Content+Technology ASIA - March 2023

NABShow Preview... page 04. 02

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04 NABSHOW 2023 PREVIEW NAB Show Celebrates 100 Years; Show Floor Exceeds 1000 Exhibitors; NAB Show Debuts ‘Programming Everywhere’ Conference; Training for Creative Professionals.

06 CAMERAS & LIGHTING Filipino Children’s Nature Travel Show Shot with Blackmagic; Matthews Dovetail Cross Plate and CAM Tank; Marshall Electronics CV730-BHN and CV730ND3 Cameras; Shotoku Introduces TR-XT3 Studio Control System.

08 SPORTSCASTING OBS Holds First Broadcaster Briefing for Winter Olympics Milano Cortina 2026; Japan Rugby Football Union Chooses M2A Media; Pliant Brings New CrewCom Control Unit to NAB 2023; Game Review with Spiideo REPLAY Pro.

10 NEWS OPERATIONS Managing Change in the Newsroom with Nuyina; disguise Opens Unreal Engine Graphics for All; Avid Updates MediaCentral; and a Story-Driven Approach to Learning Data Journalism.

12 POST-PRODUCTION Grading RRR (Rise Roar Revolt) with FilmLight BaseLight; Avid Media Composer 2022.12; Review Projects with Autodesk Moxion Rooms.

14 MEDIA IN THE CLOUD TYAN Boosts Server Speeds with Gen-4 Intel Xeon Processors; AIdriven Live Video De-noising and Upscaling at 4K; Mediaproxy’s Latest Version of LogServer; EditShare Boosts Connectivity and Workflows; Active Archive Maintenance.

16 AUDIO, RADIO, PODCASTING SSL Advances System T Broadcast Audio Platform; AEQ VENUS 4 IP Audiocodec; Sound Devices at the Nexus of Wireless Audio; Calrec Brings Flexible Approach to Audio Mixing.

18 CONTENT DELIVERY PHABRIX QxP hybrid IP/SDI Waveform Monitor; LiveU Boosts Efficiency in Live Productions; Appear’s Quantum Leap in SRT Performance; Dielectric’s Breakthrough for Manifold Combining; Evertz Tackles Live Events, IP, 12G-SDI, Monetisation and REMI; Telestream Boosts Content Creation, Distribution and Monetisation; Edgio’s Uplynk Delivers.

CONTENT+TECHNOLOGY

ISSN 1448-9554 PP:255003/06831

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EDITOR’S WELCOME

When the Challengers are Challenged

By Phil Sandberg

WHILE THE MAINSTREAM focus over the last decade or so has been the impact on free-to-air broadcasters by IPTV and OTT players, the day has well and truly arrived where cable and satellite players have joined the “Legacy Media Club”.

An article by Dataxis Analyst Lucas Ackerer entitled, “Amid increasing competition, are East Asian pay TV operators innovative enough?”, starkly shows the dominance of new delivery technologies in a number of markets with a “withering” of traditional pay platforms such as satellite and cable.

“With high speed broadband becoming more accessible, TV distribution over Internet protocol networks has been rapidly expanding, as exemplified by China and South Korea,” says Ackerer. “The Chinese IPTV subscriber base has displayed an impressive growth over the past three years, accounting for more than 373 million households at Q3 2022, up from 270 million at Q3 2019.

“While the total number of direct pay TV subscribers grew from 21.5 million at Q3 2019 to 25.1 million today, 4 of the 4.6 million new subscriptions (or 87%) were IPTV.”

While China could be characterised as one big walled garden (the Pay TV tech split is

roughly IPTV 70%, Direct Cable 30%), IPTV delivery in South Korea is greater than DTH and direct and indirect cable (where the landlords of multi-dwelling units on-sell subscriptions) combined.

Pay subscribers in Hong Kong, meanwhile, have shifted to OTT (roughly 50%) and IPTV (40%) with the remainder made up largely by direct cable.

Where legacy cable delivery has held ground is in Taiwan (just under 60%) and Japan (just over 40%). DTH also remains strong in Japan (approx 25%), while both territories boast solid IPTV subscriptions (over 25%). Telcoled AppTV also caters to around 10% of the Taiwan market.

So, what are the legacy players doing to shore up their positions in the market?

“The best example of a pivot made by players in the market is that of Chinese cable operators,” says Dataxis’ Lucas Ackerer. “Experiencing tough market conditions, some of them decided to develop what regulation authorities report as the “cable video-on-demand users” segment to add value to their service.

Between Q3 2019 and Q3 2022, the rate of VOD users surged from one third (70 million over 205) to over half (95 million over 172) of the total customer base, thus

directly responding to the fierce competition from outside the market.

