RØDE Crosses the Streams with Integrated Video and Audio Console

Bridging the worlds of audio and video podcasters, creators and influencers, RØDE has announced a production console that combines video switching, production, and recording capabilities with a complete professional audio studio.

According to the company, “Just as the original RØDECaster Pro revolutionised the podcasting landscape, the RØDECaster Video now does the same for video production, offering a comprehensive and intuitive allin-one solution for content creators, video podcasters, live streamers, and broadcasters that’s as versatile as it is powerful.

“Boasting an unprecedented feature set not found in any video switcher or audio mixer alone, the RØDECaster Video delivers groundbreaking flexibility and unmatched control for today’s creators, from solo streamers and creators at home, to producers operating large-scale video productions and events.”

Key Features of the RØDECaster Video include:

• High-performance octa-core CPU with a next-generation video engine, built from the ground up, allows for an innovative scenebased architecture that makes it super simple to create, configure, and switch between complex multi-source layouts.

• Four HDMI inputs and two flexible USB-C inputs allow for connecting and switching between six video sources simultaneously, including USB webcams.

• Two studio-grade Neutrik combo jacks with ultra-low-noise, highgain Revolution Preamps for capturing pristine audio from XLR microphones, instruments, and other audio equipment.

• Dual internal wireless receivers for connecting RØDE Series IV wireless microphones such as the Wireless PRO, Wireless ME, and Wireless GO II.

• Powerful APHEX audio processing, including an EQ, compressor, noise gate, high-pass filter, de-esser, and the Aural Exciter, Big Bottom, and Compellor effects.

• Automatic green screen or blue screen for replacing backgrounds and using video sources in scenes.

• Innovative ‘Inspect’ feature for quick-and-easy preview and configuration of any input or scene.

• Intelligent audio-based auto-switching for seamless hands-free switching between video

Sony Closed Monitor Headphones

SONY RECENTLY announced the MDR-M1 Reference Closed Monitor Headphones, designed for music creators and sound engineers to produce music in any environment, heard as they intended. The headphones feature a closed acoustic structure with high sound isolation, an exclusively developed driver, and a lightweight and comfortable design that allows users to create in their own environments, as if they were in the studio. The

MDR-M1 headphones combine studio sound quality with extreme comfort and reliability, suitable for a wide range of music production and high-resolution audio applications.

The MDR-M1 offers studio sound quality with a carefully tuned acoustic structure to support a wide range of music production, all while offering high-resolution audio. At the core of the sound quality is a uniquely developed driver unit that achieves ultra-wideband playback

AI Soundscapes from Text-Based Prompts

SOUND DESIGN technology developer Krotos has released Krotos Studio 2.0.3, featuring a powerful AI Ambience Generator. According to the company, this new tool empowers all content creators, including but not limited to filmmakers, sound designers, and game developers, to craft dynamic and customisable soundscapes by simply describing a scene.

With access to a vast library of professionally recorded sounds, users can quickly generate high-quality ambiences tailored to their projects, offering greater flexibility and creative control.

The AI Ambience Generator allows both Krotos Studio and Krotos Studio Pro users to create immersive, dynamic soundscapes simply by typing a description. Whether crafting the sound of a “forest at dawn” or an “urban city night,” this tool leverages AI to search through Krotos’ vast and ever-expanding library of professionally recorded sounds to generate customisable presets in real-time. Unlike fixed audio files, the AI Ambience Generator produces editable presets that can be fine-tuned to meet specific project needs, making the process of adding sound effects to video faster than ever before. Users can then export the soundscapes directly to any DAW or NLE, including Adobe Premiere and DaVinci Resolve, ensuring seamless integration into their workflow.

Visit https://bit.ly/4dOmxsJ

sources and scenes, perfect for solo creators and shows without producers.

• Stream directly to all major platforms via Wi-Fi, Ethernet, or USB and record directly to an external USB storage device, including multitrack and isolated (ISO) recording for complete post-editing flexibility.

• Remote control, user-assignable graphics and media, custom scene building, audio mixing and effects, and other advanced configuration options via RØDE Central.

Visit https://rode.com

(5Hz – 80kHz), featuring a combination of a soft edge shape to reproduce low frequencies with sufficient volume and low distortion, and a hard dome shape to accurately reproduce ultra-high frequencies.

The closed acoustic structure helps eliminate ambient noise and sound leakage from the headphones, making them suitable for use in a variety of production processes.

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

Shure’s Game-Changing Mic

SHURE RECENTLY announced the launch of the new dynamic MV6 USB Gaming Microphone, designed for PC gamers and streamers seeking consistent, high-quality audio at an accessible price point. With Shure’s signature look and feel, the MV6 USB Gaming Microphone is ready to use out-of-the-box and easy to operate, thanks to integrated DSP technology, including Auto Level Mode, Digital Popper Stopper, and Real-time Denoiser. The new MV6 dynamic microphone, certified for OBS (Open Broadcaster Software), leverages Shure’s legacy of professional audio quality, wrapped in an iconic form factor.

Inspired by Shure’s iconic SM7 and MV7 lines, the MV6 Gaming Microphone is a suitable solution for gamers and streamers looking for their first professional microphone. Dynamic capsules excel in isolating the speaker’s voice from background sounds and room noise, which are common in untreated streaming and gaming spaces. The combination of its dynamic cartridge with advanced DSP features and integration with Shure’s MOTIV Mix App ensures gamers and streamers enjoy studio-quality performance in every session without worrying about gain adjustments, plosives, or background noise. Plus, its easy-access tap-to-mute button adds an extra level of control for a completely seamless experience.

