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Radio... page 26. REGULARS 04 EDITOR’S WELCOME 03 NEWS Maldives’ Medianet Streams with
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Harmonic; Etere Powers Playout for Bokeo TV Laos; Guangdong Radio & TV Upgrades with Lawo; Astro GO Introduces Downloads; China’s 4K Garden Taps AJA for 4K-HDR; Singapore’s Trinity Christian Centre Streams with Harmonic and Veygo.
FEATURES 08 ACQUISITION Thailand’s Red Snapper Goes 6K Full-Frame with Sony’s FX9; Komodo 6K from Red; Sachtler Gets Aktiv; ARRI EF Mount (LBUS); and more.
11 SPORTSCASTING HKRU and Accedo Deliver
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Live Rugby; The Switch Teams with Japan’s Aruji; Roland Video Replay; Ross XPression v10; EVS Training; Second Screen Offering for Sports; PIERO Sports Graphics Analysis Solution v16.
14 NEWS OPERATIONS CNA MediaCorp Named
AIB Channel of the Year; Avid Mobile Apps Deliver News from Anywhere; LiveU Breaks Usage Records on US Election Day; Dalet Pyramid Unifies News Operations; Vizrt Streamlines Workflows; Ross Lucid; Aviwest Goes 5G.
17 MEDIA IN THE CLOUD EditShare Cloud
20 CONTENT+TECHNOLOGY ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 165 Surry Hills, NSW 2010, Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com
Capabilities Boost Production for Philippines’ TV5; Telestream Acquires EcoDigital; TVRI Indonesia Upgrades to Etere 30.3; MediaHub Launches ArkHub Low-Cost Archive Storage Service; and more.
ADVERTISING MANAGER: Adam Buick Mob +61 (0)413 007 144 adam@broadcastpapers.com PRODUCTION MANAGER: Lucy Salmon Mob +61(0)412 479 662 production@broadcastpapers.com DESIGN & LAYOUT Wide Open Media Mob +61 (0)419 225 348 www.wideopenmedia.com.au PRINTING: DAI Rubicon, Singapore
20 POST-PRODUCTION Indian Horror Film Makes
the Grade with Blackmagic; Blackmagic Announces DaVinci Resolve 17; Boris FX Continuum Unleashes Biggest Plugin Release; AI Transcription for DaVinci Resolve; EditShare FLOW Panel for Resolve; and more.
23 AUDIO Singapore’s The Production People
Joins Clear-Com Rental Group; SAE Launches Audient Console Simulator; Riedel’s Bolero 2.2 Raises the Bar; New Fairlight Desktop Console; Audio Source Separation; Studio Technologies Bridges Dante Audio.
26 RADIO WorldDAB Launches Asia-Pacific
Technical Group; New Era for Oz Radio Advertising with RadioMATRIX; USA Approves All-Digital AM; Strong Progress in Troubled Times for DAB+; Digital Radio’s Race for the Connected Car.
42 CONTENT DELIVERY Thailand’s PSI
Broadcasting Installs 19th PlayBox Neo; AsiaSat Certified for Information Security; Tokyo’s ALAMODE Live Streams with AJA; Dalet AmberFin Transcodes in the Cloud; Dolby Atmos for Wohler Monitoring.
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EDITOR’S WELCOME
For the latest news visit www.content-technology.com
One eye on the Future… By Phil Sandberg
location, including no more than 20 onscreen talent/performers (unmasked), at any given time. Smaller productions have been restricted to no more than 30 personnel on location, including no more than 10 onscreen talent/ performers (unmasked) – and, for both categories of production, no singing! Singing has been permitted for productions of up to 30 people under the condition there are no more than five on-screen performers at a time who are two metres apart. This may seem overly restrictive, but in many countries across the region singing is completely prohibited in schools and houses of worship.
While some sectors of the content industry have fared better than others – notably VOD services – there is no doubt that it is in the interest of everyone in the industry for the virus to be brought under control. As has been amply demonstrated by many so-called advanced economies, unless you control the virus, you have no basis for certainty, no basis for ongoing confidence and economic activity. Despite the anticipation of various vaccines, the short to medium-term solution is ongoing vigilance. There is no magic bullet.
