Content+Technology ASIA May-June 2023

FOCUS ON QUALITY.

DON’T COMPROMISE ON COMPLIANCE.

SMPTE 2110 & NDI

Virtualized and Cloud environments

Broadcast Monitoring and OTT Analysis

BroadcastAsia Preview... page 06.

REGULARS

02 EDITOR’S WELCOME

FEATURES

06 BROADCASTASIA 2023 PREVIEW

10 CAMERAS & LIGHTING Cinematographer Riju Das Finds Sanctuary with Zeiss Lenses; Netflix Adds Blackmagic, Canon Cameras to Certified List; BirdDog X120 PTZ Camera with Wi-Fi; New Imaging Solutions from Sony; Wooden Accessory System for Sony’s FX3, FX30; Atomos Supports Sony’s Ci Media Cloud; RED Connect Module for 8K Live Streaming.

14 SPORTSCASTING Planetcast Scores IPL Hat-Trick; Singapore Gears Up for First Olympic Esports Week; D2N Powers Intercoms for Triple 8/Johor Motor Sports Team; Supponor & Telstra Launch Virtual Ad Service; disguise Goes Live-to-Air with Motion Graphics; Sportscasting Tech from NAB2023.

17 NEWS OPERATIONS SEVEN News

Chooses Fujinon 4K Lenses; Dalet Cut at BroadcastAsia; Brainstorm Boosts InfinitySet; AccuWeather Unveils WeatherShow Enhancer; Autocue’s All-New Teleprompters; Zero Density Unveils Unreal On-Air Graphics; nxtedition Integrates OpenAI Whisper;CueScript Launches CueTALK Cloud.

04 NEWS+PEOPLE Singapore Film ‘Perth’ Restored with Blackmagic; ARRI Opens Singapore Subsidiary; People on the

20 POST-PRODUCTION Chinese Series ThreeBody Graded with DaVinci Resolve Studio; Adobe to Apply Firefly AI to Video & Audio; Entries Wanted for FilmLight Colour Awards; BirdDog Remote Workflow for Premiere Pro, After Effects; Atomos Adds Cloud-based Editing; disguise & Move.ai Partner on Motion Capture; DFT’s POLAR HQ Film Scanner Evolves.

24 MEDIA IN THE CLOUD Planetcast Extends Cloud Services with Desynova; Linius Boosts IMG Sports Archive; Migrating Video Infrastructure to the Cloud; & more.

26 AUDIO, RADIO, PODCASTING Rethinking Radio with Broadcast Bionics; AEQ Connects Doordarshan During the Pandemic; RØDE Rolls Out Hardware, Software - & Peoplewear!

29 CONTENT DELIVERY AsiaSat Live Streamer OCGL Enhances Video with AWS; HK’s i-CABLE Pulls Plug on Pay-TV; Imagine Unifies On-Prem & Cloud Multi-site Workflows; Media Links Debuts Xscend IP Media Platform; VO’s End-to-End TV Delivery, Security & Monetisation; Grass Valley Expands Production Switcher Lineup; Ad & CG Insertion from DVEO; AWS Elemental MediaConnect Gateway.

CONTENT+TECHNOLOGY

ISSN 1448-9554 PP:255003/06831

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Move.

20 Years of Content+Technology, 10 Years of C+T ASIA

By Phil Sandberg

TWENTY YEARS AGO, buzzwords and catchphrases were as prevalent as they are today. Many have come and gone, but “Content is King” has endured these past two decades, and so have we. Yes, 2023 marks 20 years since the very first issue of our humble publication, but it also marks the tenth year of publication for this magazine, Content+Technology ASIA. Launched by myself, the late Hugh Salmon, and his wife Lucy, C+T’s mission was (and is) to provide an independent voice covering the technology and business issues affecting the media creation and distribution industries throughout Australia, New Zealand and Southeast Asia.

Volume 1, Issue 1 of C+T ANZ featured a behind-thescenes look at coverage of the 2003 Rugby World Cup, held in Australia, with Rights Holders the Seven Network, TVNZ and ITV. We also looked at Southern Cross Broadcasting and what was then the biggest centralisation project in the history of Australian

TV. The relatively new field of Asset Management (DAM, MAM and PAM) got a look in, as did TV Loudness, Digital Radio, and (now veteran) cinematographer Pieter de Vries ACS taking a “Panavised”

Sony HDW-F900 CineAlta camera out for a spin with a Jim Frazier lens system to capture the world’s “Biggest and Baddest Bugs”. And, these were just some of the highlights amongst our coverage of local moves in production, post-production, standards and technology releases. Our advertisers for that first issue, whose support helped get C+T off the ground, represented a cross section of both local and international technology providers. Some are still with us, others merged or were acquired, and others opted out of the industry altogether. From cameras and tripods to post production and newsroom systems to archiving and asset management platforms to RF transmission and systems integration, the solutions they promoted reflected the “glass-to-glass” focus

of our magazine, one that continues today. Though, it is fair to say our latest issue features far fewer proprietary black boxes. At the time, with our roots in covering the broadcast industry, we did debate whether the new venture should have had “broadcast” in its title, but even then – before YouTube and Netflix, before Facebook and Twitter, before mobile apps – it was apparent that the emerging new media world would not be restricted to one method of delivery. Thus, Content+Technology was born.

A

Decade of C+T ASIA

Fast forward 10 years, and we found ourselves looking at how we could better serve our Asian readership. There was, and remains, no shortage of stories coming out of the region portraying technological innovation and resourcefulness, so we decided to float the idea of an Asia-focussed edition of C+T at 2012’s BroadcastAsia show. In light of the encouragement we received, we hit the go button, printing and mailing out of Singapore.

As veterans of Asian broadcast tradeshows, we noticed the attention and support the regional industry attracted over the years. When economic times were good, both European and North American trade media were all over APAC. When times were bad, they and a not insignificant number of vendors retreated back to their home markets, exposing their lack of commitment. We vowed to not do the same.

On that note, we’d like to tip our hats to Andrew Yeo of Asia-Pacific Broadcasting (APB) fame. His commitment to the regional industry, his pearls of advice, and beer on the APB BroadcastAsia booth are legendary. We wish he and APB’s new custodians at Haymarket Media Group all the best as, yet again, the regional industry media settles down to actually being from the region. Lastly, we’d like to thank our current and former team members who have helped us along the way:

Adam Buick

Anthony Wyld (Wide Open Media)

Brett Smith

Daniela Huelsen

Brent Carswell and the team at Crunch Design

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

Jason Maximo, Miriam Pizzoferrato (DAI Print, Singapore)

Amanda Stephens-Lee

The Furbys

The Salmons

The Sandbergs

Keith Ford

Richard Visser

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

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

2023 C+T DEADLINES

ASIA EDITION

AUGUST-SEPTEMBER 2023

PREVIEW: IBC, SEPTEMBER 15-18

Editorial Submissions: 22-08-23

Ad Bookings: 22-08-23

Ad Artwork: 29-08-23

AUSTRALIA/NEW ZEALAND EDITION

JULY-AUGUST 2023

Editorial Submissions: 26-06-23

Ad Bookings: 30-06-23

Ad Artwork: 03-07-23

For more information www.content-technology.com

+61-(0)414 671 811

Email: papers@broadcastpapers.com

(Time) Zone.

Singapore Film ‘Perth’ Restored with Blackmagic

BLACKMAGIC DESIGN has announced that the 2003 feature film “Perth,” which was originally shot on Super 16mm film, was recently scanned and restored using the Cintel Scanner and DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software. Set in Singapore, the film follows Harry Lee, a 51 year old part time security guard who dreams of migrating to Perth, Australia, to escape a difficult life with little opportunity. He unwittingly gets entangled in the Singapore underworld in order to earn enough to carry out his relocation plans. Though the film was not commercially successful in 2003, a renewed interest by the Asian Film Archive to restore the film for modern audiences encouraged the director, Djinn, to explore the possibilities. Djinn brought the film to longtime collaborator and colourist Shaley Brooks at Iris Digital Post in California to restore the film for a Heritage Screening event in May 2023.

Brooks had little to work with as he started the process of restoration.

“The Asian Film Archive had a 35mm release print that they used for screenings, which was all that was saved,” said Brooks. “The Archive asked Djinn if he could get a DCP made so it could continue

to be screened in the all-digital systems they now have. Up to that point, the only copy on video was a PAL Digital Betacam, which had a production company logo burned in. We ended up using that tape as our audio source.”

Brooks turned to the post production house DigitalFilm Tree which gave him access to its Cintel Scanner. Having worked with scanning and telecine in the past, Brooks found working with the Cintel Scanner was easy.

“The Cintel was perfect for this project,” said Brooks. “I especially like the CRI file format because the data footprint isn’t huge, and the quality of the image is very good. The scanner is honestly quite simple to use. Loading the film was very straight forward, and the particle transfer rollers are nice to have. I like how the scanner interface works in Resolve. It just feels like a part of the same system, which I’m already comfortable with. So, I didn’t have to learn some new piece of software to get started scanning.”

Though the technical aspects of scanning from a 35mm release print went smoothly, sourcing from two disparate sources for picture and audio proved a challenge for Brooks on multiple fronts. “One of the biggest issues was the condition of the print versus the

PAL Digital Betacam we used for an audio source,” added Brooks. “The release print was missing frames at the head and tail of each reel. I had to slow down some shots to fill the gaps. It definitely affected sync in a couple of spots.”

Once in DaVinci Resolve Studio, Brooks was able to take advantage of the software’s range of restoration tools.

“Since we had no budget, I needed to avoid tedious and time consuming work. I leaned on the automatic dirt removal tool as much as possible and, going shot by shot, I was able to clean the worst of issues from the release print transfer. I used the dust buster tool to clean up a lot of the really big dirt, which worked really well. And since the print had some bad flicker throughout, I used the deflicker tool, which I dialled in on a shot by shot basis,” he explained.

“With the restoration using so many processor intensive tools, to get smooth playback in the colour review process I did the automatic dirt removal and deflicker passes separately,” Brooks continued. “I rendered a new mezzanine DPX sequence with the deflicker and dirt fixes baked in. I also converted the signal to an ACES format at this step. This allowed me to colour without any system slow down. When I found issues that needed to

be fixed from the first pass, I was able to fix only those frames and render a new DPX frame to replace it.”

Beyond colour, Brooks found the expanded toolset in DaVinci Resolve Studio helpful with some of the more challenging issues.

“For something like painting out big scratches, I used Fusion inside of Resolve, which I have been using a lot recently,” he explained. “I consider Fusion an important part of my toolbox now. Taking the time to learn to use it as a novice has been great. I am blurring the lines between colour and VFX!”

With extensive experience in grading some of today’s biggest film and TV shows, Brooks had the skills to apply modern workflows to the analogue format “Perth” was filmed in.

“Since we didn’t have the cut negative, or an interpositive, our contrast and dirt caused issues, but I was able to use the ACES workflow to get the image to look the way we wanted. DaVinci Resolve’s primaries got me the rest of the way,” Brooks concluded.

Visit

Techtel Names Gary Chia SEA Sales Manager

TECHTEL HAS ANNOUNCED

that Gary Chia is its new SE Asia Territory Sales Manager, based in the company’s regional Singapore office.

Gary joins Techtel at a time when the company is experiencing rapid growth from production solutions embracing more IP connectivity and its own internal software development team releasing new features over the coming months leading up to Broadcast Asia.

With a successful career beginning in broadcast and video engineering, Gary soon transitioned into business development and account management operating from a Singapore base to service the many surrounding countries. His existing knowledge of Broadcast Technology will position our business as a reliable partner to the emerging businesses looking to leverage media technology whilst continuing to offer a great service

ARRI Opens Subsidiary in Singapore

AFTER 15 YEARS operating from Hong Kong, ARRI Asia-Pacific has relocated to Singapore.

ARRI Asia Pte. Ltd., the official name of the new subsidiary in Singapore, is part of ARRI AsiaPacific, which also includes ARRI Korea, ARRI Japan, and ARRI Australia. Together, they provide sales and services to the entire Asia-Pacific region.

To mark this momentous occasion, ARRI Asia-Pacific organised a grand ceremony on April 25th with an open house and an ARRI

party. The top management team from the headquarters in Germany, including Executive Board members Dr. Matthias Erb (Chairman) and Lars Weyer (CFO), industry leaders, and key players from Asia-Pacific’s moving image industry graced the festivities.

“The inauguration of the Singapore subsidiary in the heart of the Asia-Pacific market symbolises a new phase in ARRI’s venture in the region. It shows how vital the region, including its emerging markets, is for ARRI. Together with our customers, we plan to

to the Techtel faithful. Gary Chia said, “I have always focused on the customer throughout my career; I believe in building strong relationships with clients by understanding their needs and delivering customised solutions that exceed their expectations. I am really looking forward to expanding on the great work that Techtel has done throughout SE Asia” Techtel’s CEO Mal Chandler added,

“Gary is going to be a great asset to our existing customers and our vendor partners who are navigating technologies that are evolving fast to keep pace with audience consumption behaviours. As a business we know we need to be in the thick of these transformational technologies and Gary will be steering the ship to keep us, and our customers, on the right course.”

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

significantly increase our activities here,” said Executive Board Chairman Dr. Matthias Erb. Bertrand Dauphant, ARRI AsiaPacific Managing Director, added: “With this move, ARRI is now even better equipped to serve the Asia-Pacific market and meet the increasing demand for our products and services. ARRI Asia-Pacific is now structured around four strong hubs allowing us to better support our clients and promote industry growth throughout the region.”

Located in Marina Centre, Singapore, the new corporate office spans 3600 square feet and boasts a multi-purpose creative space that can be easily converted for equipment demonstrations, ARRI Academy training, company events, and more. The office also includes an open- concept workspace, adaptable meeting rooms, and a collaboration corner. The subsidiary in Singapore also houses a 3000 square-foot service centre and warehouse space.

Visit https://www.arri.com

Small Size LIVE STREAMING AT ITS PEAK

Exhibition Opening Hours

Wednesday 7 June 09:30 - 18:00

Thursday 8 June 09:30 - 18:00

Friday 9 June 09:30 - 16:30

BroadcastAsia returns to the Singapore Expo centre from June 7-9.

As well as a three-day conference programme, BroadcastAsia offers attendees the opportunity to experience technology from over 300 exhibitors, in addition to another three halls of exhibits from the co-located CommunicAsia, SatelliteAsia and TechXLR8 ASIA events.

THIS YEAR’S CONFERENCE programme kicks off on Wednesday June 7 with an Industry Dialogue on ‘Problems, Opportunities and the Evolution of the Asia Broadcast Industry’ with industry luminaries including Anson Tan, Country Head with Viu; Mete Bargmann Commercial Director JAPAC with SpringServe; Ahmed Assar, Ahmed Assar, Head of Video - Asia with Thomson Reuters; and Kenan Phang, Manager, Technical Application Engineering APAC with Sennheiser.

Attention will then turn to ‘Technologies to Unleash Asia’s Media and Entertainment’ with Euan Smith, Group CEO at ASTRO, and Unmish Parthasarthi of Picture Board Partners, followed by an IABM Trends in Asia Market Report.

Following sessions include: ‘Creativity in the Great Tech Race: Beneficiary or Victim’; ‘The Business Case for TV Everywhere’; ‘Partnerships and Consolidation among Content Owners’; ‘Harnessing the Power of AI for Enhanced In-Content Engagement’; FIrst Party Data;

‘Raising energy efficiency and minimising media production cost with Hardware’; ‘AI in Media and Entertainment’; ‘Leveraging Broadcast Networks to Broaden the Reach of OTT Services’.

The first day finishes with an exploration of ‘Navigating Disruption in Broadcast’ featuring Dennis Breckenridge, CEO, Elevate Broadcast; Fabio Gattari, CEO, Etere; Darren Whitehead, Director Business Development, IABM; Matt Quirk Head of WW Channels & Ecosystem OEM Solutions, HPE; and Michelle Munson, CEO, Eluv.io. Thursday kicks off with ‘CloudBased Workflows and Migration Challenges’, followed by ‘Bridging Technology and Broadcast Media’ presented by Tony Berthaud, VP of Sales & Service, APAC and EMEA, with Harmonic, before moving onto ‘Transforming Content Experiences in Web3.0, Metaverse and AR/ VR’ and ‘Future of Programmatic Advertising in the Metaverse’. Attention then shifts to ‘Advanced Big Data in Hong Kong’, a Fireside Chat, and ‘Navigating Broadcast Piracy in Sports and Entertainment’

Technology Firsts for Singapore from Techtel

BROADCASTASIA has Techtel excited to announce that for the first time it will welcome five new vendors to the Techtel booth (6J201), and several others.

Bridge Technologies have become a vital component of any ST2110 production facility with the VB440 tool for monitoring uncompressed video over IP. This tool, and its Instrument View I-pad UX, now boasts Dolby E together and a multi-channel ST2110 test signal generator capability.

Haivision, the force behind Secure Reliable Transport (SRT) and the Makito encoding and decoding platforms will show its latest offerings for GSM mobile transmission including the Haivision Air for news gathering in the field and opening up new camera angles for live sports.

Forecast Consoles, designer and manufacturer of stylish and durable technical furniture will make its debut at Broadcast Asia with the GCX-W workstation solution for non-linear editing, graphics and colour correction workstations.

Mirada provides a single consolidated, multi-platform solution for streamers that offers the ultimate viewing experience across all devices, enabling them to tailor their content to the viewer; fully segmented, aggregated, and with “the best UX in the market”.

According to Techtel, no broadcast video monitor manufacturer can match Plura when it comes to ST2110 / 2022-7 uncompressed IP support. With in-built native support for 4K over IP, Plura has native 25Gb fibre interfaces that enable an additional loop out as

with Guillermo Rodriguez, Director of Anti-Piracy Operations with LaLiga Tech. Proceedings then come alive with ‘Remote Production Technologies’, followed by ‘AI Application for Enhanced Accessibility of Live Sports Broadcast’ presented by Yuya Kuwano, Researcher of Science & Technology Research Laboratories, Japan Broadcasting Corporation (NHK).

The day closes with ‘Stable Feed and Lower Costs with Use of 5G and Satellite’, followed by ‘RISE: Driving Gender Diversity in The Media Sector’, a panel discussion featuring Shweta Jain, APJC GTM Lead for Edge & Media Services, AWS; Shivani Kochhar, Sr. Manager Sales System Technology and Operations, APAC, with Warner Bros. Discovery; Monica Cangco, Solutions Architect, Ross Video Singapore; and Peter Bruce, Snr Manager Channel Sales, APAC, Harmonic.