Visit https://www.shure.com/en-ASIA and https://www.jands.com.au

Audiotech Peaks at IBC2024

Collaborations, partnerships and innovation were in the air when it came to audio technology at this year’s IBC show in Amsterdam.

LAWO, the RAVENNA audio-over-IP technology developer, welcomed Jünger Audio to the RAVENNA community. A longtime manufacturer of audio processing, conversion and authoring solutions, Jünger Audio has been partnering with the RAVENNA team for a while to ensure compatibility for its audioover-IP interface, the flexAI S-ADM Authoring and Renderer. Based on SMPTE ST 2110, AES67 and other format standards, the next major release version will add the final components to fully comply with the RAVENNA standard.

Visit https://www.jungeraudio.com/ and https://www.ravenna-network.com/

Meanwhile, Lawo’s crystal Clear Virtual OnAir Control Interface made its debut at IBC 2024. crystal Clear offers broadcasters an intuitive virtual control solution, designed to transform how radio content is created and delivered, whether in the studio or remotely.

crystal Clear offers a Self-Op view designed for radio hosts with minimal technical background, and a Broadcast Engineer view for those requiring advanced functionality and control. Assistive technologies leverage advanced automation features such as automatic mic input gain, fade in/out, and AutoMix groups for hands-free mixing, enabling hosts to focus on engaging with their audience. The crystal Clear software combines playout systems, web sources, audio control, and social media tools into a single, unified and streamlined interface - allowing presenters to focus on content without being distracted by multiple displays and controls.

LAWO says crystal Clear is the perfect control interface for its Power Core Modular I/O and DSP device. Depending on the number of studios and channels users require, they can choose among the following Power Core licences: Console Compact (console sizes of

2~14 faders, for small self-op studios, talk studios, remote production and OB vans); and Console MAX (up to 4 typically-sized, independent radio consoles, for as many operators). To extend or distribute local I/O, such as microphones and headphones, the Lawo Audio I/O Extender (AIOX) is the perfect companion.

Visit https://lawo.com/

CALREC AUDIO celebrated 60 years of putting sound in the picture at IBC2024 and marked the occasion with three major product launches, the compact Argo M console, the ImPulseV cloud audio mixing solution, and True Control 2.0.

All three products will be launched and represented by D2N Technology Solutions in Australia.

Built on the same technology that powers Calrec’s established Argo platform, the new Argo M brings the exact same feature set and operational familiarity as the larger Argo Q and Argo S consoles in a compact 24- or 36-fader footprint. Designed for small to medium applications and adopting the same “everything anywhere” approach, Argo M is a plug-and-play SMPTE 2110 native console. Argo M features integrated DSP processing and no networking or PTP sync required for independent operation. It also has built-in analogue and digital audio I/O and GPIO, 3 x modular I/O slots for further expansion, and a MADI I/O port via an SFP.

Argo M supports 5.1.2, 5.1.4, 7.1.2 and 7.1.4 immersive paths for input channels, busses, metering and monitoring as standard, and the same familiar Calrec Assist UI for remote control on a standard web browser. Meanwhile, the Calrec Connect AoIP system manager makes IP streams easy to manage and adds essential broadcast functionality.

It is available with 304 or 356 internal DSP processing paths, while external ImPulse and ImPulse1 processing cores can expand processing capacity to 432 DSP paths as well as provide additional redundancy. With up

to four Argo surfaces able to share access to a pair of redundant ImPulse cores, Argo M can also connect to an existing ImPulse core alongside other Argo surfaces to create multi-console environments. The introduction of ImPulseV gives Argo M access to cloudbased DSP packs, with scalable and secure cloud-native DSP processing core and control software on demand.

Following its development preview at NAB, the ImPulseV cloud-based DSP processing core provides a virtualised Calrec audio mixing engine in a cloud-native AWS environment. Leveraging a patented x86 CPU optimal core processing (OCP) technology to operate in a virtualised Linux environment, ImPulseV is optimised for low latency throughput, providing real-time responsive, efficient and deterministic audio processing, control, routing and mixing.

ImPulseV enables broadcasters to deploy audio mixing instances as needed to meet the demands of a range of events, while its economical OpEx cost model can enable broadcasters to cover second and third-tier sports which may not have been economically viable.

Calrec’s True Control 2.0 builds on Calrec’s RP1 True Control implementation to provide expanded levels of control in two key areas: control of an expanded feature set including EQ, dynamics, routing, direct outputs, and delay, and unparalleled flexibility to scale remote productions as needed.

True Control 2.0 is available on Type R, ImPulseV, Argo M, Argo Q, and Argo S, allowing any of these products to remotely control any other True Control 2.0 enabled product. Moreover, any one of these controller consoles can access up to five other consoles simultaneously.

Visit https://www.d2n.com.au/ and https:// calrec.com/

RIEDEL COMMUNICATIONS announced the launch of its innovative Smart Audio & Mixing

(l-r) Calrec GM Sid Stanley, D2N MD Jason Owen and Calrec Global Sales Director David Letson at IBC 2024 with the new Argo M 36-fader

Engine (SAME), an all-new audio processing software suite designed to meet the evolving demands of modern audio workflows.