Meanwhile on set, larger productions have been restricted to no more than 50 personnel on
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Singapore was one of the “early adapters” to the new normal with the country’s Infocomm Media Development Authority (IMDA) introducing a series of initiatives designed to help the local media sector, including an SGD$8 million Public Service Content (PSC) Fund to enable media companies Mediacorp, Viddsee and SPH to commission short-form content for their digital platforms. 16:00
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Having said that, there are bright spots. The industry continues to adapt in its practices and to find varying levels of support from governments across the region.
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There have been bright spots, too, in the sporting arena. As reported in our issue, the Malaysian Football League has been able to get back to broadcasting matches thanks to COVID-safe protocols and Ideal Live’s combination of bonded cellular and cloud-based technologies. This has enabled smaller on-site crews and more remote production functions. Naturally, remote production has become a priority for technology developers as they have sought to help content producers keep in business while keeping safe during the pandemic. Online collaboration has taken some evolutionary leaps during this period with post-production, newsgathering and playout, in particular, benefitting from accelerated development timelines.
So, what will 2021 bring? In terms of the big picture, hopefully, there will be effective, widely available vaccines, but also a broader recognition that COVID-19 is a public health issue, not a stick with which to beat up political opponents and that, once the health situation has stabilised, so will the economy. Lastly, we’d like to thank all our readers and advertising supporters during 2020. It has been challenging, but in many ways has united the industry like never before. So, to all of you, have a healthy and prosperous 2021 (not to mention Year of the Ox). Hopefully, we’ll see you in person before too long. Thanks for reading Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811 03:00
[UNDERSTATEMENT ALERT] 2020 has certainly been a challenging year. COVID-19 restrictions across the region have impacted everyone regardless of country, regardless of industry.
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Maldives’ Medianet Streams with Harmonic
Etere Powers Playout for Bokeo TV Laos
HARMONIC HAS ANNOUNCED that Medianet, the largest independent pay TV and cable television provider in the Maldives, is using Harmonic’s EyeQ content-aware encoding (CAE) to optimise video streaming and television service delivery. Powered by the latest developments in AI, EyeQ CAE significantly reduces Medianet’s CDN costs while enabling the operator to deliver consistent, high-quality video experiences to subscribers on all screens. “In the Maldives, bandwidth is expensive. We needed a solution that would immediately and effectively reduce our content delivery costs,” said Ahmed Shafeeu, CEO at Medianet. “With Harmonic’s EyeQ technology, we’ve been able to save a dramatic percentage of our CDN usage while maintaining an outstanding quality of experience for our viewers.”
ETERE HAS BEEN SELECTED for a playout project for Bokeo TV in Laos. The smallest of Laos’ provinces, Bokeo borders Thailand. Bokeo TV is part of Lao National Television (LNTV). The project includes the following features:
Harmonic’s EyeQ CAE reduces streaming congestion by cutting bandwidth requirements up to 50% compared to traditional encoding methods, allowing Medianet to optimize video quality over any delivery network. EyeQ technology is 100% standards-compliant with all formats, codecs, encoding schemes and resolutions, future-proofing Medianet’s video delivery workflow. Medianet has been a longtime user of Harmonic HEVC encoding for its cable and satellite delivery.
• Etere Resources Management, a centralised management console that seamlessly connects media files, processes and resources for enhanced operational efficiency.
“A common challenge for operators is sacrificing quality for bandwidth efficiency,” said Tony Berthaud, vice president of sales and video services, APAC, at Harmonic. “Bandwidth use and quality are no longer a tradeoff. EyeQ technology creates variable bit rate profiles so that Medianet can provide constant video quality, improving viewers’ quality of experience on every screen. We’re pushing the boundaries of innovation with EyeQ content-aware encoding, enabling unrivaled video quality and cost savings.” Visit http://www.harmonicinc.com
• Etere Media Asset Management (MAM) • Etere T-Workflow, a component of Etere MAM that allows users to design broadcasting structures and processes which can be run automatically • Multi-platform support with EtereWeb, a secure web platform that allows users to perform all the main features of the PC applications on any internet browser.