“As a matter of fact, pay TV operators have been increasingly challenged by streaming platforms and struggled to find the right way to cope with them. The total revenues of the pay TV market have gone down in Japan (-4% over three years) and China (-2%). Against the rising popularity of the numerous SVOD and AVOD services offered either by streaming pure players or by FTA broadcasters, going OTT seems to be only one out of many ways for pay TV distributors to keep the pace. The three Chinese giants seem to have a clear view of the future development of IPTV, considering it as a part of a bigger picture, where the IPTV gateway paves the way for smart home applications.”

Other APAC players in other territories have opted for a “spread your bets” approach. Australia’s Foxtel, for example, has unbundled the bouquet with OTT offerings now including Kayo Sports, Binge (a VOD movie and episodic service) and the Flash news service. The company also offers an OTT

version of its traditional cable and satellite services. Streaming subscribers now represent 62% of total subscribers. Foxtel, like ASTRO in Malaysia, has also embraced “aggregation” by offering subscribers UI access to new “fremenies” like Netflix, Disney+ and Prime Video.

As I’ve said before, we are still midstream in this tech transition. There will be more to come. Visit https://dataxis.com

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

Keep safe, thanks for reading, and look after each other, Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811

2023 C+T DEADLINES

AUSTRALIA/NEW ZEALAND EDITION

MARCH/APRIL 2023 NABShow Preview Issue

Editorial Submissions: 15-03-23

Ad Bookings: 15-03-23

Ad Artwork: 15-03-23

ASIA EDITION

MAY/JUNE 2023 Preview: BroadcastAsia, June 07-09, Singapore

Editorial Submissions: 09-05-23

Ad Bookings: 09-05-23

Ad Artwork: 16-05-23

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Francis Toral Named New Head of ABS-CBN News

THE PHILIPPINES’ ABS-CBN has appointed Mary Anne Francis Toral as the new head of ABS-CBN News, succeeding Regina “Ging” Reyes who retired on December 31, 2022.

Prior to her appointment, Francis served as ABS-CBN’s News Production head and was instrumental in the successful 2022 Halalan marathon coverage. She also led ABS-CBN News’ DocuCentral group that produced several award-winning documentaries, including “Di Ka Pasisiil,” a documentary on the Marawi siege that won a Gold World Medal in the New York Festivals – World’s Best TV & Films in 2018.

During her tenure as ABS-CBN head of Breaking News and Live Events, Francis was also responsible for the special coverage of the Visit of Pope Francis to the Philippines in 2015 and “PILIPINAS 2016,” the Presidential Town Hall Debate held in Pangasinan.

Francis, a 25-year veteran of ABSCBN News, rose from the ranks and produced various programs including “The World Tonight” with Angelo Castro Jr. and Tina Monzon Palma, “Talkback” with Tina Monzon Palma, and “Beyond Politics” with Lynda Jumilla. Meanwhile, Nadia Trinidad has been appointed as News Digital

Media head, and will now be responsible for ABS-CBN News Online and its digital news properties. Nadia was previously the head of the ABS-CBN News Channel (ANC) prior to her new appointment. She began her career as a reporter and news advisory anchor for Studio 23 and eventually took on bigger roles including being the North America Bureau chief in 2011, News Production head in 2013, and managing director in 2021. Nadia is a Communication graduate of Ateneo De Manila University and holds a postgraduate degree from Stanford University as a John S. Knight Journalism Fellow.

Taking the helm as the new ANC

head is Alvaro Dan “Baroy” Morga. He will be in-charge of ANC’s content production and lead its editorial production teams. He previously served as ABS-CBN News’ head of Strategy and New Business. Baroy graduated with a degree in Economics from Ateneo De Manila University.

Visit https://www.abs-cbn.com/

RFA Names News Standards Editor and Investigative Team Director

CREATING TWO NEW ROLES, Radio Free Asia has named Steve Springer as its News Standards & Best Practices Editor and Boer Deng as Director of RFA’s new Investigative Team.

“Steve and Boer both bring a wealth of exceptional newsroom experience that will benefit RFA immensely in these new roles,” Min Mitchell, RFA’s Executive Editor, said. “As RFA’s News Standards & Best Practices Editor, Steve – who has devoted a lifetime to journalistic excellence – will work closely with our language services to ensure the quality and credibility of RFA’s reporting.

“Leading RFA’s new Investigative

Team, Boer will oversee the production of in-depth reporting in tandem with our language services that will bring to light consequential developments affecting our audiences.”