SAME is based on the latest commercial offthe-shelf (COTS) server cluster technology to deliver processing capabilities that scale effortlessly with production needs. With an extensive suite of over 30 advanced audio processing tools and mixers — spanning from automatic levelling and dynamic equalisation to 5.1 upmixing, loudness meters, or signal analysers — the solution caters to a wide range of applications such as voice-over, automated mixing, audio monitoring, or in-line process insertion. In combination with the universal inputs of Riedel’s new range of Network Stream Adapters (NSA), users will be able to access a fully automated signal path from mic to ear.

SAME’s Audio Pilot ensures that audio engineers can always maintain the “big picture” of all running productions, offering a comprehensive view of multilocation productions for centralised monitoring and management. The Audio Pilot also introduces a process- and mixer-independent audio monitoring system with fully automated monitoring path switching, allowing users to select and listen to any running process instantly across the entire system without the need for manual signal routing.

The brand-new management platform Riedel STAGE simplifies the mixing and matching of devices, roles, and personnel without the need for protocol or IP knowledge, streamlining operations and reducing setup and training times. This management backend features strong remote assistance capabilities for remote or at-home production scenarios and is compliant with the highest IT security standards. The browser-based tool also features extensive user-rights management with integration to corporate directories and third-party identity providers (LDAP/AD, SAML, etc.). Because processing and I/O routing are not tied to a physical location, SAME enables rapid switching between different workspaces and production areas and avoids processing resource bottlenecks and access rights problems associated with traditional monolithic processing solutions.

Riedel also announced the launch of its Virtual SmartPanel (VSP). This software solution enables users to leverage their mobile devices for remote intercom connections, providing enhanced operational efficiency and accessibility across various production environments. Riedel’s VSP is set to revolutionise the way intercom systems are deployed and managed, introducing a virtual hybrid infrastructure that seamlessly integrates with the Artist-1024 platform and sets the stage for the next generation of Riedel software solutions.

The VSP is characterised by a user-centric design that is as functional as it is intuitive. It features customisable key banks and extensive profile management capabilities, allowing users to tailor their communication setup to their specific requirements. The interface’s layout and functionality are inspired by Riedel’s 1200 Series SmartPanel for a familiar and efficient user experience, with the number of available keys scaling from 16 (phone) over 48 (tablet) to 64 (browser).

As one of the first products to leverage Riedel’s STAGE management platform, the VSP offers a fresh and secure approach to user authentication with seamless integration with customers’ existing identity providers, ensuring a smooth transition and quick deployment. STAGE also offers enhanced remote support features, such as Live View and Remote Control, empowering administrators to monitor key status and resolve issues in real time. A user-centric licensing model offers users access across multiple devices with a single subscription, enabling seamless transitions between platforms. This flexibility extends to the intercom configuration, where each user can manage multiple profiles, effortlessly switching roles between productions without requiring additional setup from the engineering team.

Lastly, Riedel announced two new additions to its Network Stream Adapter (NSA) series: the NSA-003A and NSA-006A. These interfaces are designed to advance IP-based audio and intercom workflows.

The NSA-006A is designed specifically for audio workplace environments, offering a robust set of features tailored to modern IP-centric workflows. Its universal inputs (Mic, Line, and AES3) and outputs (Line and AES3) provide format-agnostic flexibility with physical connection detection for every audio port, as well as automatic switching on the inputs. The compact device also includes a stereo USB-audio interface, a headphone output with volume control via rotary knob and LED volume bar, and three GPIOs for enhanced flexibility. Its rugged design and comprehensive feature set make it indispensable for commentary and voiceover booths, control rooms, and off-site productions.

The NSA-003A, on the other hand, is a versatile 2-wire analogue intercom adapter that combines a compact design with advanced functionality. With two physical 2-wire connections, this interface allows connections between up to four third-party analogue partylines and digital/IP-based intercom systems like Artist and Bolero. The inclusion of a stereo USB-audio interface facilitates easy streaming of audio from a connected device directly into the AoIP network, while three GPIOs enhance the device with call and mic mute capabilities via external buttons. Together with auto echo cancellation support, this feature set makes the NSA-003A an essential tool for production environments where reliability, flexibility, and interoperability are paramount.

Both new models are designed with IPcentric workflows in mind, supporting open standards such as AES67, SMPTE 2110-30 and 31, and NMOS IS-04, IS-05, IS-07, and IS-08. They feature dual PoE and SMPTE 2022-7 redundancy with in-band or out-of-band management, ensuring reliable performance even in the most demanding conditions. Visit https://www.riedel.net

DPA MICROPHONES released its new 2061 Miniature Omnidirectional Microphone, a solution intended for individuals who work with professional-level sound capture of the voice. From broadcast studios and ENG applications to theatres, event venues and houses of

worship, the 2061 lavalier is a high-quality, easy-to-use solution that is suitable for any live or recording application.