Friday takes attendees back into the world of virtual with ‘Revolutionising eSports and Gaming in Metaverse and Web3’.

It’s then a case of “Show Me the Money!” with ‘Innovations in Content Creation, Distribution and Monetisation’ and ‘Effectively Monetising Content’. These sessions are followed by ‘Unlocking the Secrets to Successful DataDriven Advertising’.

Following a networking break, attendees dive back into the Metaverse with ‘Experiential engagements with technologies such as XR to Web3, the Metaverse and AI’, ‘Content Creation and Delivery for the Asia Market’, ‘Metaverse Disruption: How Persistent Virtual Worlds Could Shape the Future of Broadcasting and Media’, and ‘A Face is Worth a Thousand (pass)words - Fortifying Tiktok’s User Authentication’ with Sydney Ng, Security Engineer, Tiktok.

The BroadcastAsia conference programme concludes with a panel session, ‘Consumer Tastes and Investment Trends’.

To register, visit https:// asiatechxsg.com/broadcastasia/

SDI, extending the life and TCO of legacy SDI based monitors. With full NMOS support, the monitor will connect you to all your available network sources. It also includes support for the Ember protocol. Cuescript will be demonstrating the latest ST2110 capable Teleprompters and its CueiTTM Windows and OSX based prompting software. Extending on its conventional on-camera platforms, Cuescript will also demonstrate the latest prompters built for PTZ cameras.

Techtel announces v3.0 of infloTM, with software built exclusively by Techtel for its customers. InfloTM already provides an economical and flexible way to ingest your high value production content then search and store it wherever you want – in the cloud or on premise.

InfloTM 3.0 adds multi-user support with granular permissions, web based sub-clip editing, edit during ingest, support for S3 based storage locations like Wasabi hot cloud storage, to name a few.

AP (Associated Press) will demonstrate the latest from its newsroom software platform, ENPS, as well as its story-centric Playbook planning tool that was born cloud native.

Telestream, makers of the Vantage media processing platform, will be showing off its latest new features. Built to run on the GPU-accelerated Lightspeed platform, Vantage features support for UHD, HDR and 16 bit – 4:4:4 processing.

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

Marking its second year since the era of COVID lockdowns,

Magna Showcases IP Production and Cloud-Based Solutions

AT BROADCASTASIA 2023 Magna Systems & Engineering will be demonstrating the very latest in IP production and cloud-based solutions on Booth 6C1-01, including:

EVS Infrastructure – Cerebrum Broadcast Control System (BCS) and Neuron (IP Control and Gateway). Accessible via one customisable application, Cerebrum allows you to control, configure and monitor any broadcast environment and is designed for small to large infrastructures, and SDI and IP. Meanwhile, the Neuron Network Attached Processor is “modular glue” for IP infrastructures, capable of doing all the audio and video processing still required in the IP world.

Nevion’s VideoIPath SDN Orchestration is a convergent media orchestration platform which combines network orchestration (including SDN) and broadcast control.

TAG VS’ MCM-9000 software-only IP Multiviewer with MCS supports multiple formats, including compressed, uncompressed and OTT. Meanwhile, TAG VS’ Media Control System (MCS) enables integration of your media monitoring with open-source software, DevOps tools and AI/ ML to achieve deep insight and knowledge about your media business’ performance.

Providius’ Broadcast Media Guard (BMG) Media Stream Analysis decodes, and analyses a wide variety of IP media flows. Media analysis is critical as it enables the measurement and monitoring of the quality and integrity of IP media.

Synamedia’s Quortex Play provides just-in-time cloud streaming at scale allowing users to operate

hundreds of streams from a central location, manage teams, use the API and operate on the go using a Pay As You Go model.

Chyron LIVE is a cloud-native live video production platform. With an internet connection and web-browser, users can access the Chyron LIVE platform to cut/mix live sources, adjust audio levels across all feeds, play out PRIME-quality graphic packages, create unlimited multimedia playlists and produce live replays with telestration.

Telestream’s DIVA Content Management provides asset lifecycle management for media content allowing users to manage digital content across broadcast, production and archive operations, and multiple locations. Kumulate, meanwhile, keeps video storage costs low ensuring video content is available where and when you need it, in the right format, at the right price.

Arkona’s BLADE//runner suite provides a flexible and modular core infrastructure for Tier-1 live broadcast productions which includes audio/video routing, compression, processing, and visualisation, with open standards support and an API 1st approach. BLADE//runner is also controllable through NMOS IS-04/-05. BLADE// runner 2.2 includes the new JXS application enabling JPEG-XS compression. The XS app also handles ST2110-20/30/40 and 2022-6 uncompressed routing and processing.

Manifold Cloud is an on-demand configurable pool of shared

Ross Video Hyperconverges Live Video

ROSS VIDEO (booth 6B3-07) will be attending Broadcast Asia 2023 with a team of experts to demonstrate the company’s latest product innovations spanning the product portfolio, including hyperconverged solutions, LED displays, XR graphics and cloud technology.

Ross will also highlight its complete end-to-end workflow solutions for live broadcast, esports, stadium, worship, studio and stage environments.

Ross’ Hyperconverged Solutions include the 12G ready Ultrix FR12 Router, which uses the latest

technology to integrate multiple independent products within one software-defined system to provide big production in a small package.

There will also be the new Carbonite Ultra 60 Production Switcher which offers more I/O than previously available. This new class of production switcher represents a massive step forward in the Ross production switcher lineup.

Alongside these will be XPression Motion Graphics. Built from the ground up to be a 3D system, this

resources allocated within a private cloud environment designed to provide “The benefits of cloud, for Tier-1 live production” running on COTS FPGA accelerators. The capexfriendly capacity and performance of Manifold Cloud scales linearly depending on how much compute is allocated.

Caton Technology IP Secure Video and Data distribution solutions are designed to transport broadcastquality video and large files over any IP network whether it’s broadcasting live in UHD, sharing large files securely, or anything in between. In addition to hardware and software, Caton offers a fully managed end-to-end service that delivers live video and data in the highest quality, reliability and ultralow latency over any IP network.

ABonAir’s AB4000 wireless video link system handles both HD and 4K applications. The AB4000 uses a wireless optimised H.265 CODEC for broadcast-level picture quality. ABonAir’s bi-directional radio technology between Transmitter and Receiver allows steady, robust, uninterrupted, and accurate video links as each and every pixel is acknowledged by the receiver. Additional features include HDR support, Tally light, CCU and PTZ, Lens control (L-bus).

ENENSYS solutions designed to optimise, secure and monetise the entire media chain, on all types of broadcast networks, including 4G/5G; IPTV, OTT; ATSC3.0, DVB-T/T2, ISDB-T/Tb, HbbTV; DVB-S/S2/S2X, etc. ENENSYS also provides Test & Monitoring equipment through its TestTree brand.

Highlights this year include: TestTree StreamProbe –monitoring solution for TSoIP, OTT and ST2110 streams including SCTE-35 monitoring; IPGuard-X 2110 – software Automatic Change Over (ACO) switch for ST22110 streams up to 25Gb/s with switching based on video freeze, black and audio silence; IPGuard-X – TS – software Automatic Change Over (ACO) switch for up to 250 TSoIP streams with switching based on ETR290 criteria; and AdsReach – Ad insertion solution for transport stream environments supporting splicing in variable bitrate streams.

Contact Magna Systems & Engineering Director of Asia Sales, Patrick So, on +65 6282 3613 or at PSo@magnasys.tv

real-time motion graphics platform also fully supports 2D workflows and seamlessly composites realtime 3D animation with media assets from today’s hottest design applications.

Then there’s the X350 Pan/Tilt Head with Vision[Ai]ry Ft. This pan-tilt head is perfect for remote camera applications where the flexibility, quality and performance of a separate head, camera and lens solution are necessary. When paired with Vision[Ai]ry facial tracking software, it can automatically detect, locate and

track the position of faces within the video stream directly from the camera.

Also on the booth will be the Ross PTZ Camera, the pan/tilt/ zoom ideal for live broadcasts based in corporate board rooms, auditoriums, classrooms, houses of worship and TV studios and offering something for every budget with a wide range of features to match specific requirements.

Visit https://www.rossvideo.com

Ideal Systems – Casting an Eye on NDI

BASED ON ITS EXPERIENCE delivering many varied and successful projects using NDI, Ideal Systems (Booth #6E1-07) will be showcasing a selection of core NDI technologies from which a variety of video solutions can be built –from Live Sports, to News, from Studios to Live Events – all done more cheaply and efficiently than ever before.

NDI, or Network Device Interface, is a video over IP protocol originally developed by NewTek that enables the transmission of high-quality video and audio signals over standard Ethernet networks. NDI technologies and manufacturers Ideal will be showcasing include: Capella Systems’ Cambria Live, an all-in-one live encoding solution that can now ingest NDI streams and output ABR streams such as HLS, MPEG-Dash, and CMAF to a variety of CDN platforms, including Akamai, AWS Elemental MediaStore and Brightcove.

AJA Video Systems’ AJA BRIDGE

NDI 3G, a 1RU turnkey gateway offering high density conversion from 3G-SDI to NDI and NDI to 3G-SDI for both multi-channel HD and 4K/UltraHD.

Emotion Systems’ Eve NDI, a new NDI audio monitoring and

processing tool.

Apantac’s Mi-16-NDI Multiviewer series which can display up to 16 NDI streams or sources (1080P) in a variety of layouts and supports up to HDMI 2.0, 12G and 3G SDI outputs with supported output resolutions up to 2160P@60Hz.

The NETGEAR AV Line of M4250 switches with its new, easy-touse web interface which, when combined with NDI software, greatly reduces the cost and complexity associated with audio and video workflows.

Telescript’s NDI prompter, an IP-ready prompter system which automatically detects any NDI/ NDI|HX device on a network and also includes SDI, HDMI, composite, and VGA inputs, plus AV and SDI loop outputs.

Kiloview’s NDI and SRT encoders, decoders, and recorders, as well as its 5G bonding video encoder – P3. RT Software’s new NDI range of broadcast graphics solutions, including Tactic Pro AI-powered sports telestration, and Swift News with support for ENPSv9 for triggering newsroom graphics to air.

SI Media’s NDI ingest, Automation and Playout platform YES! which Allows media from anywhere to be

Broadpeak Future-Proofs Video Streaming

AT BROADCASTASIA 2023, Broadpeak (booth 6C2-06) will showcase world-class software and services for video delivery and streaming. With Broadpeak’s software deployed on-premises, offered as a service, or a hybrid of both, video service and content providers can deliver an outstanding quality of experience (QoE) and reduce energy consumption.

To prepare operators for the future of video delivery, the new generation of Broadpeak’s Advanced CDN features an open, dynamic, and elastic architecture, which is context-aware and includes new features that bring high performance and energy efficiency while enabling a compelling QoE. Moreover, new

analytics features – including trending and anomaly detection – optimise capacity planning, troubleshooting, and video consumption analysis. In addition, Broadpeak’s new BkS450 highperformance video streaming software brings outstanding cost savings and energy efficiency to video streaming infrastructure, reducing energy consumption for video delivery down to 1 Watt/Gbps. Broadpeak’s server-side ad insertion software, for monetising video services, increases revenue with dynamic targeted ad insertion. This solution offers seamless integration with major ad-tech partners, enabling video service and content providers to deliver direct sales and programmatic advertising.

easily processed via the web.

BirdDog’s X120, the world’s first Wi-Fi enabled production PTZ with NDI HX3, as well as a new range of apps that allow users to interface with BirdDog PTZ Cameras through their iPad and iPhone, and view NDI sources on Android native TVs and Chromecast with Google TV. Nxtedition’s next-generation NDI-enabled Newsroom Control System (NRCS) with OpenAI Whisper speech recognition integration.

MediaProxy’s latest version of LogServer platform which now supports NDI and provides 24/7 multichannel recording and live monitoring of video, audio and real-time data sources.

JVC’s first NDI|HX capable camcorder, the JVC GY-HC500 Series which has a new NDI|HX mode modification that adds the capability for the GY-HC500 to become a live video source for NDI|HX compatible hardware or software connected to the local area network (LAN).

FOR.A’s newly launched HVS-490

switcher with expanded switching capabilities with the user-assigned FLEXaKEY or feature rich 2.5D DVE, for compositing with up to 12 keyers, as well as NDI support using the optional HVS-NIF*2 card.

The Sienna ND Processing Engine, a modular infrastructure designed to facilitate migration of SDI to NDI workflows.

To enhance video QoE and monetisation, especially at peaks, Broadpeak’s nanoCDN multicast ABR solution brings scalability and low latency to the live multiscreen video delivery environment. During the show, real-world deployments by leading operators will be shown for low latency, monetisation, targeted ad delivery, and other use cases. By packaging content on the fly, Broadpeak’s BkS350 Origin Packager enables video delivery to any player or device for live and on-demand applications. The BkS350 combines a just-in-time packaging feature and a built-in cache mechanism to deliver the highest throughput, while reducing

Alice Cloud Integration Framework from Ideal Systems that makes it easier to fill the gaps between manufacturers and systems and helps the seamless integration and usage of many different NDI systems - Cloud, Hybrid Cloud and Hardware based - as well as existing legacy SDI and 2110 systems and media workflows and business processes.

Visit https://www.idealsys.com

storage space, protecting ABR video content, and enabling control over video quality.

Finally, broadpeak.io software-asa-service makes video streaming easy for video service and content providers. The API-based platform provides a simple, fast, and reliable way to launch and deliver advanced streaming services. Demos will focus on dynamic ad insertion, live channel creation, content replacement, and personalised virtual channels for FAST use cases.

Visit

CAMERAS & LIGHTING CAMERAS & LIGHTING

Cinematographer Riju Das Finds Sanctuary with Zeiss Lenses

ALL THAT BREATHES, the most recent film from Indian director Shaunak Sen, debuted on the 2022 international awards circuit with its story of two brothers running a bird sanctuary in Dehli, India. Rich with imagery conveying the connectedness of all life, All That Breathes proceeded to collect the Grand Jury Prize in World Cinema Documentary competition at the Sundance Film Festival, Best Documentary at Cannes Film Festival, and the ASC Best Documentary Feature Award, as well as a nomination for the Academy Award for Best Documentary.

Choosing ZEISS CP.3 and CP.2 lenses to create a cinematic look, Riju Das, one of the cinematographers behind All That Breathes, exercised what can only be described as diligent patience to capture the many incredible small moments that set this film apart.

“The film had been in the making for almost two years before I came on board,” explains Das.

“Sometime in early 2021, Ben Bernhard, the other DP of the film, was flown in from Germany and they started shooting. Unfortunately, not long after, the second wave of COVID hit Delhi.”

Bernhard had to leave India due to Visa restrictions and a call was placed to Riju Das.

“Shaunak explained to me his vision and what they were trying to achieve through the film. It resonated with me so strongly that from that first phone call onwards, I was sure I wanted to do it. I reached Delhi in June and over the next six months we completed the film.

“Initially, I thought that it would be a challenge because Ben had come in and obviously used his own style and approach to shoot the film. A film needs a coherent language. I was a little apprehensive as to how to go about it, but Shaunak was sure about his vision for the film. Ben and Shaunak had set a tone for the film but two thirds of it was left to shoot and the language was still developing. We spoke a lot about the film and exchanged notes on movies in general and life itself. As we began filming, we worked out the way to shoot while keeping the language coherent.”

Das travelled to Delhi and dove into the project with Sen.

“The film is an exposition of the philosophical idea of coexistence and interconnectedness of all life on earth, told through the story of these two brothers who work incessantly and incredibly hard to rescue, save, and treat black kites (native birds of prey) in Delhi,” explains Das. “It was about stopping and looking. We spent hours and sometimes even days trying to get a single shot. For example, if you look at the shot where the camera tilts down from city life and traffic, and then comes down to finally reveal creepy crawlies in little puddles of water, and then the reflection of the plane appears in the water itself – we shot that shot for about three days. We shot so many takes, I lost count. But there was only one take where the plane flew in.”

It wasn’t just with the critters and wildlife that the filmmakers practised his rigorous patience and diligence.

“Even when shooting the brothers, we would put the camera on a slider, and be at a safe distance from them so that we didn’t interfere with their activities. We just kept moving the slider left to right, right to left, or did slow pans and tilts, pulling focus from one place to the other, while they were doing their own thing. We would keep shooting till we felt we got the right moment on record.”

The uninhibited and casual behaviour of the brothers was made possible with this patient cinematography.

Das was already familiar with ZEISS lenses when he chose the glass to pair with his Canon C70 camera body.

“From the very beginning I knew that I wanted to use the ZEISS CP.2s and CP.3s,” the cinematographer explains. “A lot of nonfiction films are often shot with still lenses because they’re lightweight and easy to move around with. But we wanted a cinematic feel to this film and for the image to really look like cinema and not like any other video that could be seen on social media. At the same time, the lenses had to have a small form factor because we were often shooting in very cramped spaces. With the CP.3 and CP.2 lenses, you have that perfect balance of a lightweight yet robust cinema lens.”

In one dramatic scene the brothers operate on a bird until a power outage strikes unexpectedly. The cinematographer made use of the compact primes’ versatility to capture the impromptu sequence.

“Initially, we were outside the clinic shooting through the door. Of course, we didn’t anticipate the power cut, but as soon as it happened, we wanted to go in closer to the brothers and use that cutting and a change of lensing and image, to add to the chaos. We had to move in quickly and change our magnification/focal length before the power came back on to capture the struggle while

the bird was also bleeding at the same time. Without these small lenses it wouldn’t have been possible. It came down to quickly moving in, setting up the tripod, getting the spirit level right, and then quickly changing the lens and just getting the shot.”

The meticulousness and craftsmanship which shapes All That Breathes paints a moving story of endurance and care for the environment. The filmmakers themselves reflect this mantra in their work.

As Das says, “It took a lot of hours of shooting, coming back, looking at the footage, being very harsh on ourselves as filmmakers, and not giving up. The subject matter concerns all of us. We need to relook at how we interact with the natural world around us. It’s personal and also universal at the same time.”

Visit https://www.zeiss.com/cine

All That Breathes cinematographer Riju Das.

On Location for All That Breathes (Image: Sideshow and Submarine Deluxe).