Springer and Deng join RFA amid an ongoing editorial and operational expansion, offering unique journalistic skill sets honed from experience working at top-tier outlets. As News Standards & Best Practices Editor, Springer will provide senior-level advice and day-to-day guidance to RFA’s and RFA digital brand BenarNews’ journalists to further enhance the organisation’s journalistic quality and standards. Most recently Springer served as the first

Standards Editor at RFA sister network VOA. During his tenure in this role, which began in 2010, he established a Best Practices Guide that is regularly updated and distributed to all VOA staff. Prior to that he was VOA’s Managing Editor of its News Center, where he led an effort to reorganise its operations. Before joining VOA, Steve worked in a variety of roles for CNN, where he and other CNN staff received a Peabody Award for their coverage of Hurricane Katrina. He was also cited by the National Academy of Television Arts and Sciences (NATAS) for CNN’s coverage of the terrorist attacks of Sept. 11, 2001. As Director of RFA’s newly-formed Investigative Team, Deng will

Riedel Names Guillaume Mauffrey Sales Director APAC

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

“Guillaume brings a great deal of Asia experience to Riedel’s business case, and a wealth of industry knowledge as well,” said Jens Miedek, Executive Director of Global Sales at Riedel. “As a former COO of Ideal Systems, one of the biggest system integration companies in Asia and a key Riedel partner

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

Mauffrey joins Riedel following nearly nine years with Ideal Systems Asia Pacific Limited, the region’s leading integrator for broadcast, cloud, and pro AV, where he managed global operations for the group and its 12 offices in 10 countries. He earlier held sales leadership roles with

communications and IT services provider SpeedCast, serving first as director of business development and then as head of sales for Northeast Asia, including the role of country manager for China.

“I am excited to join a marketleading brand like Riedel and growing the customer base in a dynamic APAC region” said Mauffrey. “I look forward to continuing to support our existing clients and providing the technology to new ones to unlock value in their respective industries.

Broadening the presence of Riedel

oversee a team of journalists, producers and content specialists, which will produce in-depth investigative stories in English and RFA’s nine target languages. She most recently worked for BBC News in Washington as North America commissioning editor for digital, overseeing the production of features and news and helping to grow the BBC’s reach and reputation as a trusted media source across the continent. Prior to that she was Washington correspondent for The Times of London for five years. She has also written for The Economist and Nature magazine.

Visit https://www.rfa.org/

in China and India will play a large role in getting to the next level with the company in APAC ”

Based in Hong Kong, Mauffrey reports directly to Miedek.

Visit https://www.riedel.net/

NAB Show Celebrates 100 Years

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

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

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

unparalleled impact and celebrate our next 100 years.”

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

Show Floor Exceeds 1000 Exhibitors

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

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

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

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

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

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

“Companies, large and small, are turning out en masse to exhibit at NAB Show, including more than a few that skipped last year’s show,” said Chris Brown, NAB executive vice president and managing director of Global Connections and Events. “Exhibit sales are already nearly 20 percent ahead of where we ended up in 2022.

This is a testament to the power of trade shows to unite the industry, create connections and generate commerce. We are thrilled to see the tremendous momentum established at the 2022 event translating to healthy growth, excitement and what promises to be an incredible showing of the latest and greatest tech and some of the most influential companies on the planet.”

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

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

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

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

Visit https://www.nabshow.com

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

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

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

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

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

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

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

Visit https://nabshow.com

NAB Show Debuts ‘Programming Everywhere’ Conference

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

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

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

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

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

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

Training for Creative Professionals

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

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

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

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

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

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

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

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

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

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

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

Sessions will include:

• Fresh Approaches to the News Franchise

• FAST Channels and the Evolution of Broadcasting

• Rethinking Genres: Games, Travel, Talk and More

• Syndication’s Changing Business Model

• Strategies for Building a Content Everywhere Business

• Mining Your Archives for New Shows

• Programming Showcases

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

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

The Director of Photography

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

2023, will feature a virtual day in May 2023 for remote attendees.

Visit https://nabshow.com/2023/ learn/conferences/directorphotography-creative/

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

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

Filipino Children’s Nature Travel Show Shot with Blackmagic

BLACKMAGIC DESIGN

HAS ANNOUNCED that “Mang Lalakbay”, a popular Filipino children’s travel and exploration show created by The Jumpcat Experiment, is shot using Blackmagic Pocket Cinema Camera 6K Pro digital film camera. Editing and colour correction for the show are done using DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software.

“Mang Lalakbay” is the Philippine’s first educational travel program for children, and began airing on the ABS-CBN Kapamilya Network in September of 2022.

The Jumpcat Experiment creative agency, based in Manilla, provides full end to end production through post workflows and handled everything from conceptualization, execution and mastering for the show.

The show, which brings viewers to different scenic places throughout the Philippines, also includes a human host working with some puppet friends. This requires the Jumpcat creative crew to travel across the country and visit remote locations. For Froi Fabella, director and cofounder, and Joan Lopez-Florez, co-founder and managing director, this meant needing cameras that capture high quality images in any type of lighting and which are easy to set up and use anywhere.

Fabella explained: “The main target market of the show is kids. So we wanted the colours to be vibrant, fresh and as natural as can be. The Pocket Cinema Camera 6K Pros help us achieve all of these and the raw footage gives us the colour details we want, the white balance is consistent and the sharpness of image detail is incredible!”