Borrowing several design elements and principles from other DPA lavaliers, the 2061 features a simplified 5 mm capsule construction that targets superior performance in the 50 Hz – 16 kHz frequency range, with 128 dB peak SPL. Like its predecessors, the 2061 has best-in-class speech intelligibility via the clear, natural DPA sound, as well as a robust mechanical construction for long-lasting performance. With an omnidirectional pickup pattern, this pre-polarised condenser microphone is designed to accurately capture the human voice with minimal coloration and a high level of fidelity and intelligibility, from any direction. The DPA 2061 has a flat frequency curve with a soft 3 dB boost at 8 kHz – 16 kHz. The mic is not pre-tailored to compensate for any specific position in which a lavalier is commonly placed, which allows a sound engineer to capture authentic sound from any arrangement. Visit https://www. dpamicrophones.com/2061

DHD AUDIO launched the RM1 All-in-One Audio Interface, a compact, lightweight desktop unit capable of operating from a wall outlet or USB-linked power source. Designed to bridge the gap between podcast and broadcast, the RM1 is a mobile audio mixer and multichannel interface with integrated audio processing capability. Features include an audio equaliser, compressor, limiter, multitrack recorder, on-air tally, and AutoMix, which automatically balances all incoming audio channels to ensure a clean and balanced mix.

Visit https://dhd.audio/

WOHLER announced the latest addition to its iSeries line of in-rack audio monitoring solutions: the iAM1-MIX8. This 1RU product is the next generation of Wohler’s MIX Series and offers the ability to sum, mute, and solo channels in 8 mono or stereo cluster configurations for monitoring purposes and to create a mix as a new output with operatoradjusted cluster trim levels. This key workflow feature, which made prior MIX series units popular, is now enhanced with an upgraded touchscreen interface, improved screen graphics, and new tactile individual channel rotary encoders. These updates ensure workflows remain seamless and user-friendly, preserving the simplicity and efficiency that have long been hallmarks of Wohler’s designs. This next-generation model comes MAVRICready and is standard with 3G-SDI and a pair of analog I/Os. Upgradeable options include support for SMPTE-2110, SMPTE-2022-6, AES3, and MADI. A signal routing option is also available and can be added at the time of purchase or later. Additionally, there are multiple rear panel option cards that provide support for AES67, Dante, and Ravenna (with hitless support), additional analog inputs, additional SFP inputs, and 12G-SDI (which includes support for remote video monitoring with MAVRIC). As with all Wohler in-rack monitors, high-quality speakers and a headphone jack are standard features. The iAM1-MIX8 reaffirms Wohler’s commitment to delivering innovative, reliable solutions for the broadcast industry.

Visit https://www.wohler.com

Empowering Broadcasting: How the Cloud Removes Barriers in APAC

By Jay Ganesan, Senior Vice President, APAC, Amagi

THE GLOBAL BROADCASTING landscape is undergoing a profound transformation, shifting from a single linear content supply chain to a diversified, multi-platform ecosystem. This evolution is driven largely by the preferences of modern audiences, who consume content across multiple devices and platforms. Cloud technology plays a pivotal role in enabling this diversification, offering broadcasters the flexibility and scalability they need to manage and distribute content to multiple platforms efficiently.

Broadcasters in APAC have been somewhat hesitant to embrace cloud technology, in part because their technology investment philosophy tends to favor capital expenditures (capex) over operational expenditures (opex). Particularly, broadcasters perceive the opex of the cloud as being significantly higher than the capex of running workflows on premises. Moreover, having relied on on-premises solutions for decades, they are wary of moving their operations to the cloud, questioning its reliability and stability. As a result, many broadcasters in the region continue to invest in on-premises hardware to replace end-of-life equipment, perpetuating a cycle of hardware dependency.

Comparing the Costs of Traditional Hardware vs. Cloud Infrastructure

Traditional hardware infrastructure requires a large upfront capital expenditure to cover the purchase, integration, and configuration of the necessary hardware resources. When investing in traditional infrastructure sufficient to support specific resource demands, broadcasters risk either overprovisioning and letting resources go unused or underprovisioning and missing valuable opportunities due to lack of necessary resources.

Moreover, a typical on-premises cost structure includes both visible and hidden costs. Broadcasters often focus on the visible costs — infrastructure, development and system integration, and application licenses — yet overlook the significant hidden costs associated with facilities, workforce, and overcapacity. The cloud, on the other hand, allows broadcasters to align both compute resources and their cost structure with actual demand, minimizing large upfront capital expenditures as well as lost opportunity costs. Cloud infrastructure can scale in real time — in a pay-as-you-go model — to meet variations in demand, giving broadcasters greater agility in delivering high-quality content to diverse audiences and, in turn, expanding their reach.

Optimising Content Creation, Delivery, and Disaster Recovery

Beyond its ability to scale with demand, and thereby enable infrastructure cost savings, the cloud enables broadcasters to optimize key workflows from ingest through delivery. By

leveraging cloud technology to support their operations and streamline critical processes, broadcasters can reduce both the time and resources required to manage live content.

Streamlined Broadcasting Workflows

Cloud technology unifies various workflows, making broadcasting more efficient and costeffective. For instance, through workflows in the cloud, broadcasters can ingest media files with automated quality control, validations, and more; push or create playlists; schedule content; and add graphics for playout. Moreover, cloudbased master control allows for the management of live sports and news, providing real-time updates of scores, statistics, breaking news, and viewer interactions. It also facilitates seamless content distribution across multiple platforms by offering scalability, flexibility, redundancy, cost-effectiveness, and global reach, ensuring consistent and high-quality delivery compared to traditional, non-cloud models.