Netflix Adds Blackmagic, Canon Cameras to Certified List

STREAMING GIANT NETFLIX has added a number of new cameras and production tools to its list of certified products. Officially titled “Cameras and Image Capture: Requirements and Best Practices”, the list highlights the capture requirements necessary to be qualified as an approved camera by the streamer, including dynamic range, resolution, codec, workflow compatibility and more. Netflix requires 90% of a program’s final total runtime to be captured on approved cameras.

Blackmagic Design’s URSA Mini Pro 12K digital cinema camera was recently added to the Netflix Approved Camera List. The list already includes the Blackmagic Design URSA Mini Pro 4.6K G2 amongst its approved systems.

The URSA Mini Pro 12K digital cinema camera, which boasts a 12,288 x 6,480 12K Super 35 image sensor, 14 stops of dynamic range and high frame rate shooting at up to 60 frames per second in 12K at 80 megapixels per frame, also now includes an Optical Low Pass Filter as part of its design. The new model is currently shipping as the URSA Mini Pro 12K OLPF.

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

Canon EOS R5 C

Canon’s EOS R5 C has also been added to Netflix’s list of approved cameras. This allows filmmakers to use Canon’s full-featured, hybrid full-frame mirrorless camera for Netflix productions.

Version 1.0.3.1 firmware elevates

New Imaging Solutions from Sony

DURING THE RECENT NABSHOW, Sony showcased products, solutions and workflows for broadcast, live event, newsgathering and cinematic content creators at every level.

Sony’s HDC-5500V and HDC3500V cameras come with a native variable ND filter, as well as a slide mechanism to enable use with Sony’s new viewfinders (HDVF-EL760/EL740). When used in conjunction with the HDCU5000 camera control unit, the new HDC-5500V and HDC-3500V can be upgraded to support High Frame Rate (HFR) at up to 4x 4K and 8x HD. With an exchangeable side panel for third party integration, numerous HDR settings (Live, Mild and Natural), Live Tone control,

efficient Live HDR/SDR workflows and a lens compensation function, the camera can be purchased to include the features users require now while providing sustainable options to grow into the future. HDC-5500, HDC-3500 and HDC-P50 customers can upgrade their existing cameras to enable these new capabilities[2]. The variable ND filter system camera models are planned to be available this fall.

Meanwhile, the CNA-2: Camera Control Network Adaptor can be used at locations to extend Sony’s camera systems and enable remote and distributed live production, as well as camera monitoring and configuring. With a secure web API, users can take advantage of camera painting and formatting

the overall image quality and camera operability for content captured by filmmakers and creators using the EOS R5C. The EOS R5 C approval brings the number of Canon Cinema EOS camera models approved for use on Netflix productions to eight.

Canon Cinema EOS camera models on the Netflix approved camera list include: the Canon EOS R5 C; Canon EOS C500 Mark II; Canon EOS C300 Mark III; Canon EOS C70; Canon EOS C300 Mark II; Canon EOS C700 FF; Canon EOS C700 and Canon EOS C500.

According to Canon, the new firmware update strengthens its commitment to the filmmaking and content creation market.

To download the new firmware update, visit https://www.usa. canon.com/support/p/eos-r5c#idReference%3Dsoftwaredrivers

For more information on technical requirements for Netflix productions, visit https:// partnerhelp.netflixstudios.com/

settings. Also new, the ILME-FR7: Full-frame PTZ Interchangeable-lens camera combines cinematic expression, remote control, powerful connectivity and multi-camera workflow, delivering the best image quality in a versatile PTZ footprint for studio, live production and filmmaking settings. Firmware Version 1.1, planned for May 2023 or later, will support S700 protocol and internal recording and playback over PoE. Version 2.0, expected in September or later, will support FreeD protocol to simplify AR/ VR production, external zoom adjustment and PTZ trace functionality.

Adding to Sony’s VENICE range, the VENICE Extension System 2

BirdDog Launches X120 PTZ Camera with Wi-Fi

BIRDDOG HAS ANNOUNCED the X120 Wi-Fi enabled production PTZ with NDI HX3.

It may look like a Dalek from Dr Who, but according to BirdDog, the X120 creates an entirely new paradigm in production freedom, with over five ways to connect the camera. Connection options include wireless NDI HX3 over WiFi. Additionally, X120 can send NDI HX3 over Ethernet, features SDI and HDMI for traditional baseband video workflows, and UVC via USB-C for direct connection to Zoom, Teams, Barco Clickshare, and any USB UVC compatible device or application.

The X120 delivers incredible pictures with impressive low light performance due to the Sony Exmor R back-illuminated sensor, superior image module, and BirdDog’s unrivalled experience with NDI technology.

X120 can be tuned in several ways, including the colour matrix tools to give individual control over Red, Green, Blue, Cyan, Magenta, and Yellow, or by using the Kelvin controls to match the camera white balance to your lighting colour temperature. These camera tuning tools can be accessed in a variety of ways including the BirdUI, our Cam Control software, or our all-

new NDI PTZ Control app for iPad and iPhone.

X120 also features autotracking via the free Cam Control software and is packed with features including a 20x optical zoom, convenient OLED screen display of the camera IP address, 360° viewable mohawk Tally, 49mm lens thread for attaching filters, BirdDog’s unique PTZ illuminated numbering system, and flexible power options including DC, PoE+ or use BirdDog’s optional PTZ

offers support for the 8K sensor of the VENICE 2 as well as greater mobility and compatibility with either a 3m or a 12m cable – without the need for a repeater. It has a tilt/roll sensor in the imaging block to support VFX and virtual production. At the NABShow, Sony featured its comprehensive virtual production solution including Sony’s VENICE 2 full-frame camera and select Crystal LED displays. Together, this technology creates a fully integrated and streamlined workflow that supports high dynamic range and empowers visual storytelling and virtual production.

Visit https://pro.sony

Battery Mount to make the X120 truly wireless.

Visit https://birddog.tv/

Wooden Accessory System for Sony’s FX3, FX30

NAB2023 SAW Wooden Camera announce a new Accessory System for the Sony FX3 and FX30: a modular system and accessories designed to help users customise their workflow and quickly transition between setups.

“Our ‘L-Cage’ design is the ideal foundation for any Sony FX build, with a modular accessory system that allows the user to rig up their camera for each specific project,” said Dominick Aiello, Creative Solutions Sr. Director of Accessories. “The entire cage system is designed to be completely flexible, keeping the camera body structurally protected, while providing a multitude of mounting points exactly where they need to be for the accessories professionals need.”

The components of the Accessory System for the Sony FX3 and FX30 include:

• The expandable L-style Cage features ARCA Plate mounting points on the underside, 2x ⅜-inch-16 mounting points (one on the top, one on the side), 2x ¼-inch-20 mounting points (both on the side) and a removable HDMI Cable Clamp to eliminate loose wires and keep the setup secure and streamlined. The modular design allows for seamless expansion with additional Wooden Camera or third-party accessories.

• The Accessory System Top Plate features a cheese plate design that can be used in place of the stock Sony FX3/FX30 carry handle. It

offers 2x ¼-inch-20 and 1x ⅜-inch16 accessory mounting points and integrates with the Wooden Camera Ultra Handle System and/or other accessories.

• A wrap-around Right Cage Grip offers 3x ¼-inch-20 and 1x ⅜-inch16 mounting points and a passthrough cutaway for unobstructed battery swapping.

• A streamlined Handle Cheese Plate attaches to the FX3/FX30 carry handle and is designed to enhanceconfigurability, adding 7x ¼-inch–20, 2x ⅜-inch-16 and a cold shoe mounting point.

• A new Micro Battery Slide is available in both Gold Mount and V-Mount versions and comes with two D-taps, a dual rod clamp and a resettable 9-amp fuse.

The full Accessory System for Sony FX3/FX30 Kit is available in Gold Mount and V-Mount versions and includes: Cage, Cage Grip, Top Plate, Carry Handle Cheese Plate, Base Plate, 2x 9-inch Rods, 8-inch Safety Dovetail, D-Tap Dummy Battery, Micro Battery Slide (Gold Mount or V-Mount) and Hex Keys.

Visit https://woodencamera.com

Atomos to Support Sony’s Ci Media Cloud

ATOMOS and Sony Electronics have announced a collaboration that will enable Ci Media Cloud access directly from Atomos Cloud Studio – integrating Atomos’ pioneering CONNECT range of camera mounted monitorrecorders which can be attached to virtually any HDMI or SDI camera source.

On set camera to cloud workflows significantly speed up content creation by reducing the time it

takes to get from acquisition to post-production. There is no need to ship hard drives or copy files from one drive to another. With this integration, users can upload files directly to a specific folder in their Ci Workspace from any camera using Atomos CONNECT products. Once files are uploaded to a Workspace, Ci automatically creates transcodes, and makes the files available for preview, commenting, and review. Files, proxies, and clips can be delivered

RED Connect Module for 8K Live Streaming

RED DIGITAL CINEMA has announced the availability of the RED Connect Module for RED’s V-RAPTOR and V-RAPTOR XL cameras. The new module allows users to unlock the capabilities of up to 8K live cinematic streaming via the RED Connect solution. RED Connect enables users the ability to real-time stream RAW R3D files direct from the V-RAPTOR and V-RAPTOR XL camera systems over IP to a camera control unit (CCU), opening an extraordinary range of creative applications from live broadcast to virtual production to true 8K VR.

The RED Connect Module is a robust and turn-key solution

for customers to access the wide-ranging capabilities of RED Connect. With a compact form-factor and easy connectivity, the module attaches securely to the back of the V-RAPTOR or V-RAPTOR XL via the camera’s V-Lock battery mechanism. The high-speed data connection is created by connecting the module to the camera’s CFexpress media slot.

The module allows for live streaming of up to 8K at 120FPS or 4K at 240FPS, as well as all other frame rate and resolution combinations offered by the camera. It also supports simultaneous streaming and

to post-production teams directly from Ci, avoiding duplicate copies of files and redundant rendering. Flexible access models, unlimited users, and secure file sharing tools allow productions to quickly and easily bring new team members on to projects and work seamlessly together.

Basic access to Sony’s Ci Media Cloud will be available through Atomos Cloud Studio free of charge. For just $/€5 per month,

customers can register up to five Atomos CONNECT devices, all capable of uploading 1080P proxy files while recording productionquality files locally. Proxy uploads use Atomos’ unique progressive file transfer technology, a transformative innovation that gets content into Ci extremely quickly.

The new integration is scheduled to be rolled out in mid-2023.

Visit https://www.atomos.com

recording from the CCU. The module offers Genlock and timecode synchronisation of multiple cameras using PTP (SMPTE ST 2059-2) and up to 10 Gbps connection via a singlemode LC connector.

The RED Connect system extends the camera’s capabilities in virtual productions and new production environments such as live XR. Users can simplify their camera setup by reducing SDI cables, timecode and genlock devices, and other connections to a single ethernet cable to reduce points of failure. In the world of XR, users can stream 8K 60p content straight from the

camera to any end device. The increased resolution pushes the visual experience into an entirely new immersive world, especially when viewed in a VR headset environment.

For varying use cases, the RED Connect Module can be deployed by adapting the CCU design. The flexibility of the CCU allows for real-time AI processing using RED’s SDK and NVIDIA professional GPUs for graphic intensive workflows with complete SMPTE 2110 implementation or options for one to two frames of latency for 8K and 4K IP broadcast and everything in-between.

Visit https://www.red.com

SPORTSCASTING SPORTSCASTING

Planetcast Scores IPL Hat-Trick

PLANETCAST MEDIA SERVICES has been selected as media services partner by Indian Premier League (IPL) rights winners Star Sports (domestic TV broadcast), Viacom18 (domestic OTT on JioCinema), and Times Internet (international via Cricbuzz).

To help rights holders meet new IPL audience demands, Planetcast has pioneered a host of innovations to enhance viewer experience and monetisation, from near-real-time ad insertion to AI-based instant highlight creation to supporting the first 4K production since its launch by the Board of Control for Cricket in India (BCCI). The league’s matchday coverage is among the world’s most complex live sports video challenges, with simultaneous matches broadcast and streamed over numerous channels and OTT services in multiple languages.

According to Sanjay Duda, Planetcast Media Services’ Chief Executive Officer: “The work we’ve done at IPL matches almost every season since the first in 2008 has enabled Planetcast to build a reputation for handling incredibly complex and valuable live events. With the IPL now the world’s second most expensive sports rights on a per-match basis – just behind the NFL – media leaders like Star Sports, Viacom18 and Times Internet more than ever need to give TV viewers the best possible viewing experience, including UHD viewing on TV and mobile devices.”

The services Planetcast provides enable IPL 2023 rights holders to deliver live high-definition

(HD) and ultrahigh-definition (UHD) coverage. These services include playout, feed management, live feed acquisition, low-latency encoding, graphics management, multi-language commentary and AI-based highlights editing.

Planetcast is the technology mainstay for 17 Star Sports channels and several pop-up channels, with feeds in eight languages. Planetcast enables Viacom18 to bring IPL coverage to Indian streaming audiences via the JioCinema platform. In addition, it provides international OTT distribution for Times Internet to the USA, Canada, the Middle East and North Africa via its Cricbuzz website. The entire media services framework is deployed across 10 stadiums and three Viacom Sports Hubs in India.

“IPL 2023 will see us continue to push the envelope in consumer experience in live TV sports,” says Venugopal Iyengar, Chief Operating Officer, Digital, Planetcast International. “We are launching a number of IPL broadcast innovations this season, including AI-based editing with

player facial recognition to quickly provide key video highlights, fast and flexible upstream ad insertion, and handling multiple language audio commentary tracks.”

To enable Star Sports’ UHD broadcast, Planetcast will be supporting HD1080P distribution using a satellite news gathering (SNG) kit at Dharamshala and Guwahati venues, representing India’s first SNG transmission of live sports using the latest HEVC technology with Dolby Atmos. Planetcast has created an IP setup based on the latest standards for 4K production, enabling parallel HD and UHD content delivery via compatible televisions and devices to consumers across India – with the opportunity to support HDR in the future.

Visit https://www.planetc.net

D2N Powers Intercoms for Triple 8/Johor Motor Sports Team

AUDIO, VIDEO, LIGHTING and Communications provider D2N – Technology Solutions has signed a multi-year deal to supply a comprehensive Riedel Bolero and Kenwood intercom solution for the Triple Eight Race Engineering/Johor Motor Sports Team which competes in the Fanatec GT World Challenge series.

The Fanatec GT World Challenge Asia Series is the continent’s biggest multi-class GT race series. It also comprises a quarter of SRO Motorsports Group’s worldwide GT3 sprint racing platform where the performances of manufacturers and drivers contribute towards a global championship as well as domestic titles. The series is also one of a select few multiclass championships to mix GT3 and GT4 cars, with the latter’s teams and drivers fighting for their own class wins and titles.

Commenting on the D2N comms deal, Triple Eight Race Engineering’s GT Team Manager, Andrew Simpson said, “D2N’s Managing Director, Jason Owen successfully has previously worked with the team to supply vital equipment to our GT team. Since then, Jason has provided an excellent Riedel Bolero and

Kenwood intercom solution which fully satisfies the requirements of our Asian GT program.”

Triple Eight’s requirements for their Asian GT program needed a solution that was more expansive than the one the team had been using previously.

Simpson continued, “The new communications system needed to be more powerful, flexible and critically have the ability to change between the different radio frequency restrictions in different countries. As such, the Riedel Kenwood solution D2N have provided us with will allow us to simply change what range of the DECT spectrum the system operates on to comply with different regulations in various countries.”

The full communications solution D2N proposed and provided for the Triple Eight GT Asia team Simpson describes as a winning combination, adding: “The Riedel Bolero and Kenwood intercom system gives each team member a belt pack to communicate effectively across different channels to each section of the team. Having six-plus different lines of communication on the belt pack system

also allows for a much more streamlined way of communicating amongst the team. For example, our engineers can talk easily to other engineers, our crew chief can talk to each car’s respective crew and so on – all in super high-quality audio. The Kenwood mobile units provide excellent signal when communicating with the car on track.”

As far as quality and reliability of the D2N solution are concerned Simpson is equally complimentary concluding, “D2N are the undoubted leader in high quality racing communications and Riedel and Kenwood make great products. The programming interface we now use is intuitive and user friendly. The beltpack units themselves are great quality, with excellent signal strength, battery life, sound quality and ergonomic buttons. As a result of having D2N as a technology partner, the Triple Eight Race Engineering team will exclusively use the Riedel Bolero and Kenwood system they have supplied us with throughout our campaign in GTWC Asia for all our communication needs.”

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

Wankhede Stadium, Mumbai.

Singapore Gears Up for First Olympic Esports Week

THE INTERNATIONAL OLYMPIC COMMITTEE Committee (IOC), together with the Singapore National Olympic Council (SNOC), has released the event details and ticketing information for the inaugural Olympic Esports Week, taking place in Singapore’s Suntec Centre from 22 to 25 June 2023.

This includes all Olympic Esports Finals action across 10 events – and sport shooting has now joined the line-up, with the International Shooting Sport Federation (ISSF)’s challenge featuring Fortnite.

The inaugural Olympic Esports Week is a four-day festival of virtual sports and gaming created by the IOC and hosted in Singapore. A highlight of the week will be the first in-person, live finals of the Olympic Esports Series 2023 – the global virtual and simulated sports competition from the IOC, conducted in collaboration with International Federations (IFs) and game publishers. Qualification rounds in baseball, chess, motorsport and sailing are already

under way, with competitors aiming to reach the finals in Singapore and compete in front of fans for the prestigious title of Olympic Esports Series winner.

The ISSF’s sport shooting island created in Fortnite has been added to the Olympic Esports Finals line-up. The event will see 12 players from the 2023 Fortnite Champion Series (FNCS) invited to compete on the global stage. A specially designed Fortnite Creative Island, made to reflect sport shooting competition, will put the target-aiming accuracy of sharp shooters to the test and see them navigate the in-game

Supponor and Telstra Launch Virtual Advertising Service

VIRTUAL ADVERTISING PROVIDER Supponor and Telstra Broadcast Services (TBS) recently announced a joint initiative to bring virtual advertising as-a-service to sports properties, federations and rights owners worldwide. As a result of the recent successful launch of their league-wide solution for the National Hockey League (NHL), Supponor and TBS are expanding their collaboration to make virtual advertising services more accessible to other international sports leagues in APAC, EMEA and the Americas.