Blackmagic Pocket Cinema Camera 6K Pros are the main cameras for the show and are used with Blackmagic Video Assist 7” 3G monitors and recorders. A SmartView 4K broadcast monitor is also used as the director monitor. Footage is then edited and graded using DaVinci Resolve Studio.

Shooting a show with many scenes including a human host with two puppets also brings a unique set of challenges in terms of framing shots and giving the puppeteers as much creative freedom as possible.

“Shooting the three is very challenging and we are always careful not to show the hands of the puppeteers. We established a standard camera set up where the Pocket cameras give us room for cropping without losing the image quality. We also have several wide and medium shots where we really need to zoom in extremely close to hide the puppeteers. The Pocket camera’s ability to use 4K or 6K formats really help us with these challenges,” Fabella continued.

Matthews Dovetail Cross Plate and CAM Tank

SHOWCASED ON BOOTH C6745 at this year’s NAB, Matthews’ Dovetail Cross Plate (patentpending) expands orientation versatility when mounting a camera to a fluid or gear head. It also simplifies working with prime and zoom lenses where minimal balancing is required. A quick addition to existing camera supports, the 2-layer swivelling plate design provides both traditional camera mounting, as well as additional 90- and 45-degree angles. Each rotating Plate has a different finish for easy identification and features a spring-loaded post and stationary stop to prevent the bridge plate or sled from sliding off. Other safety features include a special angle lock design and an internal positioning safety spring. In addition, twenty 3/8-inch-16 and 1/4-inch-20 threaded holes on the plate bottom with Helicoil wire inserts secure the connection. The Dovetail Cross Plate is compatible with the

quick release on most fluid heads and other supports including the Matthews CAM Tank. Proven for over a decade, CAM Tank now sports a new sleek black finish and red trim. This hefty support accepts all standard large format camera plates or can direct mount to any large or medium format camera equipped with 3/8″-16 mounting threads. It is designed for extremely low shots, while maintaining the ability to pan 360 degrees and tilt 30 degrees in each direction. It is commonly used to achieve dutch angles when mounted to a fluid head or can be pointed straight down off of a fluid head on a tripod or jib.

The rugged system is CNC machined out of 6061 T6 aluminium and utilises the finest stainless-steel hardware, including premium NSK deep grooved ball bearings for the tilt mechanism. The pan bearing uses a machined

When travelling to remote parts of the country, the combination of a small and light design with low light capabilities has been a huge help to The Jumpcat Experiment.

“We use two Pocket 6K Pros to capture wide and close up shots while outside the studio. The image quality is superb, and we can use minimal lighting so that the majority of the shots are just natural light. The 6K feature also helps us crop shots without losing the sharpness of the material,” Fabella explained.

Lopez-Florez concluded: “We at Jumpcat are so honoured that because of the work completed with Blackmagic Design cameras, a show like Mang Lalakbay, which is the first of its kind on Philippine TV, is appreciated and has gained a following. For Season 2, we definitely look forward to using the same gear and putting out even more dynamic, wonderful shots around the Philippines, or even the world.”

Visit https://www.blackmagicdesign.com

polyoqymethyline, delrin disk, which selflubricates and has an endurance rating 100x more than any plastic. Pan and tilt functions offer premium brakes for solid lock-off shots and camera safety. Weighing 82kg it is ready to support any camera measuring 264mm x 177mm with a minimum height as low as 101mm.

The Dovetail Cross Plate is an easy companion for the CAM Tank. The two rugged and versatile camera support tools individually solve a world of everyday busy set needs and together form a dynamic camera support duo. Thanks to industry standard threads, they mate together securely and safely support the camera in almost any position to help produce routine shots or seemingly impossible angles, on schedule.

Visit https://www.msegrip.com

Marshall Electronics CV730-BHN and CV730-ND3 Cameras

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

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

The CV730-ND3 features a similar Sony 4K sensor with 9.2 million pixels and back-lit square pixel technology designed behind the same 30x optical zoom range (6.5~ 202mm). The CV730-ND3 features the new NDI|HX3 premium video codec, and standard IP (HEVC) encoding with SRT, while also offering 12G-SDI, HDMI and USB3.0 outputs. The new NDI|HX3 format requires slightly higher bandwidth than previous NDI|HX but much less than is required for Full-NDI. NDI|HX3 delivers similar low latency as Full-NDI at less than 100ms end-to-end and has video quality performance closer to premium Full-NDI quality. NDI|HX3 is a big step forward for NDI|HX while reducing the bandwidth requirements of Full-NDI and delivering similar speeds and video quality.