Versatility in Playout and Delivery

Cloud technology supports various playout and delivery formats, including traditional linear and OTT channel playout, localized and opt-out channels, time-delayed channels, and temporary pop-up channels. For instance, in 24/7 linear channels, cloud users can schedule playlists and seamlessly add graphics and captions to the output stream, either as preconfigured elements or through real-time control. Then, unified cloud workflows can deliver these feeds to both cable and OTT platforms, ensuring a consistent viewing experience across all distribution channels.

Robust Disaster Recovery Solutions

Cloud technology offers various levels of disaster recovery (DR), all of which can ensure 24/7 channel uptime. Always ready for immediate use, a hot solution includes a fully redundant DR setup in an alternate cloud region, with automated content/schedule ingest and egress on demand. A warm solution can quickly “warm up” to full operation when needed, providing substantial cost savings because it includes only the components necessary for ingesting content and maintaining readiness. This model offers always-on automation with the ingest of content, schedules, and graphics, as well as spin-up playout on demand. Finally, a cold solution relies on evergreen content, so it doesn’t require constant updates or ingest of new content. It includes spin-up automation and playout on demand, but rather than being ready to go, it must be activated when needed.

Transforming the Paradigm of Make, Move, and Monetize

Cloud infrastructure maps neatly onto today’s diversified, multiplatform ecosystem, which can be broken down into three key stages: Make, Move, and Monetize.

The first stage, Make, involves live orchestration

and playout of content, including thematic programming, live sports, and news. Cloud technology facilitates several critical functions in this stage, including metadata management for efficient content organization and tagging, as well as adding subtitles to enhance accessibility. It also involves automating program and ad scheduling while incorporating dynamic graphics for visual appeal. Additionally, cloud technology provides EPGs and coordinates live broadcasts. It can manage multiple channels simultaneously through ganged controls and create temporary live channels for special events. Finally, this technology can continuously monitor channels to ensure quality and compliance.

The second stage, Move, focuses on the creation and distribution of channels across various platforms. This stage is essential for reaching a diverse audience that consumes content through different platforms and services. Cloud technology supports multiple distribution channels, including DTT, cable and DTH, D2C apps, CTV, and FAST, making it easier for broadcasters to manage and distribute content across the widest possible audience.

The final stage, Monetize, involves generating revenue from content through advertising and analytics. Cloud technology provides broadcasters with advanced tools to optimize their monetization strategies. These tools include dynamic ad insertion based on viewer demographics and behavior, contextual ad placement for enhanced viewer engagement, and use of proprietary ad platforms to manage and deliver ads, ensuring greater control over ad inventory and revenue.

Moving Ahead With Cloud-Based Broadcast Technology

Despite some initial hesitation, broadcasters in the APAC region are increasingly embracing cloud technology and its benefits — from cost efficiencies and scalability to streamlined workflows and robust disaster recovery solutions. Workflows in the cloud are enabling them to unify their technology and operations; navigate the stages of content creation, distribution, and monetization more nimbly; and deliver high-quality content across a diversified ecosystem. As APAC broadcasters continue to move forward with cloud technology, these benefits will play a vital role in their future success and growth.

Visit https://www.amagi.com

TPN Rising to the Challenge to Enhance APAC Content Security

By Crystal Pham - Vice President, Operations and Program Management, TPN

According to figures published in Variety earlier this year, the global media and entertainment industry will exceed $1 trillion in value during 2024 – a huge success story driven by decades of creative innovation. In this context, security remains a major priority for Content Owners the world over, whose investment and commitment help drive the industry forward.

WHEN SECURITY breaches occur, the associated impact can be extremely detrimental. Research released in 2023, for example, revealed that the media and entertainment industry lost 9% of its revenue in the preceding 12 months as a direct result of cyber-attacks, with each M&E business suffering an average of 25 attacks.

As a result, whether investigating and recovering from an incident or calculating the impact of lost revenue, Content Owners look to their technology partners and service providers to secure their infrastructure and data. This is an important relationship from a number of perspectives because finding a partner with the right credentials, skills and experience can deliver transformational benefits for Content Owners focused on security. Keeping content secure

In response to these challenges and at the request of its studio members, the Motion Picture Association (MPA) created a content security initiative called the Trusted Partner Network (TPN). Launched in 2018, TPN works to improve content security awareness, preparedness and standards with over 1,100 partners that include production, editorial, VFX, post and distribution companies, content producers, and Content Owners in more than 60 countries. This includes helping members identify vulnerabilities, increase security capabilities, and efficiently communicate their security status to customers.

At the heart of TPN is a bespoke platform that connects the world’s biggest Content Owners with Service Providers. Known as TPN+, this community network offers a centralized resource of trusted information for member companies to participate, communicate centrally, and self-manage their security

status, including third-party security assessments. By leveraging TPN’s resources, Content Owners have greater visibility of each Service Provider’s content security preparedness across their entire ecosystem. At the same time, it enables Service Providers to promote their security capabilities globally, supported by a streamlined process that includes an assessment conducted by an independent TPN-accredited assessor. Service Providers can pursue TPN Blue Shield self-reporting and TPN Gold Shield third-party assessment, demonstrating their content and cyber security compliance against the MPA Content Security Best Practices and enhancing their ability to communicate their preparedness to content owners worldwide.