The collaboration enables rights owners and their partners to effectively target global audiences with new and innovative technologies, such as customised virtual signage powered by the Supponor AIR technology. These technologies can now seamlessly integrate within the existing broadcast infrastructure required to reliably and resiliently produce and distribute live top tier sports events.

Supponor’s long term partnership with the NHL has seen its Digitally Enhanced Dasherboards

(DED) system integrated into the live broadcast feed to enable the real-time replacement of camera-visible arena advertising boards and placement of dynamic on-ice assets. DED graphics can be displayed during games in a market-specific way, wherever and however the game feed is broadcast, resulting in highimpact and targeted branding and promotional messaging, not previously achievable.

Telstra, which supports the delivery of NHL content through its broadcast operations centres in Pittsburgh, Sydney and London, also provides the connectivity required to control and deliver this powerful advertising technology. The Telstra Global Media Network (GMN), which underpins the distribution of the League’s multiple feeds from every game to different markets.

Supponor CEO, James B. Gambrell, said, “The extension of our partnership with Telstra to bring virtual advertising to more rights owners, their partners and fans worldwide is just part of our continuing strategy of working with global partners. Together we hope to change the way

environment as they compete to become an Olympic Esports Series winner.

All the live finals action, as well as the official Olympic Esports Week opening ceremony on Thursday 22 June, will be streamed globally on Olympics.com.

Visit https://olympics.com/

properties and broadcasters interact with global brands in any sport where virtual advertising can form an integral part of the fabric of live sports production and distribution. Having already covered over 1,300 games for the NHL this season, and nearly 1,500 events in other sports from soccer to rugby, we have proven the quality, scalability and agility of our innovation. That, combined with the expertise of partners like Telstra, enables rights owners to potentially generate substantial incremental commercial returns and allows advertisers to connect with audiences in a new and meaningful way.”

TBS CEO, Andreas Eriksson, said, “We’re thrilled to be partnering with Supponor to bring virtual advertising to a wider audience. The success we’ve seen with the NHL, its teams, partners and audiences demonstrates the potential of this technology, and we’re excited to explore its possibilities in other sports around the world.”

Visit https://supponor.com/ and https://www.telstra.com.au/

disguise Presents Motion Graphics to Live-to-Air Broadcast

AT THIS YEAR’S NAB SHOW, disguise was showcasing an Unreal Engine (UE) integration to bring new motion graphics capabilities to liveto-air broadcast. disguise’s flagship software, Porta, works with Epic Games’ Unreal Engine to bring broadcasters a solution for everything from virtual worlds to lower thirds.

As more broadcasters use real-time graphics to drive audience engagement, demand has grown for applications that make creating graphics as easy as possible. With the new integration, broadcasters can use one platform to quickly create AR and xR graphics as well as more traditional motion graphics such as lower thirds and full screens. All graphics can then be

controlled from a single interface: disguise Porta. Thanks to its Newsroom Control System integration, Porta lets operators integrate UE graphics into their traditional broadcast workflows, and control their playout, without the need to acquire specialised skills or new talent. With Porta, users can also draw on preexisting graphics templates to ensure a consistent look and feel for their programming and play content out in rundowns with ease and efficiency.

Visitors to disguise’s booth at NAB had a chance to witness how disguise is driving new live-to-air broadcast applications. DAZN, the global sports streaming platform, has implemented, for their MotoGP broadcast in Spain, a green screen virtual

studio with three tracked cameras, using Unreal Engine to create all motion graphics, including lower thirds, locators, video splits and full screen graphics, controlled and played out through Porta and powered by the disguise px render hardware.

“This project is a milestone for us, with all the graphics built in native Unreal Engine – including the CG graphics. It’s a very efficient setup using our cloud-based Porta control, which runs on Unreal, and we are extremely proud to be able to showcase our work for the first time ever at this year’s 100th NAB,” says Grigory Mindlin, General Manager for Broadcast at disguise.

Visit https://www.disguise.one/

Zeplay Instant Replay Reassigns Outputs as Inputs?

ZEPLAY LLC ARRIVED AT NAB2023 with a new feature that allows broadcasters and in-venue content producers to dramatically increase the flexibility and number of inputs of their instant replay server through a simple software upgrade. The upgrade will allow Zeplay customers to reassign output connections as inputs, enabling Zeplay to record additional camera feeds. The new feature comes at a time when sports venues are bringing a wider variety of cameras

into their live production workflows for content acquisition. That includes an increase of POV and robotic cameras to capture very specific action, such as dramatic scoring angles. With more cameras in the mix, customers can now reallocate Zeplay’s I/O for 5×3 or 6×2 configurations to suit their production’s needs. With more content coming into Zeplay, the customer has immediate visual access to more angles as they make replay decisions inside

Vislink Integrates COFDM and Cellular Bonding

VISLINK HAS DEBUTED what the company says is the world’s first integrated COFDM and cellular bonding wireless camera workflow solution for remote production.

Launched at NAB2023, Vislink’s new 5G-Link enables seamless bi-directional data communication between free-roaming wireless cameras and production centres. Vislink says its updated Quantum receiver is the first receiver system to boast out-of-the-box, integrated COFDM and cellular bonding connectivity.

According to Mickey Miller, Vislink CEO, “We have created an ecosystem that leverages private 5G networks to realise the benefits of bi-directional IP connectivity. The new Vislink 5G-Link system serves as an interface bridge to communication and control of edge devices. In addition, Vislink is further driving workplace efficiencies by now allowing those events and productions that involve a combination of COFDM and bonded cellular-based wireless cameras to utilise a single receiver population.”

The Vislink 5G-Link delivers wireless freedom to roam over an uncontended 5G private network, providing high-quality low latency video and bi-direction IP control to the very edge of the broadcast network. It transmits ultra-low latency, high-quality video over a private 5G network, delivering uncontended connectivity that can interface directly into cloud and remote production workflows. By utilising a private 5G network, connectivity is kept separate from public cellular networks and is free from the risk of network contention issues that can occur at

EVS Launches XtraMotion 2.0

THE LATEST VERSION OF EVS’ super slowmotion service can now be deployed on-prem, reducing turnaround time to approximately five seconds

As a result of this improved processing speed, productions can use XtraMotion not only on highlights, but also on live replays for real-time coverage. It offers greater flexibility as customers can opt for cloud or edge workflows based on their production requirements. Furthermore, generating XtraMotion on-premises also allows for the system to treat incoming source video as a ‘growing clip’, meaning that there is no limit to the length of the super slow-motion interpolated segment.

Since its launch in 2021, XtraMotion has become

crowded large-scale events when personal cellular devices usage spikes.

The 5G-Link can be used with standard video cameras, in tandem with Vislink’s HCAM video encoder, enabling low latency video to be ingested into the 5G private network and transported back to any location on the globe. With 5G-Link, cameras can be provided with full IP control connectivity minimising skilled on-site support needs, and operators can benefit from in-band audio connectivity to the production centre.

The 5G-Link also provides IP intercom connectivity for the camera operator, allowing full voice connectivity to the edge. As an IP-based system, with the 5G-Link acting as a voice communication device, it can provide a connection bridge from centralised operations centres located anywhere in the world. In addition, full IP data control and management is provided through Vislink’s LinkMatrix cloudbased control system, allowing links to be made and configurations created on a scheduled or ad-hoc basis.

The newly-updated Vislink Quantum receiver enables production teams to utilise both COFDM and bonded cellular technology formats that are integrated into the same workflow. This is

venues or for live broadcasts. Unique to Zeplay, operators have a clear view of all camera feeds coming into the system as well as playback channels on Zeplay’s multiviewer. This means that the operator can see all playback angles simultaneously instead of having to repeatedly cue multiple angles to review each one. The result is a quicker operator reaction for a more engaging fan experience.

Visit https://www.zeplay.tv

a popular tool for enhancing storytelling in productions and has proven to be particularly beneficial for use on cameras that cannot shoot in super slow-motion, such as pylon or in-car cameras. The XtraMotion rendering process can be applied on-demand to any production format, including 1080i, 1080p, and UHD-4K with HDR, and any original framerate. And with its innovative frame interpolation technology based on a patented EVS proprietary algorithm, the service consistently delivers superior quality results.

“We are very proud of our team’s hard work in developing an algorithm that produces visual content of unmatched quality”, said Olivier Barnich, Head of Innovation and Architecture

ideal for sports-related applications including marathon races, bicycle races and stadium sports that utilise on-field COFDM wireless cameras in addition to cameras outside the stadium for team and spectator reporting. Vislink’s Quantum receiver can also be integrated with Vislink’s LinkMatrix cloud control platform, permitting the production system to be centralised and managed anywhere. This enables production companies to gain greater management and operational efficiencies by requiring fewer high-skilled operators on-site, and centralising resources by allowing skilled staff to work on multiple events across the day in a more efficient manner.

Visit https://www.vislink.com/

at EVS. “The launch of XtraMotion in edge computing mode also presented a valuable opportunity for us to achieve real-time processing. By using the powerful GPUs of our long-term partner Nvidia, we were able to improve our algorithm’s execution speed, leading to an impressive 95 percent reduction in processing time!”

XtraMotion is seamlessly integrated with the EVS VIA ecosystem, making it easy for replay operators to clip content from anywhere on the network, render it into super slow-motion with a simple touch of a button on their LSM-VIA, and play it back with the desired frame rate seconds later.

Visit https://evs.com/

Ateme Launches Virtual Sports Lounge Solution

ATEME HAS ANNOUNCED the launch of its Virtual Lounge solution, which converges traditional television and gaming, enabling D2C streaming providers and sports leagues to reinforce their position as innovators, as well as to increase their monetisation with new adplacement opportunities.

The solution is a digital space embedding multiple low-latency OTT players. These players can stream the same event viewed from different angles, all in sync, or even multiple events, bringing the experience of a sports bar into the digital space.

Thus, the solution brings OTT streams into a gaming environment, facilitating social interactions between viewers of live events even when they are very distant from each other. By projecting themselves into a common virtual space, audiences can design their own video-consumption experiences.

Speaking to C+T at NAB2023, Silvia Candido, Marketing Communications Director with Ateme, said: “Virtual Lounge, which is a virtual space, like a virtual bar, where you go and there are different screens and you choose which one you watch, which it can be either different games on different screens, or the same game from different angles.

“It creates a virtual space that, in the future, you could even add social interaction, so different people remotely watch it in the same virtual space and interact with each other.”

The company also demonstrated an alternative display solution in the form of augmented reality glasses.

“If, for example,” says Candido, “you’re travelling by train and you don’t want to bring a screen along with you, you just bring glasses and you can actually see, watch the game and on the side you can have augmented reality with things such as click to find out more information about the player, who scored and things like that, and you can use your mobile phone to click to get more information. And the glasses are about USD$350, so it’s feasible, it’s not something totally unrealistic.”

Ateme has also partnered with developers Six

Floor Solutions and content personalisation

company Pushologies to boost fan engagement.

Ateme delivers its encoding and packaging components Six Floor Solutions whose U’SEE platform takes video and metadata, and automatically detects key moments in a sports match, automatically, and with very low latency. The platform works with multiple sports and can also perform smart clipping without any manual intervention. Six Floor’s engine is based on computer vision, AI and machine learning techniques, and is hardware agnostic so it can run on-premise, in the cloud, or in hybrid modes.

Once Six Floor’s U’SEE platforms makes the detections and clips the content, it then sends a trigger to Pushologies’ personalisation platform.

According to Charlotte Barham, Operations Director at Pushologies, “We take the API triggers and the content that’s being provided, and automatically compile content within 300-400ms of those event triggers being displayed to us. That’s then passed and delivered to the end-user’s device through the organisations that we’re working with such as sports leagues, via their applications. The engagement that we deliver is personalised, it’s shoppable, it’s bettable, it’s interactive. So, we’re bringing in that monetisation piece to those organisations.

“That’s important because direct-to-consumer is singular, rather than consumers as a mass user base. That segmentation can be done by location, can be done by preferences, based on

Delhi Capitals IPL Cricket Team Sign Up Sportradar

AUSTRALIAN DEVELOPER SPORTRADAR recently announced a collaboration with IPL cricket team, Delhi Capitals, to become an official technology partner of the Delhi Capitals Academy. The three-year partnership intends to boost the Delhi Capitals Academy programme and supports the identification and development of talent across the cricket academy network.

Sportradar will provide FrogBox, a livestreaming technology solution currently used by more than 500 cricket clubs across England, Australia and Europe, to the Delhi Capitals Academy and franchises. The agreement also includes the deployment of a marketleading electronic scoring app and a mobileresponsive match centre to host live streams

and highlights of fixtures as well as live scores, scorecards and results.

Additionally, the Delhi Capitals Academy will be provided with Lilypad, Sportradar’s fan engagement and coaching application to curate highlights from streamed matches to be compiled into playlists and shared with academy students for coaching purposes or on social media to promote the academy to a wider audience.

Dhiraj Malhotra, CEO, Delhi Capitals, said: “This is a key milestone as Delhi Capitals Academy has become the first academy in India to partner with Sportradar and leverage their innovative video technology to develop talent in cricket. This partnership adds value

what you like and dislike and what you’re telling that organisation you want to receive. Every part of the engagement is collecting data. So when that engagement arrives on the home screen of the phone, when you tap on it, what you engage with, how long you spend looking at different types of content, we collect all that data and that’s building out that picture behind every single user of how they’re engaging and how they’re interacting. We provide that back to the organisation to help them develop an improved engagement strategy based on what their users are interested in and what they’re telling them. So, that’s what our part is.

“Just to add, we are showcasing sports, but actually we are compatible with other types of content. We can tag news shows, we can correct EPGs, we can detect advertisement blocks. So, there are plenty of use cases on this solution. And, we can do this for real-time shows, in live shows, linear TV.

“But, also we can do this for VOD, we can tag and catalogue archives. So, there are plenty of options.”

Visit https://www.pushologies.com and https://sixfloorsolutions.com/ and https://www.ateme.com

in several ways including enriching local talent and boosting engagement with our fans. We look forward to working with Sportradar to help grow the game.”

Jarod Pickering, Head of Cricket, Sportradar, said: “Academies such as Delhi Capitals’ play an integral role in identifying and nurturing the next generation of talent. We will be working closely with Delhi Capitals to help realise their vision for the academy and will also reach out to more academies in India to showcase how our technological solutions can be used to further develop the sport that the entire nation is incredibly passionate about.”

Visit https://sportradar.com/

NEWS OPERATIONS NEWS OPERTAIONS

SEVEN News Chooses Fujinon 4K Lenses

THE SEVEN NETWORK is one of five main free-to-air television networks in Australia. Its Sydneybased news operations currently continue at Martin Place in the city’s CBD, but are soon to relocate to a purpose-built high-definition television production facility at the Australian Technology Park in Eveleigh, closer to the international airport.

Recently, the network had a requirement for high quality 4K barrel lenses to use under robotic control and for those they turned to FUJIFILM Australia and FUJINON.

As Seven Network Head of Broadcast Engineering and Development, John Albiston, explained: “Many of Seven’s lenses used in the field have provided over twenty years’ excellent service. The initial aim of the new lens purchase was to ensure the same extended life of reliability with the same excellent results. The new lenses also had to be 4K, extremely high quality and work seamlessly under robotic control.”

After a comprehensive assessment and evaluation, Albiston and the Seven team chose multiple FUJINON UA14x4.5BERD-S10, UA18x5.5BERD-S10 and

UA23x7.6BERD-S10 4K lenses.

Albiston continued, “We purchased FUJINON 4K models with an S-10 drive specifically designed for these lenses to be used with robotics. The S-10s have well and truly fulfilled our requirements and worked seamlessly both in the field and in our metropolitan studios under robotic control.”

The new S-10 drive unit and FUJINON 4K lenses used by Seven are compatible with major robotics systems such as Shotoku, MRMC, Ross Video, Vinten/Radamec, Telemetrics and KXWELL. They provide improved focus and zoom operability and include breathing compensation technology (BCT) as standard. This compensation mechanism synchronises the zoom movement with the focus movement to automatically correct for changes in the angle of view, thereby minimising breathing and keeping the image size constant. This function also eliminates the need to reset the angle of view after focusing, providing a high level of operability.

The S-10 also enables the user to change a 2x extender remotely by using an ECU-2C Extender Change Unit and thus, is ideally suited for

Dalet Cut at BroadcastAsia

DALET CUT is a cloud-native, lightning-fast multimedia and multiplatform editor fully integrated within the Dalet ecosystem. It powers live webbased editing from anywhere with native access to all assets including clips, sequences, projects and graphics, even on limited bandwidth. The intuitive user experience enables content producers and storytellers to collaborate with unparalleled speed and efficiency, delivering better audience experiences across linear and non-linear channels. In a few clicks, content targeted for linear channels can be repackaged for social and OTT platforms, optimising resources and saving time.

Dalet Cut’s browser-based proxy editing coupled with intuitive tools for story creation eliminates the need for VPN, media movement, local rendering or lengthy training.

storytellers can quickly come up to speed and use Dalet Cut to collaborate on stories for digital, social, TV and radio from anywhere.

The digital-first approach features templates to adjust aspect ratios for various video requirements, ensuring stories are prepared in the right shape and form. Users can write scripts, edit content, record narration, add graphics and manipulate captions. Innovative script-to-graphic and AI-powered translations enable users to add impactful narration graphics to stories quickly and easily.

For News workflows – Dalet Cut for Pyramid supports growing files, closed captions and edit-in-place both on-premises and in the cloud. Packaging and distribution of

crane use in a studio.

Seven’s new S-10 drive units and FUJINON lenses are also effective for CG synthesis and come with a 16-bit encoder, capable of making a high-resolution output of lens data including zoom and focal position information. They can be linked with various other systems such as a virtual studio system for combining CG images with live action footage.

Albiston concluded, “Our FUJINON 4K S-10 capable lens field application involves general news acquisition where they give us robust service and superb operational features

including great zoom range and speed. The FUJINON 4K glass is , notwithstanding the many HD applications in which they are used. These new lenses also excel in the studio under Mosart control room automation where high accuracy digital servos eliminate any discernible dither when zooming. These lenses are a major step forward for our crews. All in all, the FUJINON UA14x4.5BERD-S10, UA18x5.5BERD-S10 and UA23x7.6BERD-S10 4K lenses with S-10 drives are excellent and the best lenses in the market for our requirements.”