All CV730’s now support a Smart AutoFocus feature utilising AI chipsets to target facial features and optimise focus on facial details which improves over time. Marshall PTZ cameras boast a flexible and smooth 340° horizontal pan range with 120° vertical tilt with speed adjustments from slow to fast depending on speed to set up the next shot. This provides a wide range of movement options to content creators when capturing high-quality UHD or HD video. Both cameras are feature rich and fit into a wide range of broadcast and proAV applications requiring low latency streaming with various bandwidth networks. Also included

Shotoku Introduces TR-XT3 Studio Control System

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

TR-XT3 Launch

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

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

TI-11X Elevator Pedestal

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

TG-47

Pan/Tilt head

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

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

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

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

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

Orchestra CMS – Taking control of the Legislature

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

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

OBS Holds First Broadcaster Briefing for Winter Olympics Milano Cortina 2026

FROM 28 FEBRUARY TO 3

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OBS CEO Yiannis Exarchos.

Milan’s San Siro Stadium.

Japan Rugby Football Union Chooses M2A Media

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

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

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

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

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

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

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

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

Pliant Brings New CrewCom Control Unit to NAB 2023

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

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

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

Game Review with Spiideo REPLAY Pro

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

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

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

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

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

Compatible with Spiideo’s entire camera system

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

Visit http://www.m2amedia.tv

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

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

Visit https://www.plianttechnologies.com

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

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

Visit https://www.spiideo.com

Managing Change in the Newsroom

IT’S ONE THING TO INTRODUCE new technologies to a broadcast operation, but it’s entirely another thing to manage workflows and workplace practice to realise the potential of those technologies. Nowhere is this truer than in the fast-paced environment of the newsroom.

As someone who has facilitated the roll-out of new technologies in a variety of newsroom environments, Emily Dawson is well-placed to help guide newscasters exploit the potential of their investments via her new venture, Nuyina. Pronounced ‘noy-yee-nah’, the word means ‘southern lights‘ in palawa kani, the language of Tasmanian Aboriginals, and is an apt title for a consultancy aiming to illuminate the issue of change management for newsrooms.

According to Dawson, “One of the things that we’ve seen with technology changes in newsrooms, particularly moving to the cloud and bringing tools in that fundamentally change the way that newsrooms operate, is that there’s a missing piece of the puzzle that’s actually hugely important, and that is the human aspect of the technology change.

“Technology teams are very good at bringing in new tools and managing that process, they’re very experienced in that, but talking to users and understanding the way the change impacts on the workflow, and setting the newsroom up for success on the tools, is where we come in.”

A bridge between technology teams and end users, Nuyina has brought together experienced change and project managers who’ve worked across not just media, but in other industries as well.

“Coupled with that we’re also working with experienced editorial and production people who acutely understand the pressures that newsrooms face and can take a step back and look at workflow design as well,” says Dawson. “We can see that a technology change in the newsroom absolutely needs strong change management to go with it to make it a success, and I think that we’re really at the stage now where some of the new tools are really about simplification, and also allow for a rethink of the operating model of

the newsroom.

“In the past, technology teams have very much dictated what tools we used, and exactly which tools and buttons needed to be pushed, and in what sequence. But, the new breed of cloudnative tools often allow for some creativity around how they’re used, and editorial has much more of a say in how workflow is designed. That means that the communication between technology and editorial needs to be very clear, and quite often we have found that they are speaking different languages. It’s all about aligning the vision and outcomes, and this is where Nuyina comes in to help.”

According to Emily Dawson, the last 30 years have seen technology in newsrooms increase in complexity simply because the pace of change in terms of delivery platforms has been so rapid.

“What that’s meant,” she says, “is technology teams have really had to bolt on new bits of technology on the old bits of technology. We started with radio and live broadcast tools, and now we’ve got a plethora of different tools inside the newsroom that service all of your social media endpoints, your monitoring, and all the different ways that we need to output content now.

“They are definitely taking into account this new breed of tools, and the movement to the cloud which allows for all kinds of disconnected workflows and remote working. But, what it also means is that we can fundamentally look at each part of our workflow in the newsroom and say, ‘does this still serve us, and is this something that we want to carry forward into the future?’ Operating model design and workflow design is an area that newsrooms can begin to look at now because we can almost start from a clean slate again.”

That clean slate, says Dawson, begins with how clear the organisation’s vision is, and how committed all the stakeholders are in that process.

“Nuyina consultants understand how to bring the organisation along and what needs to be put in place, even before a specific technology is selected for a desired outcome,” she says. “So, the place that we really start

is, ‘where are we going and how are we going to get there?’ It’s even before we start talking about the details of how the workflow and how the technology is going to work.

“We look at a specific outcome that the newsroom wants to achieve, and then it is very much about auditing exactly what we are doing now and how we can do that better in the future. So, there is a bit of business analysis and process documentation in that process. What we’ve seen is that newsrooms have had tools sneak in that are not necessarily documented. Journalists will often find a hack, they’ll find a tool that serves them for a particular purpose, and it’s about documenting those processes and looking at how we can bring that into a formal process within the business. It really is about formalisation of process, and really bringing everybody onto the same page because the last thing we want is that a particular process in a newsroom has been established by a particular person, then that person leaves and someone else has to figure out how to do it all over again.”