Focused industry insight TPN is also at the forefront of continually keeping pace with rapid industry and technology evolution by managing and updating MPA’s Content Security Best Practices to include technology trends such as Zero Trust architecture, Artificial Intelligence and Machine Learning. The MPA Best Practices form the basis of TPN’s framework for security preparedness, which is vital to securing content in the cloud and on-site, including work-from-home software applications. To help develop this unique insight and guidance, TPN analyzed data gathered from more than 600 TPN assessments over the last 18 months, to conduct research focusing on the security readiness of Service Providers in different regions of the world. This helps members see where they stand compared to their global peers, how effectively they safeguard content and how the TPN program has helped them improve their security preparedness. It is also extremely helpful for content owners as they look for Service Providers who can meet their own independent, risk-based needs.

At the 2024 BroadcastAsia event in Singapore, for example, TPN revealed data from its most recent APAC-focused research. APAC is a key region for the industry and for TPN, as 35% of its members are based in that region, with 63% of those based in India. Among the main research findings was that despite working on the highest percentage of pre-release content globally, and specifically on VFX, the APAC region lags behind the rest of the world when it comes to meeting MPA’s Incident Report, Risk

Management, BCP and DR Best Practices. Close to 70% of the region’s service providers do not have an incident response plan, defined scope for risk assessment or test business continuity procedures regularly.

In addition, APAC is increasingly working in cloud or hybrid environments but does not have a well-defined shared security responsibility matrix (SSRM) and does not utilize third parties to conduct risk assessments. Finally, when it comes to disaster recovery, nearly 80% of Service Providers do not have cybersecurity insurance and/or a set of established priorities for disaster recovery procedures.

These are vital issues, especially in the context of recent industry research published by the Asia Video Industry Association’s Coalition Against Piracy (CAP) revealed that incidents of content piracy across the APAC region rose from 52% in 2023 to 59% this year. With social media and messaging platforms an increasing part of the piracy problem, Content Owners and Service Providers are under pressure to optimize their protection levels.

On a content security mission

Moving forward, TPN plans to roll out various resources for its global member base. It will also continue pursuing its “one industry, one baseline” goal of making security-focused Service Providers much easier to find for smaller, independent Content Owners, producers, and the larger MPA members. In doing so, TPN is helping deliver a win-win for every stakeholder and a more secure content ecosystem for the global industry.

Visit https://www.ttpn.org/

IBC2024 Delivers on Content Delivery

The single biggest technology category at this year’s IBC saw the announcement of a host of new solutions

GRASS VALLEY announced the launch of the ACE-3901 Next Generation 12G Modular Agile Computing Engine and the XIP-3911-GRID firmware for the XIP Modular Processing Platform at IBC 2024. The company says the new releases mark a significant evolution in Grass Valley’s Densité Modular Platform.

The ACE-3901 delivers high IP input/output density, offering up to 400Gb IP bandwidth per module and up to 256 12G-SDI or 384 3G-SDI gateways within a single 4RU Densité frame and providing up to a tenfold increase in density and a fivefold reduction in cost per channel.

The ACE (Agile Computing Engine) platform is centred around the GV Media Universe, offering integration of modular devices as distributed edge processing units within a larger system. This setup allows for a hybrid approach, combining modular hardware, commercial offthe-shelf (COTS) computing, and software to create a highly flexible and agile solution. ACE can also operate as a standalone gateway and processing device, featuring comprehensive APIs and third-party control options for easy integration with existing systems.

The XIP-3911-GRID firmware, meanwhile, addresses a critical pain point in SaaS applications running on COTS (commercial offthe-shelf) servers which continue to be limited by their PCI expansion slots, often restricting SDI inputs/outputs to just 12 or fewer signals.

The XIP-3911-GRID solves this by providing an SDI gateway interface directly to AMPP GRID leveraging FPGA modular hardware, enabling a single 1RU server to handle up to 128 AMPP GRID signals, a more than tenfold increase in capacity.

Visit https://www.grassvalley.com/

APPEAR, the provider of processing and delivery technology, announced an update to its HEVC and AVC compression solutions.

Through its X Platform, Appear can now deliver up to a 73 percent improvement in latency performance without compromising picture quality. These advancements in latency reduction extend Appear’s compression suite, which powers live content from groundto-ground and cloud-to-ground production infrastructures. The enhanced performance of HEVC and AVC compression, now with even lower latency, will benefit broadcasters and live event producers demanding reliability, flexibility, speed, and scalability. Visit https:// www.appear.net/

INTOPIX announced the pre-release of the latest version of its JPEG XS IP cores and SDK, now supporting Master and Proxy encoding/ decoding.

The enhanced TicoXS IP cores and FastTicoXS SDK deliver high-performance compression with an added proxy workflow capability, providing users with a flexible, efficient method to work with lower-resolution and low-bitrate JPEG XS proxies alongside full-resolution master streams. Designed to simplify complex

media workflows in studio environments, live production, and post-production, the new JPEG XS technology enables real-time, low-latency, synchronised Master and Proxy workflows across a wide range of devices and applications.

This capability offers a streamlined solution for media workflows that require flexibility without compromising video quality and latency. By delivering the same content in two resolutions, teams can switch easily between the highresolution Master stream and the lightweight Proxy stream, optimising resources for a variety of tasks.

Visit https://www.intopix.com/

AI-MEDIA and SPEECHMATICS announced a strategic expansion of their multi-year partnership to deliver new and better AIdriven products to market. This partnership brings together Speechmatics’ speech-to-text technology and AI-Media’s iCap-based encoding appliances and secure network that embeds the technology within customers’ existing workflows and automation systems. By integrating these capabilities, AI-Media’s LEXI 3.0 has been the first AI product to overtake the quality of human-in-the-loop alternatives in the live video market.