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

eye-catching stories is quick and easy in a single browser tab. Dalet Cut is natively connected to Dalet Pyramid news planning calendars, assignments, rundowns, archives and more. With full access to Dalet Pyramid shared resources, journalists, producers and news directors can easily collaborate and focus on story development and editorial decisions without the burden of trying to locate relevant

content.

In addition to News, Dalet Cut allows any content owner and storyteller to edit digital content such as sports and event highlights, short-form programs or social promos thanks to its multimedia and multiplatform production capabilities.

See Dalet at BroadcastAsia on booth 5J1-12.

Visit https://www.dalet.com

Brainstorm Boosts InfinitySet Virtual Production Solution

VERSION 5.2 OF BRAINSTORM’S InfinitySet virtual set and XR/AR solution offers a number of advanced features designed to enhance virtual production (VP) and XR workflows, streamlining users’ ability to boost their content creation, whether they are using LED video walls or chroma sets to produce virtual content. Fully compatible with Unreal Engine 5 (UE5) Vanilla, InfinitySet now includes full integration of objects created in InfinitySet or Aston within the UE environment and vice versa, including shadows, reflections and AR with Unreal Engine, providing unmatched flexibility for content creation. Not only can InfinitySet control UE5 from its own interface, vastly improving the user’s ability to manage, edit and control UE blueprints, objects and properties,

but it also makes the combination of the Unreal Engine render with Brainstorm’s own eStudio render engine fully transparent. This allows users to decide which objects or parts of the scene should be rendered in which engine, maximising the possibilities of the software.

“Once again, Brainstorm proves its commitment with high-quality content creation by providing must-have technologies and features designed to ensure content creators can cope with any virtual production requirement,” says David Moldes, Brainstorm’s Product Manager. “Closely working with NVIDIA also makes it possible to extract the most out of the hardware, so our software can shine in the hands of our clients.”

The Brainstorm booth at the recent NABShow featured the Brainstorm Virtual Production

Autocue Launches All-New Teleprompter Range

AUTOCUE HAS ANNOUNCED a radical shakeup of its range of prompters designed to ensure speed, simplicity, and sustainability.

The Autocue range now comprises three distinct series of teleprompters, each with unique features and advantages.

The Explorer Series provides comprehensive prompting packages with simple HDMI teleprompters and professional prompting software suitable for beginners and smaller installations. The Pioneer Series offers broadcast-standard prompting monitors and live editing software with newsroom and PowerPoint integration designed to support everything from live events to local news.

The Navigator Series provides executive and conference

prompter packages for public speakers.

Sustainability is a core feature of the new Autocue range. The prompters are built to last using sustainable design principles, with sturdy and recyclable metal housings, locally sourced shared components, and easy serviceability. The software is continually updated to align with changing workflows to ensure that investment in Autocue solutions remains beneficial for the longterm.

With the Explorer Series, users can breeze through setup and speed up production with minimal parts that quickly adjust for cameras and lenses – no tools needed. Explorer software is instinctive, accepts standard file types and is easy to control with a

Theater and demonstrated a combination of chroma sets and shaped LED video walls provided by Unilumin, featuring real-time, seamless extra-render and set extension with colour-matching 3D LUTs, in-context AR motion graphics, fully immersive talent teletransport, multi-background content - all from one workstation. InfinitySet took advantage of the new NVIDIA RTX 6000 Ada Generation GPU.

Brainstorm also showcased multi-camera production with XR, one of the most demanding, and demanded, features in virtual production. There are several methods to achieve this in a LED-based XR environment, and Brainstorm is compatible with all of them.

Visit https://www.brainstorm3d.com/

built-in scroll control or optional USB controllers. For users new to prompting, Autocue’s new video education series provides tips on how to prompt like a pro.

The feature-rich and customisable Pioneer Series offers complete compatibility for live and as-live productions. The prompter hardware is designed with full adjustability to make setting up the prompter faster and easier and includes a selection of video inputs including SDI.

Pioneer Software is icon-based with familiar layouts for easy reference and includes integration with popular MOS newsroom systems, as well as NDI output for seamless IP integration. It also has unique PowerPoint integration, which automatically creates a script from the slide

AccuWeather Unveils WeatherShow Enhancer

ACCUWEATHER RECENTLY ANNOUNCED the introduction of WeatherShow Enhancer, a software and hardware display system built on AccuWeather’s StoryTeller+ Touchscreen System.

The Enhancer is designed to deliver a distinct and superior look through significantly increased special effects. The company says it will multiply the capabilities of broadcasters’ current weather systems, thereby improving storytelling with less effort. Furthermore, the Enhancer will reduce weather show production costs.

“We’ve all seen how televised election night coverage relies

on more interactive displays and the ability to more quickly pull up information,” said Dr. Joel N. Myers, Founder and Chief Executive Officer of AccuWeather. “The game-changing capabilities of the Enhancer will similarly elevate your weather show’s appeal with more motion, better severe weather coverage, more video and quicker access to critical rapidly changing weather data, and many eye-catching interactions on screen.”

Capabilities of the new system include:

• Multiplies and enhances the capabilities of current weather systems, allowing users to show

16 screens all in one and to move in or out of any, in any order.

• Receive severe weather warnings on air faster and with more meaningful information that can be filtered to make more sense of complicated severe weather situations to better inform viewers.

• Spotlight tools that give meteorologists greater real time control and the ability to better highlight what is most important on screen

• Advanced telestration, now unlocked for the entire presentation.

• Six live HD video inputs, endless

notes and gives the option to show slide previews to the presenter alongside the text.

The Navigator Series is designed to be simple and easy to use for public speaking, with conference stands that give clear visibility of the script and familiar software that anyone can use. The Navigator Conference Packages come in two options, Navigator for simple presentations in smaller indoor venues and Navigator Plus, designed for presentations anywhere. Both options include cables, software, and a USB controller to ensure a prompt start right out of the box.

Visit https://www.autocue.com

video feeds, better animation, more motion, and multiple scene displays simultaneously.

• Access to AccuWeather

MinuteCast, a patented hyperlocal, Minute-byMinute localised forecast of precipitation type and intensity for the next four hours.

• A granular level of street labelling provides the ability to pan, tilt and zoom into any neighbourhood in the world with greater localisation and more detailed mapping unique to the Enhancer.

Visit https://www.accuweather.com/

Zero Density Unveils Unreal On-Air Graphics

DURING NAB 2023, Zero Density announced ZD | OAG, an on-air graphics solution that gives broadcasters all the software and hardware they need to leverage Unreal Engine for any production including news, entertainment, elections and more. Featuring the latest Ada generation NVIDIA GPU and Zero Density graphics software, ZD | OAG empowers broadcasters to easily tell immersive stories with photoreal UltraHD visuals – straight out of the box.

“We thought photoreal graphics should not be limited to virtual studios and extended it to on-air graphics with ZD | OAG,” says Zero Density CEO, Ofir Benovici. “With support for real-time external data feeds, automation systems and integration to NRCS systems through MOS protocol, ZD | OAG takes the guesswork out of setting up an on-air graphics workflow. Anyone can start using ZD | OAG as a standalone product or with other Zero Density solutions depending on what their project requires.”

Designed to meet the unique demands of broadcast production, including 24/7 operation, ZD | OAG’s custom graphics tools are built on top of Unreal Engine and enable users to take advantage of animation control, text effects and more to create stunning visuals with ease. The software and hardware bundle also includes

Zero Density’s universal control UI, RealityHub, with which broadcasters can control everything from real-time graphics to robotic cameras – all in one place.

ZD | OAG is available through a subscription program, enabling users to access the software and lease the hardware from Zero Density at reduced upfront costs with increased flexibility compared to the perpetual licence scheme. Users will always have access to the latest version of the product or service as well as technical support, no matter where they are located.

ZD | OAG is planned to be released later in 2023.

Virtual Studio Bundle

The company also announced ZD | Virtual Studio, a new software bundle that lowers the barrier of entry into virtual production. ZD | Virtual Studio is made up of real-time keying and graphics control applications that make it easy for anyone to create photoreal virtual sets.

With ZD | Virtual Studio, broadcasters can take advantage of Zero Density’s core technology at a more accessible price point. The bundle includes Reality Keyer, the real-time image-based keyer

nxtedition Integrates OpenAI Whisper

NXTEDITION SAYS IT HAS successfully integrated OpenAI Whisper, the speech-to-text artificial intelligence from the developers of ChatGPT, into its standard platform. Through the user-friendly nxtedition interface, OpenAI can transcribe and translate content in realtime as needed, utilising either nxtedition’s private cloud hardware or public cloud-based infrastructure. As a result, the time and cost of accessing thirdparty AI services for transcription and translation as an external function is removed from the workflow.

The integration provides users with access to new tools to enhance productivity. The application of AI here is diverse and includes new methods for creating and maintaining metadata, such as transcribing audio from ingested content and news stories, which is then indexed and can be found using nxtedition’s intelligent search engine. OpenAI Whisper can process not only new videos but also the entire news archive, making it a cost-effective and powerful research facility. In traditional newsroom settings, the use of AI is often inefficient,

CueScript Launches CueTALK Cloud

CUESCRIPT DEBUTED a new cloud-based service, CueTALK Cloud, at NAB 2023 which is designed to allow CueScripts’ prompting software CueiT- and CueTALK-enabled devices, which feature the latest in IP connectivity, to communicate over Wi-Fi. This brings an enhanced level of flexibility to users working in remote locations.

According to Michael Accardi, President, CueScript, “It will serve as a VPN replacement solution for

customers who do not want to (or is not feasible to) connect a VPN service between remote prompting locations. This opens the door for accurate teleprompting anywhere there is an Internet connection and is great for prompting on-the-go.”

CueTALK Cloud allows controllers and prompt devices to be accessible via the cloud using standard public internet connection. It is also designed to align CueiT to be more userfriendly and easily set up between

used by Fox Sports, Warner Media, and The Weather Channel, as well as Zero Density’s RealityHub control application, which lets anyone control both on-air graphics and virtual production from the same user interface. With support for real-time depth of field, ray tracing and Unreal Engine 5.1, ZD | Virtual Studio means broadcasters can set up an industry-standard virtual production with green screen, AR or XR at an affordable price point.

Visit https://www.zerodensity.tv/

requiring transcoding video to audio, sending requests to thirdparty software in the cloud with no indication of when results will be returned or if they will be valuable. In contrast, nxtedition’s approach is to transcribe the original content as it comes in, bypassing the need for time-consuming transcoding and proxy transfers. This approach not only boosts indexing for search results but also generates subtitles, resulting in significant productivity gains.

Adam Leah, creative director at nxtedition, remarked, “The real significance of this integration is that we have incorporated all

the necessary hooks for OpenAI applications into our software stack. We are continuously developing innovative ways for our users to integrate artificial intelligence and machine learning services into our hardware and user environment, which they already appreciate. We’re always seeking ways to reduce unnecessary steps and clicks in workflows.”

The OpenAI Whisper integration will be included in the next release of nxtedition’s core software and hardware.

Visit https://nxtedition.com/

local and remote applications. The company also highlighted SayiT, its first voice-activated solution for its CueiT prompting software. SayiT software application receives a talent microphone input and allows those using the CueiT teleprompting software to be able to have the script automatically scroll in accordance to what they are saying, matching what is displayed on the output of the teleprompter. It streamlines operator workflow

and the need to manually scroll the prompter script. SayiT can also be used as a main or back-up option for stations with no or few operators, or for stations looking to automate talent scrolling their own script.

CueScript also launched OnTime, a Wi-Fi enabled clock device that can be easily configured to the local time zone. It provides NTP to clocks and is connected via Wi-Fi for accurate timing on the road.

Visit https://www.cuescript.tv/

Chinese Series Three-Body Graded with DaVinci Resolve Studio

BLACKMAGIC DESIGN recently announced that Chinese hit Sci-Fi TV series Three-Body was colour graded by Liu Mo at Mogo Film Labs using DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software.

Three-Body premiered on CCTV-8, Tencent Video and Migu Video on January 15, 2023. Directed by Yang Lei and starring Zhang Luyi, Yu Hewei, Chen Jin, Wang Ziwen, and Li Xiaoran, the series, set in modern times and the 1970s, is adapted from the novel “The Three-Body Problem” by Liu Cixin, which tells the story of nanoscientist Wang Miao and detective Shi Qiang as they uncover the world of an extraterrestrial civilisation, the Trisolarans.

According to lead colourist Liu Mo, “Director Yang Lei has a clear idea of what he wants for his work before shooting. He is also knowledgeable about technical details and knows which scenes can be shot on site, which scenes will get different results with the help of colour grading, and which ones cannot be achieved with colour grading.”

The colour grading scheme was finalised based on a test sequence graded by the director. The sample reflected the director’s vision of the scenes in the different eras, including a modern and stern style for modern times, a nostalgic and retro feel for the 1970s, and a dreamy look for the Red Coast base.

How to achieve the director’s desired vision with colour grading techniques was a challenge for Liu.

“There are many different techniques, which can create different artistic effects for the same footage. How to use colours to produce a modern feel, a retro feel, or a dreamy feel was the most challenging part.

“From my perspective, a significant feature of the modern feel is ‘digital.’ ‘Digital’ doesn’t mean lack of the filmic look. It can be exquisite enough to symbolise the modern era. Therefore, the colour grading for the 2007 portion was primarily based on the production work, and we just helped restore what it was and enhance the atmosphere by refining the details.”

When developing the nostalgic look for the Cultural Revolution scenes, Liu focused on creating the style of old movies shot on film stocks.

“I think colours and memory are associated with each other. The reason why we feel an image or a look belongs to the film era is that the films in that era have formed a connection between our subconsciousness and that era. So, our goal was to create a filmic look that would subconsciously evoke the era and its distinctive visual style in the minds of the audience,” explained Liu. The dreamy look of the Red Coast base came from the lighting specially designed by Yang in

the production stage. Liu and Yang did various tests during filming to determine how the colour lights could help shape the tonality of the scene. During the final colour grade, they first made slight adjustments to some natural colours, and then made the overall enhancement.

Another challenge was that the colourists got to help shape the characters’ personalities based on a clear understanding of the characters. Liu said, “You have to delve into the story and each character. It’s easy to make an image look good visually, but it would be meaningless if you didn’t consider the mood the story needs. For a sequence to be graded, the colourists would peruse it and then grade based on their understanding. When reviewing the graded footage, the director would give us his advice if he found that the look did not precisely match his original creative vision. His input on colour grading really helped me a lot.

“Shen Yufei’s home is a very important scene. First, it’s because she’s one of the key roles, and second, some major events take place in her house. We made a lot of adjustments to the environment, characters, and natural colours, such as darkening the environment to design the atmosphere, adjusting the modelling light to highlight the characters’ personalities, desaturating many highly saturated natural colours to achieve overall tone consistency,” explained Liu.

For the Three-Body Game scenes the VFX team provided the colourists with EXR files with linear gamma, which were converted by the colourists to gamma 2.4 in DaVinci Resolve Studio as a starting point for colour grading.

“There are many scenes in the Three-Body Game, each with a unique look; some to help establish the atmosphere and some to assist with storytelling. For example, when Wang Miao first enters the game, it is in a chaotic era. We needed to intensify the chaotic feel. When Wang Miao meets King Wen of Zhou for the first time, we wanted to give the audience a strong visual impact by deliberately creating a Mars like look with a predominantly orange-red tone and also adding some dark green in the shadows to give the image more layers of colour. In addition, we

used three different colour tones to represent different times of the day, and sometimes needed to create colour gradients within a single shot,” said Liu. The “Operation Guzheng” scene takes place in the Panama Canal, but the actual filming was completed in China.

“We had to help increase the visual credibility. Since the Panama Canal is located in the tropics, we used high contrast to emphasise the direct sunlight. Then, we used Resolve’s RGB Mixer to create a yellowish green look to reflect the lush vegetation and the hot weather in the tropical country. In shots involving visual effects, we used a lot of mattes to control the relationship between black, white, and grey tones of the visual elements for a realistic look,” noted Liu.

“We had to help increase the visual credibility. Since the Panama Canal is located in the tropics, we used high contrast to emphasise the direct sunlight. Then, we used Resolve’s RGB Mixer to create a yellowish green look to reflect the lush vegetation and the hot weather in the tropical country”

“I have been using DaVinci Resolve since I entered the industry, because there are a huge number of DaVinci Resolve users, which makes it more convenient to cooperate with my assistants. The colour management in DaVinci Resolve has greatly improved the flexibility of our colour pipelines. For Three-Body, I used the ACES colour management in DaVinci Resolve, which is very handy for colour consistency and balance for a long form TV series project with a large number of shots,” concluded Liu.

Visit https://www.blackmagicdesign.com

Adobe to Apply Firefly AI to Video and Audio

AHEAD OF THE recent NABShow, Adobe announced new innovations, including TextBased Editing and Automated Color ToneMapping in Adobe Premiere Pro and celebrated 30 years of Adobe After Effects. It also expanded Frame.io to enable photography and PDF document reviews, giving decentralised teams a unified and intuitive cloud hub for collaborating on assets.

In its range of marketing tools, Adobe has already delivered hundreds of AI-driven features through Adobe Sensei, Adobe’s AI and machine learning framework. Then, on the post/VFX side, there are features like Auto Reframe and Remix in Premiere Pro, and Content Aware Fill for Video in After Effects.

We are entering a new era where generative AI will enable a natural conversation between creator and computer — where typing in your own words and simple gestures will combine with the best of professional creative application workflows to enable new creative expression.

Earlier this year, the company announced Adobe Firefly, a family of creative generative AI models, starting with image generation and text effects. Its first model, trained on Adobe Stock images, openly licensed content, and public domain content where copyright has expired, is designed to generate content safe for commercial use. Firefly is currently available in beta and the company shared concepts for how it could be integrated into Adobe Photoshop, Adobe Illustrator, Premiere Pro and other Adobe applications in the near future.

At NAB, Adobe expanded on its vision for Firefly to imagine ways it can bring generative AI into Adobe’s video, audio, animation and motion graphics design apps.

According to Ashley Still, SVP of Digital Media at

Entries Wanted for FilmLight Colour Awards

FOLLOWING ITS SECOND successful event in 2022, FilmLight is inviting entries for the 2023 FilmLight Colour Awards. The awards, which are open to colourists on any grading system, will be presented at the International Film Festival EnergaCAMERIMAGE in November.