Another focus for Nuyina is that of the story-centric workflow, particularly with regard to consistency of brand and audience experience.

“Given that we’re aligned with Stem Media and the companies that they represent, specifically the newsroom control system DiNA, we talk a lot about storycentric workflows,” says Dawson. “So, telling a story, thinking of a story as something that goes across all platforms. We often talk about the 24-hour cycle of a story, and whether that be through the linear broadcast, through the tweets, through the Facebook posts, through the CMS, these are all pieces of one whole story.

“When we have fragmented technology within the newsroom, and we’ve seen this in some of our customers from Stem Media, that one of the things that a newsroom wants to achieve by bringing in a story-centric way of working is to

“We look at a specific outcome that the newsroom wants to achieve, and then it is very much about auditing exactly what we are doing now and how we can do that better in the future. So, there is a bit of business analysis and process documentation in that process. What we’ve seen is that newsrooms have had tools sneak in that are not necessarily documented”

create a consistent message for a story when it comes to a viewer’s or a reader’s perspective.

“At Nuyina, we can see there’s a huge wave of change coming to newsrooms. The innovation in newsroom technology is now moving fast, after many years where, fundamentally, not much changed. Products are reaching end of life and now, with a mature cloud environment, many technology teams are looking at how the cloud can help to make the newsroom more agile, flexible and, of course, easily allow for remote work which, in the past, was very difficult. I feel like Nuyina definitely fills a niche that we’ll see more and more need for change management in the future.”

Visit https://nuyina.com.au

Emily Dawson, Founder of newsroom change management consultancy, Nuyina.

disguise Opens Unreal Engine Graphics for All

DISGUISE HAS RELEASED Porta 2.1, an update to its integrated software solution that lets users easily manage Unreal Engine graphics directly within their existing workflows – now with their latest News Room Computer System (NRCS) integration through MOS protocol.

With its new NRCS integration, Porta 2.1 users can control real-time graphics more intuitively than ever before through enhanced data sharing. Easy template creation tools mean journalists can build unique graphics from the newsroom without a designer’s help – even if they’ve never used Unreal Engine before.

Both in-house and remote teams can also take advantage of precise scheduling features that take the guesswork out of production while automating manual tasks with macros, previewing Unreal Engine live using Pixel Streaming, and much more.

With the disguise platform also being Unreal Engine “Avalanche ready”, anyone in media production can now move to a disguise ecosystem with confidence that it will support their journey to a new and exciting aesthetic. Whether it’s for augmented reality or virtual production, broadcasters can also use Porta 2.1 to take advantage of the tools of the future.

Porta 2.1 is fully compatible with disguise’s xR solutions, which can display realistic 8K content onto an LED set the size of a football stadium. disguise’s creative services teams at Meptik

and disguise Labs are also available to Porta users around the globe that want to design fully-integrated extended reality workflows. Additional benefits for users include:

• Stress-free teamwork –Journalists, producers and directors can all collaborate and create graphics in their newsroom rundowns, which can then be approved for graphics operators to play out from Porta.

• Easier workflows for operators – Operators can easily customise their workflow and automate their show with new visual macros and scheduling widgets. They can customize their Porta UI even further by color coding their playlist and workspaces. Through macros, they can even create playlists from data and reduce manual entry.

Story-Driven Approach to Learning Data Journalism

REPORTING DATA-DRIVEN stories means following a process. That’s according to Mike Reilly and Samantha Sunne, authors of Data + Journalism, a book which takes you from A to Z, from acquiring data to scraping, cleaning, analysing, writing and visualising data.

The book also addresses how to share data and build public trust with data, as well as interviews with top data journalists, training videos and hands-on exercises to elevate your data storytelling.

Newsrooms also can benefit from the book.

Early and mid-career professionals looking to expand their skills will find the chapters easy to digest and the hands-on exercises practical and applicable to topics journalists cover today.

The book offers insights into data journalism from a global perspective, including datasets and interviews with data journalists from countries around the world. Emphasised by examples drawn from frequently updated sets of open data posted by authoritative sources like the FBI, Eurostat and the US Census Bureau,

the authors take a deep dive into data journalism’s “heavy lifting” – searching for, scraping and cleaning data.

Combined with exercises, video training supplements and lists of tools and resources at the end of each chapter, readers will learn not just how to crunch numbers but also how to put a human face to data, resulting in compelling, story-driven news stories based on solid analysis.

Mike Reilley teaches data and digital journalism at the University of Illinois at Chicago. He is the founder of https://www. journaliststoolbox.org.

Freelance journalist Samantha Sunne teaches data and digital techniques to journalists, and specialises in data and investigative stories.

The book is supplemented by a companion website.

Visit https://dataplusjournalism.com

• Faster deliveries – Broadcasters can search particular graphics and allocate them to the right part of the story, cutting out repetitive tasks and making delivery times faster.