Visit https://www.ai-media.tv/

ACCEDO announced a new collaboration with Amazon Web Services (AWS), Brightcove, and New Relic to support its dedicated OTT Managed Service, which is designed to reduce complexity and risk for OTT service providers. AWS, Brightcove and New Relic have successfully completed a detailed vetting process to ensure alignment with Accedo’s Managed Service in aspects such as technology, go-to-market strategy, and commercials. Companies that have gone through this process are entered into Accedo’s Managed Service Partner Hub, granting them a preferred status for client engagements managed by Accedo.

Under a Managed Service engagement, Accedo takes ownership of operating and enhancing its customers’ OTT video services, including managing the end-to-end ecosystem, encompassing technology, functionality, people, and processes. By partnering with leading technology vendors, Accedo is able to offer a holistic package that connects all relevant software to create an efficient platform for running and growing a competitive video business.

Visit https://www.accedo.tv/

HARMONIC announced that its VOS360 Ad SaaS has been officially integrated with FreeWheel’s platform for server-side ad insertion (SSAI) and in-stream advertising. This incorporation ensures reliable performance within the ecosystem of FreeWheel, the global technology

platform for the advertising industry, exposing streaming platforms and broadcasters to enhanced, dynamic ad experiences across live and on-demand video streams.

Harmonic’s VOS360 Ad is an innovative cloud-native, stand-alone SSAI solution that enables personalised full-screen and instream ad delivery to millions of concurrent viewers. VOS360 Ad includes in-stream advertising through server-side insertion of new addressable ad formats such as doublebox and dynamic L-bars. In-stream advertising with split-screen ad formats is particularly crucial in the context of live sports streaming, where maintaining viewer engagement is paramount. Featuring a user-friendly interface and developer-ready APIs, the industry-proven solution provides a complete workflow for creative processing, delivery and manifest manipulation with frame-accurate insertion. A feature of the solution is its ad reporting dashboard, which provides KPI metrics to easily understand the health of the system, monitor fill rates and maximise yield.

Visit https://www.harmonicinc.com/

INSYNC TECHNOLOGY announced the integration of its FrameFormer product into the Grass Valley Agile Media Processing Platform (AMPP), accelerating broadcast workflows and live streaming delivery. This combined solution will provide broadcasters with a more dynamic, flexible, and highly scalable suite of features for improved image quality and global cloud playout.

Grass Valley is the latest industry partner to join the ‘InSync Inside’ campaign for InSync’s FrameFormer technology. The two companies have a shared history, with InSync’s CTO, James Shepherd, having helped design Grass Valley’s Alchemist product. Shepherd is regarded as the leading frame rate conversion technologist in the industry.

InSync also announced the release of the industry’s first dual-channel HD broadcast frame rate converter, fully integrated with the SMPTE 2110 standard in a compact one rack unit (1RU) form. The SMPTE 2110 standard specifies a suite of IP delivery schemes for real-time transmission of video, audio, and metadata, making the InSync MCC-HD2 suitable for global broadcast workflows for live events, particularly sports content.

Visit https://www.insync.tv

MEDIAKIND launched new services within its MK.IO platform designed to streamline live event workflows from the edge to the cloud. These new capabilities – Fleet Management, Flow Control, and AI Automation – combined with MK.IO Beam edge processing, create a Programmable Media Network. This approach allows event producers to efficiently manage diverse live workflows on a per-event basis, reducing the complexity and cost of live production and in-venue operations.

According to MediaKind, Programmable Media Networks offer a transformative solution, allowing operators to rethink their approach to live events.

“Imagine setting up a contribution network with just a few words or using the same infrastructure to stream every camera angle to the public during an event. This versatile approach enables the reprogramming of live workflows on a per-event basis, eliminating the need for significant infrastructure investments or lengthy setup times. The same infrastructure can support content contribution, distribution, in-venue streaming, replays, and even expand to new applications leveraging real-time data from the venue.”

MediaKind’s MK.IO brings together the core technologies needed to deliver the benefits of Programmable Media Networks:

MK.IO Beam and Fleet Management: This solution uses containerized software on commercial off-the-shelf (COTS) servers, replacing single-purpose hardware with a flexible, reprogrammable solution for edge video processing. Managed through MK.IO’s unified cloud control plane, Beam devices can be easily upgraded, configured, and monitored across the entire production network.

MK.IO Flow Control and AI-Assisted Automation: This intuitive API streamlines feed and workflow management, enabling operators to define network feeds with just a few clicks. The system automatically handles routing, configuration, and processing, while a natural language interface enables operators to set up, monitor, and manage large workflows without needing advanced system knowledge.

Visit https://mk.io/

Addressing emerging IP, live production, and data management workflow demands, AJA unveiled a host of new products and updates at IBC 2024.