The 2023 awards will celebrate colourists across five categories – theatrical feature; television series/episodic; commercial; music video; and the Spotlight award for colourists working under the constraints of lower budget projects.

As in previous years, the entries will be independently judged by a panel of high-profile creatives, cinematographers and colourists including award-winning cinematographers, Greig Fraser ACS, ASC (The Batman, Dune, The Mandalorian) and Daniela Cajías AEC (La Niñas, Alcarràs).

Colourists, production companies and facilities are invited to put forward their nominations. The deadline for submissions is 31 July 2023.

For more information, visit https://www.filmlightcolourawards.com/

Adobe, “We’re excited to invent and innovate with the video and audio community to make it easier and faster for you to transform your vision into reality.

With Firefly as a creative co-pilot, you can supercharge your discovery and ideation processes and cut post-production time from days to minutes. “And with generative AI integrated directly into your workflows, these powerful new capabilities will be right at your fingertips. Imagine the power to instantly change the time of day of a video, automatically annotate and find relevant b-roll, or create limitless variations of clips — all as a starting point of your creativity.”

According to Still, the company is exploring a range of concepts, including:

Text to colour enhancements: Change colour schemes, time of day, or even the seasons in already-recorded videos, instantly altering the mood and setting to evoke a specific tone and feel. With a simple prompt like “Make this scene feel warm and inviting,” the time between imagination and final product can all but disappear.

Advanced music and sound effects: Creators can easily generate royalty-free custom sounds and music to reflect a certain feeling or scene for both temporary and final tracks.

Font, text effects, graphics, and logos: With a few simple words and in a matter of minutes, creators can generate subtitles, logos and title cards and custom contextual animations. Powerful script and B-roll capabilities: Creators can dramatically accelerate pre-production, production and post-production workflows using AI analysis of script to text to automatically create storyboards and pre-visualisations, as well as recommending b-roll clips for rough or final cuts.

Creative assistants and co-pilots: With personalised generative AI-powered “how-tos,” users can master new skills and accelerate processes from initial vision to creation and editing.

Starting later this year, the company says it will begin introducing new generative AI features for video, audio, animation and motion graphics design.

Visit https://firefly.adobe.com

BirdDog Remote Workflow for Premiere Pro, After Effects

BIRDDOG HAS ANNOUNCED Cloud Connect for Adobe, a new software solution that allows users to directly port any Adobe Premiere Pro or Adobe After Effects edit session to a collaborator, anywhere, directly from their Adobe interface.

BirdDog Cloud Connect for Adobe is a robustly integrated, feature rich, and high performance, tool for editors producing any kind of television, feature film or online content to collaborate with their peers and production team in real-time – Cloud Connect for Adobe provides a fully connected experience both for the editor and the creative collaborator, located anywhere they like.

BirdDog has developed a Mercury Transmit plugin that integrates directly into Premiere Pro’s playback engine, enabling ultra-low latency connections anywhere, and zero compromise video pipelines with scalability to add features such as HDR High Dynamic Range video in the future. Custom branding allows larger production houses to add

further value to this system as a service to their customers.

Once connected to a BirdDog Cloud Connect session, the remote user can simply and quickly select and view any video screen in the edit suite, including the timeline, confidence, and other monitors as well as cameras for a two-way ‘production conference’. BirdDog Cloud Connect sessions can be accessed by any invited user on their device of choice with applications built for all Apple (iPhone, iPad, AppleTV), Android (Phone, Tablet, TV) and Samsung Tizen TV platforms as well as the BirdDog PLAY hardware receiver.

Cloud Connect for Adobe is available as part of a BirdDog Cloud subscription, available for download at www.BirdDog.cloud.

Visit https://birddog.tv/

disguise and Move.ai Partner on Motion Capture

DISGUISE HAS ANNOUNCED a partnership with markerless motion capture technology provider, Move.ai, with a vision to democratise virtual production and metaverse experiences. The partnership will marry Move.ai’s markerless motion capture with disguise’s graphics processing for film and episodic TV, broadcast and extended reality studios. To do this, disguise and Move.ai are developing a custom AI technology based on real-time markerless motion capture software, Invisible. The integration of Invisible with the disguise platform aims to redefine real-time motion capture by removing the need for restrictive and costly mocap suits. The technology works by extracting natural human motion from video using advanced AI, computer vision, biomechanics and physics to automatically retarget the data to a character rig and create a virtual character that can mirror human motion in real time.

“When it comes to virtual characters and real-time effects, movement needs to be translated into data,” says disguise Chief Product and Technology Officer,

Raed Al Tikriti. “Motion capture and recreation are key pieces of the puzzle. We want to make this technology as accessible and scalable as possible, enabling our community of partners to enhance shared experiences, entertainment and storytelling.”

Invisible integrates with the scalable processing capabilities of disguise hardware. No compromises need be made to creative vision, with motion capture data directly integrated into creative workflows in the disguise Designer software. Meanwhile, disguise’s RenderStream protocol ensures the transfer of skeleton data across the disguise Unreal Engine rendering cluster, allowing for

Atomos Adds Cloud-based Editing

ATOMOS EDIT, the latest addition to Atomos Cloud Studio, is a browserbased, collaborative video editor. It lets Atomos CONNECT users clip, edit and brand fast turnaround content for social media in the cloud, quickly and on the move. The cloud-based application has been developed in collaboration with Axle AI.

With Atomos Edit, the complete end to end video production process is dramatically simplified. You can upload media in the field directly from an Atomos device,

edit on any browser, and then choose to either publish directly to social media or export to another NLE for finishing.

Web optimised playback allows teams and external clients to view images, audio, and video on any device. It’s easy to review and approve from phone, tablet, or desktop. Activity reports allow you to see who has viewed, downloaded, commented, and more. With push notifications, you’ll never miss reviews or approvals.

Key Atomos Edit features include:

DFT’s POLAR HQ Film Scanner Evolves

DFT, THE PROVIDER OF highend film scanning solutions that preserve, manage and deliver pristine film quality, in archives and post production facilities worldwide, has announced a brand new Smart Motion WetGate which complements its newest 8K film scanner, the DFT POLAR HQ.

DFT POLAR HQ, which was developed specifically for film archives, scans up to a maximum of 9.3K resolution in native RGB. The scanner has a modular design

which can flex and grow as user needs and technology changes over time. This modular approach, unique in the film scanning world, marks a transformation in the way that scanners will be built in the future.

At NAB 2023, DFT POLAR HQ demonstrated 35mm and 16mm film scanning capability into a high quality 8K or Super 4K deliverable.

DFT also unveiled a prototype version of the new Smart Motion WetGate, developed for DFT

greater synchronicity of content and tracking data across the production workflow and the seamless merging of the physical and virtual world.

With this partnership in place, more creative and technical teams can use virtual characters without experiencing common motion capture and graphics rendering challenges like latency, sensor drift, interference and extensive data

cleanup. The combined solution can be used to power Avatars in metaverse experiences; Digital characters in virtual productions and AR players in broadcasts; Realistic shadow casting for talent onstage; Gesture-triggered 3D graphics and scene changes; and Movement-triggered particle effects, such as smoke and fire.

Visit https://www.move.ai and https://www.disguise.one

• Professional-style timeline with multiple audio and video tracks.

• Multi-user editing with ability to lock the timeline.

• Collaborative review, comment, tag and approve workflows.

• High speed, interrupt-resilient uploads of large video files.

• Effects and transitions.

• Powerful sequence versioning.

• The ability to directly import stock video content.

Direct publishing to YouTube and

Vimeo is a standout feature of Atomos Edit, allowing creators to manage, edit and publish their content directly to these leading platforms without ever having to download and edit large media files, or upload finished media to the cloud.

ATOMOS CONNECT adds network connectivity and cloud services (via subscription) to existing products like the Ninja V and Ninja V+, and is built into Zato CONNECT and Shogun CONNECT.

Visit https://www.atomos.com

POLAR HQ and planned for release in Q3/ 2023.

DFT has already delivered three POLAR HQ scanners to an archive customer, where the new scanners are connected to the archives central WetGate System that currently serves three Scanity film scanners in its daily operations.

The new DFT POLAR HQ complements DFT’s established range of film scanners, suitable for a wide range of uses: the flagship Scanity HDR – which offers both

high-quality and high-speed film scanning universally regarded as the go-to scanner for high volume quality film scanning; the large format OXScan 14K – which provides ultra-high-resolution scanning from 65mm/70mm and 35mm films making it ideal for mastering ultra-high resolution large film format productions; and Sondor Versa with Resonances for film audio capture.

Visit https://dft-film.com

MEDIA IN THE CLOUD MEDIA IN THE CLOUD

Ross Video Switches it up with Carbonite Ultra 60

companies towards Ultra High Definition (UHD ) has led Ross to follow suit.

“Every single IO on Ultra 60 is UHD capable,” he says. “So there’s no quad-link processing, there’s no division of resources when you move between HD to UHD.

“And we maintained a lot of the M/E’s capability, the resources of frame sync, format conversion, all of that is maintained, the operational familiarity is there. So, if you have been using Ultra and you move up to Ultra 60, the interface, the panels are all identical.

One of the threads of innovation in the Ross Video story has been the company’s determination to continually redefine the production switcher. Right from the 16-4, built by founder John Ross in the basement of his house in 1974, the company has been meeting the needs of the ever evolving niches in television production.

According to Aaron Char,

Business Development Manager

for

“But, because it’s still a pretty large frame, the cost is still pretty high. So, Ross entered that market with Carbonite. We put it into a 2RU frame, so you don’t have to buy a 10, 15 RU frame.So, for a lot of our customers, for the price point, the power, the capabilities, it was a sweet spot. And, as they say, the rest is history, and Carbonite became the world’s most popular mid-sized production switcher.”

Over the past decade, Ross has added different flavours and variations of Carbonite switcher, including the Carbonite Extreme, the Carbonite Black Solo Series, Carbonite Black Series, and Carbonite Ultra.

“Recently, we introduced the Ultrix Carbonite,” says Aaron Char, “which is Carbonite inside our Ultrix platform, but we didn’t rest on our laurels.

“Ultra 60 comes with a maximum of three M/Es and that’s in both HD and UHD. So, very similar to the IOs where you move from HD to UHD, there’s no reduction in IO count.

“Each M/E comes with six keyers, fullyfunctional. On top of that, as we have on any other Carbonite, we have mini M/Es as well. There are four mini M/Es when running in HD mode. The difference between an M/E and a mini M/E is the number of keyers. So, six keyers in a full M/E, two keyers in a mini M/E - and mini M/Es are free. There’s no licence associated with it.

Production

Switchers and Servers for Ross Video in APAC, “In 2011, we launched the original Carbonite switcher. Back then, there was a gap in the market which Ross Video identified. If you wanted a mid-sized switcher, say around two or three M/Es, 20 to 30 inputs, what you had to purchase was essentially a big switcher, strip out the M/E boards, the IO boards, and then you got a mid-sized switcher.

“What Ross identified was that between the mid-size, which is around 20, 30 inputs, and a large-size switcher, there’s also another gap. If you wanted 40, 50 inputs, the Carbonite could not meet the requirement, and if you chose a large switcher, you’re still paying a pretty large premium. So, the big brother of the Carbonite Ultra, the Ultra 60, was born.

“Because it’s modular, we can configure it to be a mid-size switcher, around 36 inputs, two or three M/Es. But if you want something bigger, that’s where you can add in another IO board and bring it up to 60 inputs.”

Ultra High Definition (UHD )

According to Aaron Char, the transition by many broadcasters and production

“Ultra 60 is packing a lot in a small footprint. And, that’s another feature of the switcher itself. When it comes to these mid to larger productions, Ultra 60 takes up less space - it is just 3RU high! And the space saving can be used for other production gear, or simply reducing the overall production footprint. And, for the first time in a Carbonite ever, we put the power supply into the frame itself. There are two power supplies in the frame, with redundancy and load sharing. And so everything is there. You don’t have to worry about forgetting to bring a power supply.

“Bring the panel, the frame, some power cords - and there you go. A fully-fledged production switcher.”

Visit https://www.rossvideo.com/

MEDIA IN THE CLOUD MEDIA IN THE CLOUD

Planetcast Adds Desynova to Extend Cloud Media Services

PLANETCAST MEDIA SERVICES has strategically invested in Desynova, a cuttingedge, cloud-native Content lifecycle Platform. Desynova’s solutions and services, including its Contido platform, enable Planetcast to strengthen and expand its cloud-based content management capabilities for the global marketplace.

“Desynova is a perfect addition for Planetcast through providing us with an agile, collaborative, cloud-native technology married to an intuitive UI that makes managing postproduction and playout workflows smooth and seamless! While the Contido platform from Desynova broadens our solutions and services portfolio, it also brings marquee new customers and adds a significant boost to our global expansion plans,” says Sanjay Duda, CEO of Planetcast Media Services. “We welcome all of Desynova’s 120 employees to the Planetcast family and look forward to collaborating with them to provide the most powerful and flexible portfolio of Content Management solutions on the global market today.”

“The Desynova addition enables us to provide solutions and services that perfectly meet customer needs, both now and moving forward,” says Sanjay Duda. “Clearly, almost every media and entertainment company on the planet is moving to a cloud or hybrid-cloud architecture for their media distribution and management infrastructure. Media Asset

Management is the pumping heart of media infrastructure; Desynova enables us to meet this evolution by integrating the Contido cloud-based content lifecycle platform with other Planetcast solutions, such as playout and OTT delivery, to provide the best ‘full-stack’ solution for all our customers – while also furthering the continued development of AI-driven post-production capabilities, such as AI-assisted editing.” Contido is a cloud-based content supply chain orchestration solution that simplifies and recalibrates the canvas of media production. It is a cloud-native Media Asset Management (MAM) system designed to handle video processing and publishing across multiple platforms seamlessly. Contido, which is already integrated with Planetcast’s solutions, is built on modules that flexibly work together to provide all the functionality required by broadcasters and content creators, including ingest, asset management, collaborative workflows, analytics, quality control, transcoding, subtitling and distribution. Contido provides the flexibility to manage content; right from creating, securely distributing, and managing content items. As a platform, Contido allows multiple handles

Linius Boosts IMG Sports Archive

LINIUS TECHNOLOGIES LIMITED is to provide its sports solution, Whizzard, to IMG’s digital archive platform, IMG Replay.

The Linius Whizzard product will be deployed as a core feature within the IMG Replay service, virtualising the entire IMG Replay archive to make it more searchable and usable.

IMG Replay customers, who include production companies, advertising agencies, broadcasters, news agencies, and content creators, will use Whizzard to search the archive to source specific fixtures, teams, individuals, and events to curate, produce, and licence video content.

IMG Replay (www.IMGReplay.com) manages an exclusive sports and entertainment archive, consisting of nearly 50,000 hours of premium content on behalf of leading rights holders such as Premier League, World Rugby,

PGAA, The Championships, Wimbledon, The R+A, Miss Universe, Giro D’Italia and many more.

Linius Chief Executive Officer (CEO), James Brennan, said, “We are delighted to be selected by IMG to enhance their IMG Replay service. This is a significant validation of the power of our Linius Video Services (LVS) platform and the value unlocked by our Whizzard product for one of the world’s largest sports and media companies. Whizzard is driving accelerated commercial momentum, with Linius adding four new clients in the last five months, leading to record billings in Q2 FY2023 that is expected to double in Q3.”

“Through IMG Replay, Whizzard will be used by some of the premier sporting organisations in the world. IMG Replay and their associated sporting organisations have long recognised the value

to always communicate and collaborate on projects.

“It’s been a fabulous journey from incorporation in the year 2017 to developing and providing a next-generation cloud content lifecycle platform for customers, including Asia’s largest broadcast network and the world’s largest OTT platform,” says Balu Ramamurthy, CEO and Founder of Desynova. “Through working with Planetcast on a joint customer, our Contido platform is already integrated with Planetcast’s broader solutions portfolio – and most importantly, this experience has convinced us that in Planetcast we have found the perfect partner.”

Visit https://www.planetc.net

of these archives. Whizzard makes it possible to unlock that value today and by virtualising the entire archive, IMG and their clients will have the ability to enable multiple innovative use cases for this content.”

Vice President, IMG Replay at IMG Media, Tom Barnes said, “Whizzard will hopefully enable IMG Replay users to create their bespoke automated individual highlights much more quickly and effectively. We believe Linius Whizzard will enable great efficiencies for our clients, generate significant new revenues and open new markets for IMG Replay and this content.” The agreement is for an initial two-year term and includes a fixed setup fee and a monthly licence subscription. The agreement is otherwise generally on terms and conditions customary for an engagement of this nature, including as to

confidentiality, protection of intellectual property, security requirements and data protection, privacy, and service levels.

This engagement is significant for the Company as it provides substantive validation of Linius’ technology and business model by one of the global leaders in the media and entertainment industry, and the application of the technology across a highly valuable and diverse set of premium sports and entertainment content. Moreover, the momentum in adoption of the Whizzard sports platform in recent months, with four new sports companies signing on with Linius, demonstrates an increasing awareness of its unique capability and application for sports companies.

Visit https://www.linius.com

Migrating Video Infrastructure to the Cloud

By Ateme

TO IMPROVE BOTH SCALABILITY scalability and flexibility, the video industry is showing an unprecedented interest in cloud computing. While cloud adoption is still relatively low (under 20 percent), spending in cloud infrastructure is now growing at a rate six times greater than that of traditional IT hardware. But in this gold rush of rapid cloud adoption, media and telco companies must rethink their technology sourcing strategy.

Traditionally, media and telecommunications companies have adopted a best-of-breed approach for individual services, which has resulted in fragmented ecosystems, with little standardisation and many legacy or proprietary technologies. But in the cloud, this generally causes a degraded quality of experience, lower efficiency, and higher costs.

Unifying the Ecosystem

Lately, standardisation has improved for delivering in a cloud environment. New protocols such as RIST, SRT, and NDI have augmented signal transmission to the cloud, enabling new workflows such as full remote production. CMAF finally seems to be bridging the gap between HLS and DASH. It’s now offering a single industry standard that facilitates compatibility with end-user devices and leads to higher efficiency, better caching, reduced latency, and lower operational costs.

These new ecosystems provide higher levels of

Content Digitisation from Silver Trak Digital, DAMsmart

BRINGING TOGETHER services such as Aggregation, QC, Authoring, Broadcast Duplication, Transcoding, Digital Delivery, and Digital Cinema Packaging and Theatrical Distribution in a “onestop” environment, Silver Trak Digital operates out of centres in Sydney, Melbourne, Canberra), Auckland and Kuala Lumpur.