Porta 2.1 will be available as a SaaS subscription, providing simple access and unlimited scalability.

Visit https://www.disguise.one

Avid Updates MediaCentral

REPORTING DATA-DRIVEN Avid has released updates to its MediaCentral workflow platform, including the new MediaCentral | Acquire IP-based ingest scheduler, along with remote collaboration and improved hybrid working support. These capabilities are designed to empower media companies to accelerate production on-premise and in the cloud. The introduction of MediaCentral | Acquire adds ingest management to MediaCentral | Cloud UX, advancing Avid’s news production solution by enabling content production teams to collaborate from anywhere.

To keep up with the growing demand for content, broadcasters need to automate their workflows more efficiently. Avid’s new MediaCentral | Acquire ingest scheduler app in MediaCentral | Cloud UX automates ingest scheduling for SDI and IP sources by controlling FastServe | Ingest, FastServe | I/O and MediaCentral | Stream. MediaCentral | Acquire also supports Edit While Capture workflows for faster turnaround, while enabling ingest management from anywhere using only a web browser.

This release also builds on MediaCentral’s media production capabilities with new features like the ability to synchronise content across different sites with MediaCentral | Sync and a redesigned MediaCentral | Collaborate mobile app.

Visit https://www.avid.com

Grading RRR (Rise Roar Revolt) with FilmLight BaseLight

DIRECTED BY S.S. RAJAMOULI, RRR (Rise Roar Revolt) is reported to be the most expensive film ever made in Indian cinema. It tells a fictitious story about two legendary revolutionaries and their journey away from home before they started fighting for their country in the 1920s. It stars two of Telugu cinema’s biggest screen idols, Ram Charan and N.T. Rama Rao Jr.

It has become a worldwide sensation, with great success in North America, Australia, Japan and the UK and Ireland. The film was finished at Annapurna Studios in Hyderabad and graded on Baselight by colourist Shiva Kumar BVR, who worked closely with well-known cinematographer, K.K. Senthil Kumar, to achieve the desired look. The pair have worked together on many occasions, and they have a very similar mindset when it comes to colour.

“I have worked with Senthil for almost all projects of mine,” comments Shiva. “We both have a similar line of thinking and vision in finding the same colour density out of millions of colour shades. His vision is so powerful that he can find a minute error and colour jump from a microsecondtimed frame. I get a clear idea of what is expected from a detailed discussion with him. Moreover, he does not compromise at any point on quality.”

Shiva was involved in the film process early on, in the scripting stage, when he began working on the look of the film with Senthil. “Senthil narrated the story before going to shoot and we exchanged some references in relation to

colour palette, lighting scheme and mood boards to meet the required looks in post,” adds Shiva.

“The workaholic nature of Senthil is the secret behind getting extensive quality in every frame. His motivation brings us out of the pressure of work and keeps our efficiency healthy throughout.”

Creating an organic period look

The movie is set in the early 1900s and Senthil and Shiva worked closely to achieve a look and tone that suited this period. Shiva would take one close-up shot, one mid and one wide-angle from a particular sequence, and then work to achieve the pre-selected look.

“I am against the usage of LUTs because it decays the organic feel,” said Shiva. “Using Baselight’s Colour Crosstalk and Colour Mix tools in combination with the Hue Angle tool, we achieved the early 1900s look along with the specified organic feel. And using the Diffuse and Texture features allowed me to create a wonderful, classic and glossy diffused sharpness.”

“For each sequence we would give four to five look options to the cinematographer,” explains Shiva. “Out of those options, he would choose one palette. We would then create a separate new look out of all the other reference layers in which 50-70 percent would be successful towards getting a new look. Once finalised, we would apply the same look for the entire sequence, and then it would go for final approval.”

The two main characters in the

film represent two opposing elements – Ram Charan’s character represents fire, while N.T. Rama Rao Jr. represents water.

“In the initial stages, we were successfully able to highlight the separation between fire and water,” recalls Shiva. “Later, we realised that it was going to create confusion for the story and to maintain that separation we highlighted a certain element according to the character’s emotion.”

“If I had to fix a particular tone of a character, Senthil would give me the complete detailed narration,” Shiva explains. “Mr. Senthil is hands down a great narrator. The way he explained the details of the characters and the story prevented us from going towards many references allowing us to achieve it with the characters’ emotions and arc.”

VFX challenges

Shiva and the team had immense support from the VFX Supervisor, Mr. Srinivasa Mohan, and the rest of the VFX Studios, but – as with any VFX-heavy movie – the film’s effects didn’t come without challenges.

“Colour correcting a normal movie is one challenge, but correcting a CG orientated film is an entirely different ball game,” comments Shiva. “Mr. Srinivasa Mohan always foresees the quality. We consumed approximately 250 hours for the VFX QC. Whenever there were complications, we were able to control the errors by calling the VFX studios and ensuring all were corrected and updated on time.”