AJA previewed Virtual KONA, a new softwaredefined, virtualised video capture/playback solution that the company is developing in collaboration with Amazon Web Services (AWS). Virtual KONA integrates the AJA NTV2 Software Development Kit (SDK), which is deployed by developers worldwide to build high-quality workflow solutions with AJA video I/O cards, together with AWS Cloud Digital Interface (CDI). AWS CDI is a network technology for transporting high-quality, uncompressed video inside the cloud with high reliability and latency as low as 8 milliseconds. Virtual KONA and the AJA SDK provide a direct plugin to AWS CDI, making it possible for any software application that supports KONA to connect to the cloud for I/O. This eliminates the need for developers to code an integration from scratch, while offering all the same media and metadata capabilities

that AJA’s line of audio and video I/O cards are known for, but in a virtual environment. Thirdparty applications and hardware solutions that leverage the integration will be able to seamlessly input/output uncompressed, highresolution, high dynamic range (HDR) video between the cloud and local workstations located nearly anywhere in the world to support visual effects, colour correction, editorial, broadcast graphics and playout, streaming, and other needs. The Virtual KONA technology preview currently supports Linux.

Other solutions included AJA’s next-gen KONA IP25 video and audio I/O card featuring bi-directional SMPTE ST 2110 support, the OGColorBox colour management and conversion device for live production, a feature-packed v3.0 ColorBox update, and an OG-C10DA openGear distribution amplifier card. AJA will also showcase Diskover Media Edition updates at IBC, including new plugins for PixitMedia’s Ngenea data orchestration solution and Spectra Logic’s RioBroker, and v2.3 software improvements.

AJA’s next-gen IP video and audio I/O card, KONA IP25, boasts 10/25GbE SFP connectivity, multichannel UltraHD support, and other features that match the demands of full and hybrid SMPTE ST 2110 ecosystems. Designed for broadcast, TV/film, truck, venue, studio, school, HOW, greenfield station, and post environments, as well as AJA Developer Partner solutions, the 8-lane PCIe Gen 4.0 card streamlines adoption of the latest IP standards. It provides uncompressed bi-directional SMPTE ST 2110 support, is compatible with many thirdparty creative and streaming apps. Designing AJA ColorBox’s powerful colour management and conversion toolset and intuitive web UI into an openGear form factor, the new OG-ColorBox delivers ultra-low latency, high-density 4K/UltraHD high dynamic range (HDR) wide colour gamut (WCG) video processing, extensive HDR/WCG conversion options, colour correction, and custom LUT processing for live production. It gives professionals the confidence to meet nearly any live production colour needs, from colour correcting specialty cameras to processing camera Log, real-time SDR/HDR transforms, and beyond.

A free ColorBox v3.0 update on the AJA Support Page will bring users new improvements such as an SDR to Dolby Vision Preview mode, ARRI Alexa 35 LogC4 Wide Gamut 4 WVO support in Live Mode via the Colorfront license, a configurable ACES AMF pipeline, support for .CLF and .CTF files, and the ability to configure the SDI and HDMI outputs for colour space and bit depth.

A hot-swappable openGear distribution amplifier card for analogue signals, AJA’s new OG-C10DA features eight BNC outputs, plus

one BNC output with an option for loop out or processing. It supports NTSC or PAL analogue video, bi-level and tri-level video reference, AES3-id digital unbalanced audio, and LTC signal type distribution. Built-in compatibility with Ross DashBoard software makes remote OG-C10DA configuration and control intuitive so production teams can distribute multiple copies of a signal and extend the composite video content with gain adjustment for long cable runs.

New AJA Diskover Media Edition plugins for PixitMedia’s Ngenea data orchestration solution and Spectra Logic’s RioBroker, plus a v2.3 Diskover Media Edition software update, streamline data management and transfer workflows. These updates give users more flexibility to work with a broader range of toolsets and data catalogue with greater efficiency.

The PixitMedia plugin provides direct access to the Ngenea Data Orchestrator solution within the Diskover UI so that users can view data across their storage in Diskover and transfer it to the appropriate destinations using Ngenea, a secure solution for transporting data to/ from globally distributed cloud, object, and tape storage, and traditional network-attached storage (NAS). The BlackPearl RioBroker plugin ensures M&E organisations can view, access, and make more informed decisions about the content in their archives (object/tape/cloud). Both plugins are available now for free to AJA Diskover Media Edition users.

Included in the latest AJA Diskover Media Edition v2.3 UI improvements is an administrative upgrade that reduces the time it takes to install, configure, and administer Diskover Media Edition and mitigates potential human error when working with text files. It allows users to easily make changes to AJA Diskover Media Edition settings directly in the UI, versus executing those changes via multiple configuration files. Additional v2.3 improvements give users expanded flexibility, such as the addition of a convenient PDF viewer that lets users pull up and see the contents of PDF files saved to their storage, without giving access to the source file to protect their production network.

Visit https://www.aja.com/whats-new

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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,

In each episode, we bring you insightful conversations with prominent leaders from the content and technology sides of the media industry.

In each 20-30 minute episode, our guests will share their perspectives on the rapidly changing media landscape and offer invaluable advice for aspiring and current media professionals on how to navigate these shifts.

HIGH-END QUALITY FOR EXCEPTIONAL VALUE

To

A flexible studio camera for today’s live productions, the HXC-FZ90 combines high image quality with seamless integration and smoother live workflows, making it ideal for producing coverage at sporting events, house of worship services and OTT content like Esports. Safeguard for future productions with a simple upgrade to 4K with a software option.

4K and HDR production with wide colour BT.2020 support

Compatibility with Sony standard viewfinders and accessories

Wide range of operational functions inherited from the industry leading HDC series

Network trunk expands configuration options for prompters or PTZ camera control

Native true 60.00P support for online streaming