Sister company DAMsmart, meanwhile, is the largest commercial digitisation facility in Australia handling some of the most significant archival collections from within Australia and Internationally. A preferred supplier to Australia’s National Film Archive and the National Film and Sound Archives, DAMsmart has also played a significant part in Archival Conversion in Hong Kong, South Africa, and beyond.

Silver Trak Digital and DAMsmart will be on the Benchmark Broadcast booth (6E1-03) at Broadcast Asia 2023. Benchmark Broadcast is one of Silver Trak Digital and DAMsmart’s strategic

service and better overall value compared to legacy fragmented ecosystems.

Migrating to the Cloud – the Smart Way

When bringing a video ecosystem to the cloud, the appropriate question is not what workload should be moved to the cloud, but “workload should be moved to the cloud first. A video ecosystem in the cloud should be built following an open timeline, NOT as a project with a deadline.

Prime workloads for migration can be identified with two questions:

What would benefit most from the cloud?

What would be the easiest workload to migrate to the cloud?

Two Strategies

Depending on the corporate objectives, different migration paths can be considered.

An innovation-focused migration strategy can lead to new services that attract more customers and create increased revenue streams, such as personalised FAST channels. One possibility is on-the-fly, personalized, thematic live channels with high-value ad slots, increasing revenue and engagement.

A rejuvenation-focused strategy can lead to strong improvements in cash flow and operational efficiency. For instance, with SaaS, content owners looking to reduce their costs

can send their content to the cloud for remote production and securely distribute it with low latency to their affiliates or subscribers through the public cloud, using only the resources they want, only when they need it.

Win-Win

The cloud brings advanced opportunities for media and telecommunications companies, which can differentiate from the competition and create new revenue streams while reducing operational costs.

Ateme has already helped others move to the cloud. For example, it has recently enabled VOD transcoding in the cloud for a tier-one service provider, optimising both costs and performance. The solution was launched in production at the end of 2021 and involved advanced workflows with OTT packaging, DAI, and audience measurement.

Want to learn more? Meet Ateme at Broadcast Asia in booth 5K2-0.

Visit https://www.ateme.com

Next-Gen Content Management from Telestream

SI partners and will be undertaking combined presentations on the theme of “End-to-End Content Digitisation, including Monetisation”. This will include a demo of DAMsmart’s services illustrating the processes for its end-to-end content Digitisation/ Monetisation ecosystem.

Their team at the show will be spearheaded by Silver Trak Digital COO Christian Christiansen and DAMsmart’s Joe Kelly from Australia. They will also have Nathan Viamala, VP of Sales Asia, Karlz Varma, Digital Operations Manager, and Justin Roseworn, Operations Manager (Asia) attending from DAMsmart/Silver Trak Digital Asia.

The team will be discussing all of Silver Trak Digital and DAMsmart’s services, but in particular DAMsmart’s digitisation services and Silver Trak Digital’s Media Room, aggregation, content preparation and FutureStor services.

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

AT NAB 2023, Telestream demonstrated the Telestream Content Manager – a nextgeneration solution that 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, Telestream Content Manager is tightly integrated with the Telestream workflow orchestration tools, as well as supporting all major MAM, PAM, and automation systems.

Three innovations combine to make this unification of cloud and on-prem content management practical and cost effective.

First, an intuitive web-based user interface provides users with the tools that they need to discover and work with their media content. All content information is indexed and searchable, including both system metadata, editorial metadata imported from other systems, and customer-

configurable metadata. Once content is found, it can be played back directly within the application and transferred to any connected device such as a storage, production, or playout system.

Second, auto-object discovery and the ability to index files directly from cloud storage eliminates the egress costs associated with copying to another location and enables enterprises to efficiently manage both legacy content and incoming files. Finally, the automation of content management actions and triggering of automated workflows enables greater efficiency through the ability to create sophisticated supply chain workflows that incorporate content movement, lifecycle management, and media processing.

Telestream Content Manager is planned for worldwide availability in mid-2023.

Visit http://www.telestream.net

Rethinking Radio with Broadcast Bionics

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

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

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

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

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

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

How has Broadcast Bionics evolved to meet those needs?

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

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

What tools does Broadcast Bionics bring to this flexible world?

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

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

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

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

very energy efficient and cost effective-way.”

Does the Virtual Rack include third-party apps?

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

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

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

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

Case Study: AEQ Connects Doordarshan During the Pandemic

DOORDARSHAN, India’s public television company, has its two main production centres in New Delhi - DD News is the production centre of the Doordarshan National News Channel, it is the only 24-hour terrestrial television news channel in India; and CPC, a production centre for General Programs with four studios: A, B, C and D.

In both centres a new digital intercom system was needed to communicate in each studio the producer and director with the cameras, manager and studio assistant, presenters, lighting technicians, sound technicians, CCU, and general centre services such as VCR, graphics, etc.

During 2021, with the travel restrictions imposed by the COVID-19 pandemic, Doordarshan, AEQ and Falcon had to carry out the entire manufacturing, installation, acceptance, commissioning and training process remotely between Madrid (Spain) and the two centres in New Delhi (India).

AEQ located in its Madrid offices an Intercom platform equivalent to the one sent, with the CONEXIA matrix, panels, beltpacks, concentrators, etc. In this way, and thanks to the means of remote control of the equipment and video conferences, the AEQ technical staff was able to carry out the necessary tasks for start-up and training from Madrid.

AEQ’s Crossmapper real-time control and configuration program allowed real-time control and supervision from Madrid of the operations in Delhi.

The project arose from a need to provide a flexible and reliable intercom system for the DD News and CPC centres in Delhi. In mid-2020, the public tender was published, which was answered by the main international companies in the sector.

Doordarshan DD especially prioritised robustness and reliability over any other functionality. The CONEXIA system configured by AEQ was fully adjusted to the functional needs of both centres.

The AEQ intercom system has a flexible configuration. Even though the AEQ intercom system usually uses high-quality Dante combined AoIP connectivity with G722 / G711 for low bit rate transmissions. However, for reasons of simplicity of configuration and maintenance, DD preferred the digital connection - point-to-point for the wired

panels in rack format and pointto-point high-quality analogue connection for the rest of the wired and wireless beltpacks and CCUs (intercom hubs with camera operators).

The widest range of redundancy was installed, so that most of the possible causes of failure do not prevent the global operation of the entire system, and those failures that do occur cause only very localised interruptions that affect small parts of the system and never complete sub-systems. Therefore, intercom and matrix controllers were supplied with redundant and hot-swappable elements that allow any intervention in the system without the need to stop the operation. In elements where there is no redundancy, such as individual connections to panels, beltpacks and cameras, audio distribution equipment, etc., AEQ proposed a configuration in which destinations are distributed among the largest possible number of cards in the CONEXIA matrix. In this way, an unlikely failure of a CONEXIA matrix card would only affect part of the subsystems.

Despite all the complexity of the system required, Doordarshan’s AEQ CONEXIA intercom is easily operated and controlled from the intercom system panels. By pressing the corresponding buttons, authorised persons can contact the destinations and groups that should receive each message. The panels have mechanisms to give the highest quality and security to communications: noise gate, dynamic and equalisation process, recording of the last message, etc.

The DELHI CPC System

The heart of the system is the CONEXIA intercom matrix, responsible for the distribution of audio signals between the wired user panels TP8116 in rack format, BP 3004 in wired beltpack format, as well as the Xplorer wireless user terminals based on Wi-Fi technology , and CE 6000 X01 hubs for cameras.

Common areas have 6 TP8116 panels. Studio A and B have 4 TP8116 panels and a TP8116+EP8116 set as a 32-key panel. In the studio, the Floor Managers and Presenters are equipped with two Xplorer wireless terminals with two WIFI access points, two wired beltpacks and two camera hubs.

Studio C has 1 TP8116 panel, a TP8116+EP8116 set as a 32-key panel, two Xplorer wireless terminals with two access points and a wired beltpack.

Studio D has 3 TP8116 panels, a TP8116+EP8116 set as a 32-key panel, an Xplorer wireless terminal with two access points and a wired beltpack, and two camera hubs. The DD NEWS system

The heart of the system is also a CONEXIA intercom matrix, responsible for the distribution of audio signals between the wired user panels TP8116 in rack format, BP 3004 in wired beltpack format, as well as the Xplorer wireless user terminals based on Wi-Fi technology, and CE 6000 X01 concentrators for cameras.

The different user panels are distributed between the general technical area and the L, S, CB-1 and PRES studios. STUDIO.

Common areas have 8 TP8116 panels. Studio L has 5 TP8116 panels, a TP8116+EP8116 set as a 32-key panel for the Producer. In the studio, the Floor Managers and Presenters are equipped with two Xplorer wireless terminals with WIFI access points, two wired beltpacks and two camera hubs.

Studio S, CB1 and PRESS, each have 4 TP8116 user panels, a TP8116+EP8116 set as a 32-key user panel for the Producer, two Xplorer wireless terminals with two access points, two wired beltpacks and two camera hubs. Supply, Installation, Commissioning and Training

Once the supply was confirmed by Doordarshan, AEQ had to manufacture the equipment

during the first part of 2021. Despite supply complications due to the Covid19 pandemic, AEQ was able to supply all the equipment in a period of four months with equipment shipped during September and October, 2021.

The installation, configuration, commissioning and training was led from Madrid by the AEQ technical team and coordinated by Indian local distributor, Falcon Broadcast Solutions.

Thanks to the programming, control and supervision advantages of the AEQ Crossmapper program, all these tasks could be carried out using simple and common tools in these cases such as the Anydesk program.

Once the entire system was up and running, two two-day remote training courses were conducted for DD News and CPC staff. In this way Doordarshan staff were trained to program and maintain the system requiring very little support from AEQ.

Visit http://www.aeq.eu

RØDE Rolls Out Hardware, Software and Peoplewear

AT THE RECENTLY held NAB Show in Las Vegas, RØDE made some of its biggest product announcements ever. Seven new products and product updates were launched, including new firmware updates for the Wireless GO II and RØDECaster Pro II, new products like the Streamer X, RØDECaster Duo and PodMic USB, and various accessories.

WIRELESS GO II FIRMWARE UPDATE

A new firmware update is coming for the Wireless GO II, which will unlock even more features for what is already a featurepacked compact wireless microphone system. This includes the ability to save on-board recordings as WAV files for easy transfer to a computer on-the-go, and start/stop on-board recordings using the transmitter power button – two highly requested features – as well as new camera models added to the camera preset feature, which was introduced in the most recent firmware update, and a number of system enhancements and workflow improvements.

RØDECASTER PRO II WIRELESS MICROPHONE CONNECTIVITY

A new firmware update will soon be released for the RØDECaster Pro II, which unlocks a hidden feature: wireless microphone connectivity. Already a powerful audio solution for content creators on the market, the RØDECaster Pro II features a flexible array of audio inputs, including combo jacks for connecting both microphones and instruments, Bluetooth connectivity, and dual-USB interfaces for connecting computers and mobile devices. With this new update, users will also be able to connect any RØDE Series IV wireless transmitter – including the Wireless GO II and Wireless ME – for recording wireless audio directly to the RØDECaster Pro II.

This feature is a world-first and makes the RØDECaster Pro II even more versatile, with more inputs and outputs than any other device of its kind on the market, affirming its place as the ultimate audio production console for content creators.

RØDE created the world’s first compact wireless microphone system with the original Wireless GO and revolutionised the category again with the Wireless GO II and, most recently, the Wireless ME. These latest updates see RØDE continue to innovate in the wireless category, expanding product capabilities and ensuring they offer maximum creative potential.

STREAMER X

The Streamer X is a new product that combines a professional audio interface and video capture card in a compact, easy-touse console. It features studio-grade audio inputs for XLR, line-level devices and headsets with an ultra-low-noise, high-gain Revolution Preamp and powerful APHEX audio processing delivering pristine sound quality. It also features the same compatibility with RØDE Series IV wireless microphones that will be coming to the RØDECaster Pro II in the next firmware update. On the video front, it offers 4K30 / 2K60

streaming and up to 2K120 / 4K60 pass-through for incredible video quality in a wide variety of applications, from streaming and gaming, to podcasting and content creation, to business presentations.

Two USB-C connections accommodate dual PC setups, and four customisable SMART pads allow for on-the-fly triggering of sound or voice FX and other actions on a computer. It is also fully compatible with RØDE software solutions, including UNIFY, RØDE Central and RØDE Connect for expanded functionality and unmatched flexibility.

The Streamer X represents a new way to livestream with incredible audio and video. Never before has broadcast-quality video and audio capture been possible using a single console. This is the ultimate all-in-one streaming solution.

RØDECASTER DUO

The RØDECaster Duo is a compact all-in-one audio production solution for podcasting, streaming, music-making and content creation. It offers the same feature set and versatility as the RØDECaster Pro II, including the upcoming compatibility with RØDE Series IV wireless microphones. It features the same quad-core audio engine, Revolution Preamps, APHEX audio processing and customisability as the RØDECaster Pro II – now in an even more compact and portable form factor.

PODMIC USB

The PodMic USB is an ultra-versatile, broadcast-grade dynamic microphone for podcasting, streaming and content creation. It offers the same sound quality and compact yet rugged form factor as the original PodMic, with a new feature up its sleeve: XLR and USB connectivity.

Fresh off the back of the release of the NT1 5th Generation – the world’s first studio condenser to offer both XLR and USB connectivity – this feature has now been added to the PodMic. When using the analogue XLR output, the PodMic USB is exactly the same as the original, albeit with a sleek new finish and studio-grade

pop filter.

When using the digital USB output, it offers a range of next-generation features that make it super flexible, including a Revolution Preamp and high-quality analogue-to-digital conversion for audio capture, advanced DSP for adding professional APHEX voice processing to any recording, and compatibility with smartphones and tablets for use on the go.

It also features a zero-latency headphone output and on-board volume control and is compatible with the complete RØDE software suite, including RØDE Central, RØDE Connect, RØDE Capture and UNIFY.

RØDECASTER BACKPACK

The Backpack is a custom-designed carry bag for the RØDECaster series, including the RØDECaster Pro, RØDECaster Pro II, and RØDECaster Duo. Made from high-quality materials, including a soft, durable Alcantara handle, ballistic nylon straps and waterresistant exterior, it is rugged and hardwearing.

It can accommodate a RØDECaster Pro, Pro II or Duo, plus microphones, studio arms and other accessories, as well as laptops up to 16 inches. Ergonomic adjustable shoulder straps with back and chest support ensure absolute comfort, with exterior pockets and compartments providing additional storage.

WIRELESS GO II CHARGING CASE

The Charge Case is a handy charging case for the Wireless GO II. It accommodates both transmitters and the receiver and features an integrated battery that facilitates three full recharges for up to 30 hours of continuous use. With a rugged enclosure and zip system, it is also perfect for protecting the Wireless GO II when in transit or storage.

Visit https://rode.com/

AsiaSat Live Streamer OCGL Enhances Video with AWS

ASIA SATELLITE Telecommunications Company Limited (AsiaSat), together with its subsidiary, One Click Go Live (OCGL), have been using AWS for live streaming, and to roll out new applications and services swiftly without the need to worry about infrastructure stability and scalability. Leveraging AWS solutions, OCGL is able to provide innovative and highly reliable services to global customers and enhance realtime viewing experiences.

Headquartered in Hong Kong, AsiaSat offers managed media services with an end-to-end solution that addresses the changing dynamics of the video ecosystem. AsiaSat’s diverse portfolio of media services includes content distribution for broadcasters and content providers via Direct-to-Home (DTH) and cable platforms; Digital Terrestrial Television (DTT), IPTV and Over-the-Top (OTT) networks; hotel networks and a new live streaming service powered by OCGL.

“As customer demand increases, we have a need to upgrade the OCGL platform so that we can flexibly scale and deliver high-quality live video streaming services to a growing pool of concurrent viewers from around the world,” said Samuel Yip, General Manager of One Click Go Live Limited. “Real-time content delivery to audiences is time-critical, no matter the scale, from corporate events to sports and live auctions. AWS media solutions can offer low latency and broadcast-grade video quality which matches our needs perfectly.”

“Our acquisition of a majority stake in OCGL in 2021 was a strategic move to enrich AsiaSat’s service portfolio. With AWS, OCGL’s live streaming service now combines the power of satellite broadcasting with IP-based distribution

HK’s

at scale for the delivery of premium events, for example, live telecast of the Macau Grand Prix and the 25th anniversary of the establishment of the Hong Kong SAR,” said Roger Tong, Chief Executive Officer of AsiaSat.

Satellite broadcasting is a one-to-many distribution system that lets content providers cost effectively, rapidly and flexibly deploy delivery platforms that reach viewers in even the most remote areas. By using AWS, OCGL’s live streaming solution extends this content delivery to a global audience on any device anywhere with terrestrial connectivity and provides options of features to boost audience engagement.

In response to increased requirements for close to real-time content delivery to massive audiences across the globe, OCGL is in the process of upgrading its live streaming solution from an on-premises infrastructure to the cloud with AWS. This enables OCGL to deliver unparalleled live streaming experiences to consumers globally with broadcast-grade video quality and widespread accessibility that extends beyond AsiaSat’s geographical satellite footprint coverage. By collaborating with AWS, OCGL can help AsiaSat meet increased customer demand and strengthen content engagement with viewers.

Using AWS, OCGL can significantly broaden its service portfolio targeting consumers and

i-CABLE Pulls Plug on Pay-TV

JUNE 2023 of an era with Hong Kong’s i-CABLE Communications Limited surrendering its Domestic Pay Television Programme Service Licence.

Citing “the rapidly changing media landscape in Hong Kong and fierce competition among the global paid TV content providers and pay TV operators”, the company says it will be increasing investment in free TV channels and its multimedia business to “capitalise on the opportunities from the structural change of the local media market”. The company will also “construct an open media platform for Hong Kong’s public”.

i-CABLE, the parent company of HKCTV, stated that the cessation of the pay TV service, scheduled for June 1, will not affect the broadband and telephony services provided by the group companies under i-CABLE and the domestic free television programme (free TV) service provided by Fantastic Television Limited (Fantastic TV).

Mr. TSANG On Yip, Patrick, Vice-chairman and Executive Director, i-CABLE Communications Limited said, “The continuous strategic transformation of i-CABLE will enhance the resources efficiency of our media business to take on the new opportunities arising from the structural changes in local free TV market in recent year and eventually, create new value for i-CABLE.”