One of the key VFX challenges was the climax sequence as, due to temperature conditions on location, it was delivered on unbalanced footage with unmatched lighting and exposure.

“After placing the VFX on the timeline, we realised the majority of the VFX shots were not matching with the live raw shots,” recalls Shiva. “By then, we had already finalised the look for the sequence. This is when the real challenge began.

“Spending a lot of time tweaking sensitively is too risky, in case of an issue popping up after rendering. I had to maintain both a cool and a golden warm temperature for the entire sequence. With the unbalanced shots, it was very difficult to catch both the blue and the warm tone. Therefore, in order to achieve it successfully, I used a combination of Baselight grading tools to get the exact required look for the entire climax sequence. After repeating the process multiple times, the cinematographer and the VFX supervisor were satisfied.”

“The cinematography on this film has gained lot of appreciation from the cinema industry all around the world,” concludes Shiva. “This is a rare achievement and I see it as a proud moment for Indian cinema.”

FiulmLight will be at NABShow 2023 on Booth W2574.

Visit https://www.filmlight.ltd.uk

Avid Media Composer 2022.12

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

Export Media Composer Sequences Directly into Pro Tools

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

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

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

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

Produce WorldClass Audio within Media

Composer

Offering full support for Avid’s completely reimagined MBOX

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

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

Improved Media Management

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

losing time searching for a file’s previous locations.

Simplified UI for New Users

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

Remote Editing and Proxy Workflow Capabilities

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

Review Projects with Autodesk Moxion Rooms

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

Content Review Capabilities for Editors

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

Visit https://www.avid.com

AUTODESK

RECENTLY

INTRODUCED

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

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

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

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

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

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

Visit https://www.autodesk.com

TYAN Boosts Server Speeds with Gen-4 Intel Xeon Processors

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

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

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

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

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

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

Hybrid storage to provide flexibility with performance

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

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

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

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

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

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

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

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

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

Visit https://www.tyan.com

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

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

Visit https://www.isize.co

Mediaproxy Features Latest Version of LogServer

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

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

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

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

In recent years

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

EditShare Boosts Connectivity and Workflows

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

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

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

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

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

Active Archive Maintenance Stays on Top of Vanilla IT

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

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

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

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

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

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

Visit https://www.mediaproxy.com

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

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

Visit https://www.editshare.com

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

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

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

SSL Advances System T Broadcast Audio Platform

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

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

The System T immersive production toolkit features:

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

• Intelligent immersive up/downmixing functions.

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

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

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

AEQ VENUS 4 IP Audiocodec

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

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

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

Touring, installed sound and house of worship

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

(configuration support and remote control tools).

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

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

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

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

Visit https://www.solidstatelogic.com

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

It can be controlled via the Phoenix Control application.

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

Sound Devices at the Nexus of Wireless Audio

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

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

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

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

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

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

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

Visit http://www.aeq.eu

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

Visit https://www.sounddevices.com

Calrec Brings Flexible Approach to Audio Mixing

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

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

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

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

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

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

Also on Show

According to Calrec, ImPulse is the most powerful DSP engine on the planet and has native SMPTE 2110 connectivity. It’s compatible with the Calrec Assist web interface as well as Calrec’s Apollo and Artemis consoles to provide a simple upgrade path for existing Calrec customers moving to an IP domain. It provides 3D immersive path widths and panning for nextgeneration audio with height and 3D pan controls, flexible panning and downmixing built-in. Calrec’s 2U RP1 remote production unit takes your favourite Calrec console anywhere in the world without ever leaving the studio. A remotely controlled processing engine like RP1 means dedicated control rooms can be used to mix feeds from multiple remote venues. Remote production models produce more live coverage with minimal resources.

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

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

• 96 mono equivalent channel paths

• 24 Aux send paths

• 96 Direct outputs

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

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

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

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

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

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

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

Calrec’s Argo Q audio mixing control platform.

Calrec’s ImPulse1 IP audio processing and routing engine.

PHABRIX QxP hybrid IP/SDI Waveform Monitor

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

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

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

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

LiveU Boosts Efficiency in Live Productions

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

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

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

Appear’s Quantum Leap in SRT Performance

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

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

The X Platform SRT difference

Hardware accelerated SRT enables costeffective internet connections to make serious

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

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

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

Visit https://www.phabrix.com

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

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

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

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

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

Visit https://www.appear.net

Dielectric’s Breakthrough for Manifold Combining

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit https://www.dielectric.com

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

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

Telestream Boosts Content Creation, Distribution and Monetisation

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

Telestream Content Manager

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

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

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

Edgio’s Uplynk Delivers

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

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

local, remote, and postproduction applications

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

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

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

Software Version of Lightspeed Live Capture

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

Qualify Brings QC to the cloud

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

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

Cloud-Native Video Quality Monitoring Architecture

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

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

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

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

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

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

Visit https://edg.io/

Telestream Content Manager.

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