Following the surrender of its Pay TV Licence, the Group will continue to provide free tv programme services and other businesses as usual, including broadband telecommunications services, telephony services, network construction and mobile services.

Some buildings are using the hybrid fibre coaxial cable network operated by HKCTV to receive free TV signals. HKCTV will continue to operate the network for transmission of free TV signals after the cessation of its pay TV service. Residents of these types of buildings need not make any separate arrangements for continued

businesses. To-date, OCGL has successfully delivered more than 1000 professional live broadcast sessions in some of the notable events for corporations, businesses, medical and educational sectors, reaching an audience of over 20 million in more than 50 countries and regions.

Built on the AWS Global Cloud Infrastructure, OCGL’s managed services can securely and reliably transport, prepare, process and deliver live and on-demand content in the cloud. These include leveraging AWS Elemental MediaConnect and AWS Elemental MediaLive to convert live inputs into outputs for broadcast and multiscreen video delivery, using MediaPackage to prepare, protect and package the live content and Amazon Cloudfront to deliver live content globally via AWS Global Infrastructure Network while combining with AsiaSat’s satellite transmission networks.

Visit

reception of free TV service.

A small number of buildings are using HKCTV’s microwave multipoint distribution system to receive free TV signals of Fantastic TV. HKCTV and Fantastic TV have been making adjustments to the TV receiving systems in these buildings, so as to enable residents of these buildings to continue receiving the free TV signals concerned via radio frequency or other means. HKCTV has been notifying residents who need to perform channel rescanning.

Existing subscribers of HKCTV can remove the HKCTV decoders, and connect their TV receivers directly to existing TV sockets by themselves at any time so as to continue receiving free TV signals. HKCTV has set up four collection points across Hong Kong Island and Kowloon to facilitate the voluntary return of decoders and related equipment.

Visit https://csweb.cabletv.com.hk and http://www.i-cablecomm.com/

Imagine Unifies On-Prem and Cloud Multi-site Workflows

IMAGINE COMMUNICATIONS says multi-site playout systemisation – across on-prem and cloud – has taken a step forward with the launch of the company’s Aviator Orchestrator platform.

Combining capabilities for managing and maintaining redundant channel configurations, keeping multiple linear playout systems in sync, and managing the signal flow of live sources, the new Aviator Orchestrator platform enables the on-prem and cloud worlds to be joined together under a common deployment platform, managing the resources and relationships between channels and live streams in a cohesive fashion.

The Aviator Orchestrator platform brings together the power of Imagine’s on-prem playout and automation and its public cloud Imagine Aviator Plan, Make and Monetize platform. In addition, it incorporates capabilities to deploy, manage, and connect Amagi’s CLOUDPORT cloud playout engine and THUNDERSTORM dynamic ad insertion platform – including the ability to reach OTT and connected TV (CTV) endpoints. The result is a highly potent, fully integrated solution to manage the complexity of broadcast workflows, the migration to the cloud, and the changing viewing habits of consumers. The partnership with Amagi brings with it support for Google cloud, along with AWS cloud platforms, further extending the reach of the combined solution.

Speaking with C+T at NAB2023, Imagine Communications’ Chief Process Officer, Glodina ConnanLostanlen, “We kind of complement each other. Amagi has that digital side of the ecosystem really well understood, and all SaaS, and our traditional customers are starting to move into that segment. So, the idea is to make it irrelevant whether you’re doing playout in the cloud

or on-prem, as long as you can leverage the increased security and resilience between the systems. “There’s another piece of it, which is the monetisation. So, Amagi, on their FAST Channel platform, they have ad server technology to serve ads, but what they don’t have is a sort of decision system that we have with SureFire, which we introduced last year, connecting to the traditional linear advertising system.

“So, now you can apply broadcast rules, if you will, to the OTT side of the business.”

Aviator Orchestrator makes it possible to deploy new channels and associated resources such as content, live feeds, and routing, as well as set up the needed redundancy and disaster recovery relationships between channels within a physical location, between multiple physical locations, and with resources in the public cloud. It no longer matters whether channels are in two or more onprem locations, two or more cloud regions, or a combination of onprem and cloud systems. Aviator Orchestrator makes it possible to keep everything synchronised and make changes to live streams, content, and channels as needs change over time.

Rolling out during 2023, the Aviator Orchestrator suite of products works in conjunction with Imagine’s recently demonstrated Magellan Connect feature set, which leverages low-latency encoding and secure delivery techniques to enable ground-to-cloud routing control. On-prem sources such as SDI, SMPTE ST 2110 and MPEG-2 transport streams can be routed within a single facility, between multiple on-prem facilities, and from on-prem to the public cloud – all under an integrated routing control environment. Content destined for the cloud can be encoded for contribution

using H.264 and/or JPEG XS and securely delivered using SRT, managed through Magellan Connect; once in the cloud, sources can be routed to their target destinations, allowing a single source to be shared by many destinations simultaneously.

Aviator Orchestrator reduces the time and effort required to deploy channels by using a template architecture, ensuring consistency when deploying the same types of resources, limiting per-instance configuration and reducing errors. Templates are managed centrally, versions tracked, and active and standby resources clearly visible to administrators. Rolling out new software versions, supporting rollbacks, and managing occasional use and 24/7 resources are made easy.

The Aviator Orchestrator platform supports critical functionality to synchronise playout channels, which feature live inputs, clip playout, graphic branding, SCTE decoration, scheduled playout and master control integration. It enables disaster recovery and business continuity leveraging redundant channels – regardless of the redundancy strategy applied or the physical channel locations – to be kept in sync. Key focus areas for synchronisation are content to all needed storage locations, updates to playlists, metadata changes, and channel status.

Under Aviator Orchestrator control, a logical channel is created that can have multiple simultaneously synchronised associated real channels and can pull from a pool of available channel engines to back up a primary on-air channel as needed. Aviator Orchestrator

Media Links Debuts Xscend IP Media Platform

DESIGNED FOR THE network edge as a reconfigurable, versatile IP media migration gateway, Xscend transports up to 128 high quality media and data services across both managed and unmanaged (open internet) networks.

Its adaptable, media-tuned architecture supports softwaredefined upgrades, accommodating evolving network protocols, user workflows, physical interfaces, codec algorithms and video

formats.

Through Xscend’s hardware modularity, software upgradeability and licence configurability, flexible workflows can be adapted to support a wide variety of use cases, in particular the proliferation of content requirements in sports production.

Its combination of modularity, density, breadth of media/network interfaces, and configurability

enable transport of quality contribution services (including 4K UHD video along with 25Gbps ‘Hitless’ data) across its 100Gbps network trunks. All in a compact, cost effective, power-conserving footprint designed to adapt, traverse and scale to everchanging media over IP network transmission demands.

Xscend addresses today’s standards, including ST 20222/6, ST 2110-20/22/30/40,

ensures that all content (clips, audio, graphics, captions, and other assets), all data (content metadata and dynamic operational changes to that data), and playlist status (playlists, event status and timing) are in sync.

Aviator Orchestrator works in conjunction with both Imagine’s and partners’ on-prem and cloud routing control and playout systems, including critical interfacing to channel automation. The underlying complexity is managed, keeping the operational focus on what is needed to maintain smooth operation and on-air stability. Under normal operating conditions, users see resources and logical channels deployed and managed by Aviator Orchestrator. Operators can drill down to the underlying real channel(s) and manage at that level if needed for situational recovery. These real channel instances can be geographically distributed and deployed on-prem or in cloud.

Imagine Communications are at BroadcastAsia 2023 on Booth 6D1-12.

Visit https://imagineaviator.com

JPEG2000, JPEG-XS and VSF TR-01/07/08 along with the capability to implement future recommendations. This ensures media exchange interoperability, providing users with an IP Media Platform that has the workflow flexibility, processing horsepower and bandwidth headroom necessary to support current advances as well as those to come.

Visit https://medialinks.com/

Imagine Communications’ Chief Process Officer, Glodina Connan-Lostanien.

VO’s End-to-End TV Delivery, Security and Monetisation

AT BROADCASTASIA 2023, in booth 6F2-01, Viaccess-Orca will showcase how TV operators and service providers can drive business growth with future-proof technologies. By adopting VO’s TV platform, featuring the award-winning VO Secure Video Player and advanced capabilities –such as Targeted TV Advertising, analytics, and TV monitoring – pay-TV operators and content providers can offer a personalised TV experience to end users and support constantly evolving viewer preferences. In addition, the company will also showcase its content protection and AntiPiracy Services.

Boost Monetisation With VO’s End-to-End TV Platform

VO’s data-driven, cloud-based TV platform is a complete solution for delivering outstanding viewing experiences with amazing quality, energy-efficient streaming over 5G, and reliable security. The solution includes VO’s service delivery platform, content protection and DRM capabilities, a multiplatform player, customisable TV apps, analytics, AI-based

targeted TV advertising, FAST, monitoring, and recommendations.

At BroadcastAsia 2023, VO will demonstrate innovative security tools for protecting premium content and revenues. Attendees can see VO’s Anti-Piracy Services, a fully customisable set of cybersecurity services that includes AI-based dynamic watermarking, monitoring, breach detection, password sharing, CDN leeching, and legal investigation into piracy for both live and on-demand content. With VO’s trusted and proven Anti-Piracy Services, operators can counteract various threats across the content distribution chain, from the service delivery platform to the end-user device. This is particularly crucial for live sports content.

VO will also showcase Secure Player, a multiplatform media player for premium content. Attendees can see the benefits of using VO’s Secure Video Player combined with the QoE/ QoS metrics dashboard system to dramatically improve video streaming experiences. In addition, VO will highlight how the Secure Player

Appear Heads to BroadcastAsia

AT BROADCASTASIA, Appear will be discussing how its range of modular and energy-efficient contributions, OTT and distribution solutions lead the industry in reliability, density, and scalability. The latest addition to Appear’s portfolio is its hardware-accelerated video transport technology for the SRT (Secure Reliable Transport) protocol. Visitors to its meeting room will be able to find out about the tremendous cost savings its new SRT-based solution brings to media companies globally, enabling them to align video transport costs with content value. The solution was launched on its X Platform at NAB Show 2023.

Appear’s hardware-accelerated SRT solution provides the high-density, robustness and flexibility that media & entertainment companies need to take advantage of cost-efficiencies of

transporting video over the public.

In contribution, for example, existing SRT gateways can only support HEVC distributed from a limited number of cameras before having to add more servers. One SRT-enabled Appear X Platform unit, however, 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 fibre circuits. SRT also means operators can massively reduce the transport budget of moving studio functionality (e.g., MAM) to the cloud. As an SRT gateway, one X20 can handle up to 6,144 connections (12 cards x 512 connections per card) and up to 72G of SRT traffic, saving space and power consumption at a much lower cost

Enensys Ad Insertion, Monitoring and Auto Changeover

ENENSYS also provides Test & Monitoring equipment through its TestTree brand.

Highlights on the Magna stand this year include:

TestTree StreamProbe – monitoring solution for TSoIP, OTT and ST2110 streams including SCTE-35 monitoring;

IPGuard-X 2110 – software Automatic Change Over (ACO) switch for ST22110 streams up to

optimises the delivery of live video content and live sports streaming by supporting QoX and QoS monitoring, multiview and Watch Party.

Simulate Your Targeted TV Advertising Revenue

VO will share a personalised guide with a revenue simulator for Targeted TV Advertising at BroadcastAsia 2023. The Revenue Projection Simulator allows operators and service providers to assess the potential earnings of implementing Targeted TV Advertising. It can be accessed for free at https://www.viaccess-orca.com/ personalized-guide-tv-advertising-lp

Live Deployment Demos

At BroadcastAsia 2023, VO will showcase its end-to-end solutions in action through live customer deployments in the APAC region. The demos will highlight how operators can improve viewer engagement and drive new revenue with the TV platform, content discovery and personalisation, Secure Video Player, content protection, TV apps, and Anti-Piracy Services.

Visit https://www.viaccess-orca.com

base. SRT also enables organisations to change the economics of migration to the cloud in their favour.

Appear is committed to ensuring its products and operations create the lowest impact possible on the environment. Extensive lab tests conducted by one of Appear’s customers, a Tier One European telco, found that Appear achieves considerably superior energy and space efficiency through its modular, tailormade solutions, which ensure 5x less space and energy consumption than other market-leading providers. Against a competitor’s comparable server solutions, Appear’s X Platform produces 38x less CO2 production, 7x less watts per channel, 40x less electronic waste per year, and 20x less rack units per channel.

Visit https://www.appear.net

25Gb/s with switching based on video freeze, black and audio silence;

• IPGuard-X – TS – software Automatic Change Over (ACO) switch for up to 250 TSoIP streams with switching based on ETR290 criteria; and

• AdsReach – Ad insertion solution for transport stream environments supporting splicing in variable bit-rate streams.

Visit https://www.enensys.com

Grass Valley Expands Production Switcher Lineup

GRASS VALLEY HAS EXPANDED its Production Switcher product lineup. Launching at NAB was an updated Kayenne switcher control panel that affords Technical Directors comfort in a recognised layout with the additional flexibility of a touchscreen incorporated within the transition module. Also new is a software update that allows custom assignment of M/E keyers for optimised usage of all available keyers.

The Kayenne panel, like all other Grass Valley switcher panels can connect to a hardware frame like the award-winning K-Frame XP with full raster 4K 2160 I/O and internal processing. Because every Grass Valley switcher control surface can connect to either a hardware or

a software processing engine, the Kayenne can also control the K-Frame CS X configuration operating on the AMPP platform. Operators who are unfamiliar with the Kayenne panel may find it easier to mix audio and video through LiveProducer X, which reimagines the control surface as a series of templates that are accessed and triggered through a keyboard and mouse.

According to Greg Huttie, VP, Production Switching, Grass Valley, “We are not resting on our laurels. We continue to push hard on new innovation. Stay tuned for additional

Ad and CG Insertion from DVEO

DVEO, A PROVIDER OF video delivery solutions, recently announced the launch of several new products and features at the 2023 NAB Show. One of the key new products from DVEO was the Ad and CG Insertion, which allows users to insert local ads, graphics, text scrolls, and other content into their video streams. This solution is suitable for broadcasters looking to monetise their content by offering targeted advertising opportunities to local businesses and other advertisers.

Another new release is Brutus which allows scte35 tags to be inserted into HLS streams for FAST TV or targeted ad insertion. This tool

is for broadcasters and content providers who want to deliver targeted advertising and other content to their viewers in real time. The PlayServer has also been upgraded with a new feature that can convert scte104 to scte35 markers, providing users with even greater flexibility and control over their video streams.

In addition to these new features, DVEO also launched a new product called Video File QC, which automates the process of video file analysis and reporting. This solution is suited to content providers looking to ensure the quality and consistency of their video content across a wide range of devices and platforms.

AWS Elemental MediaConnect Gateway

AMAZON WEB SERVICES (AWS) has launched AWS Elemental MediaConnect Gateway, a new cloud-connected software application to transmit live video between on-premises multicast networks and AWS. Part of AWS Media Services, MediaConnect Gateway improves operations in hybrid environments, providing monitoring, security, and management of video feeds from the AWS Management Console. With MediaConnect Gateway, customers can build live video contribution and distribution workflows in AWS at scale, seamlessly integrating into their onpremises infrastructure.

Typically, delivery of live-video multicast streams between data-centres and the cloud requires investment in specialised third-party hardware and software or resources to develop a custom solution. These solutions can be costly, complex, and difficult to support, and monitoring requires extensive knowledge and investment in vendor-specific tools. Now, with MediaConnect Gateway, customers have the ability to view, monitor, and control live video stream transport in on-premises data-centres directly from the AWS Management Console or by using the MediaConnect API. Media companies will use MediaConnect Gateway primarily for contribution and distribution of live video. In the case of a content provider that originates live linear

channels on premises, they would send these feeds to partners around the globe, using MediaConnect Gateway as a bridge between their multicast, on-premises network infrastructure and the cloud. Each MediaConnect Gateway instance can subscribe to one or more multicast groups, where a group represents either a single channel or multiple channels multiplexed together in a multi-program transport stream (MPTS). Once subscribed, MediaConnect Gateway converts the network traffic to unicast, adds encryption, and sends the video to a MediaConnect flow in the cloud. Then a live streaming application is created using the feed, processing and delivering the video to end viewers using AWS Elemental MediaLive, AWS Elemental MediaPackage, and Amazon CloudFront, for example, or another software application. For video distribution, customers can use MediaConnect Gateway to build sophisticated networks that span hundreds or even thousands of end points on premises. For example, let’s take a broadcaster that sends 24/7 live linear content to hundreds of affiliates. The broadcaster uses MediaConnect Gateway to seamlessly bridge their on-premises multicast network at both the source and destination locations. The result is a cloudmanaged solution with improved operational agility and decreased cost compared to a satellite-based workflow.

announcements regarding SMPTE ST 2110 IP, HDR SDR colour mapping and more coming to our hardware-based switching.”

Visit https://www.grassvalley.com

DVEO also launched a new service called Multi DRM Solution, which provides content protection for IOS, Android, and other devices. This new service is designed to help broadcasters and content providers protect their valuable content from unauthorised distribution and piracy.

Last but not least, the popular Premio platform has been upgraded with a new form factor in the form of the Premio Box, as well as improved video quality for an even better viewing experience.

Visit https://dveo.com/

MediaConnect Gateway runs inside Amazon Elastic Container Service (ECS) Anywhere, a service that allows customers to manage ECS containers on their servers. To get started, customers install the open-source ECS Agent on their VM or bare metal server. Once ECS Anywhere has been installed, customers can download MediaConnect Gateway as a software container. After that, all management of video feeds is handled in the AWS Management Console or using the MediaConnect API. When an on-premises multicast video feed is selected, the video signal is transported as unicast to the cloud using AWS Elemental MediaConnect, a service that combines the dependability of satellite and fibre-optic transport with the user-friendliness of IP-based networks.

Once in MediaConnect, the video can be sent to other AWS Regions, processed using AWS Media Services or other applications, shared with partners and affiliates, and delivered to other on-premises MediaConnect Gateway locations. And with the integration of MediaConnect Gateway into Amazon CloudWatch, customers can monitor the health of feeds without the need to invest in separate tools.

Visit https://aws.amazon.com/mediaconnect/ features/gateway/

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