• Etere Ingest which provides a full range of ingestion options including automatic ingest, scheduled ingest and manual ingest. • Etere Executive Scheduling which enables broadcasters to plan their broadcast schedules. • Etere Automation fully scalable playout automation software. • Etere ETX which provides broadcasters with all playout features needed to bring a channel on air, including cloud playout, ingest, automation, master control and interactive graphics. ETX also integrates with Etere ETX-M Multiviewer to view multiple videos and live-feeds, all from the same screen simultaneously. Visit www.etere.com
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Singapore’s Trinity Christian Centre Streams with Harmonic and Veygo
HARMONIC HAS ANNOUNCED that Trinity Christian Centre, a house of worship in Singapore, has deployed Harmonic’s advanced VOS 360 video streaming platform and Veygo’s media player for live and on-demand streaming of sermons and events. “Harmonic and Veygo provide the most featurerich, high-performance cloud-based video streaming service. The end-to-end seamless workflow makes the user experience unique, allowing us to focus on the content while entrusting the experts with the technology,” said Pastor Allen Loh, director of missions, human resources and broadcast at Trinity Christian Centre. “The ability to stream our services at
all times is extremely important. With roundthe-clock assurance of our live video channel by Harmonic’s DevOps teams, we can ensure maximum uptime, scale in real-time and provide an exceptional viewing experience for our congregation.”
Harmonic’s VOS360 Live Streaming Platform simplifies media processing and delivery for Trinity. Without requiring any physical infrastructure, the church can efficiently deliver its live streaming channel and a weekly channel playout of scheduled sermon clips. Integration between Harmonic’s VOS360 platform and Veygo’s Meta_Player, featuring content management, readily available multiscreen apps,
a secure player, and analytics, ensures quality of experience for viewers on every screen. “Today’s houses of worship need a solution that is simple to use and fully managed, without requiring heavy capex investments,” said Tony Berthaud, vice president of sales and video services, APAC, at Harmonic. “Running on the public cloud and deployed in just two weeks, our VOS360 platform is empowering nontraditional broadcasters like Trinity to launch a video streaming channel quickly to reach a wider audience.” Visit www.harmonicinc.com
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SingEx Brings Events Back to Singapore with Ideal Systems and NDI
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THE THIRD EDITION of Industrial Transformation ASIA-PACIFIC – A HANNOVER MESSE event (ITAP 2020) took place recently in Singapore EXPO & MAX Atria with full Covid-19 precautions, safe distancing, safe entry and Singapore’s TraceTogether mobile app. Due to Covid-19 travel restrictions and health concerns the event was changed to a hybrid physical and online event with local and virtual attendees and panellists. There were over 5000 registered attendees, while 100 invited guests were physically present for the opening ceremony. For greater interactivity and audience engagement, Ideal Systems was selected to provide critical NDI and AV infrastructure for ITAP 2020 which was Singapore EXPO & MAX Atria’s first MICE (Meetings, incentives, conferences and exhibitions) event since Covid-19. The solution Ideal Systems provided was based on NewTek NDI at the heart of the event control and command centre. The system used the advanced functionality of the new NewTek TriCaster 2 Elite which provided a key feature called “Live Call Connect”. Using Live Call Connect enabled seamless integration of multiple remote panelists who joined by video-call using Zoom, Skype TX and Microsoft Teams. This was done by converting their video calls into unique NDI IP inputs which could be switched, mixed and controlled independently by the TriCaster 2 Elite. This enabled the virtual panellists to be presented together in their
sessions with the local moderator and local panellists on the stage screen in the main event theatre. Virtual participants appeared on the 10m long X 3m high LED wall on the stage (also provided by Ideal Systems) and simultaneously online as a single unified interactive panel of experts. The TriCaster 2 Elite was controlled by NewTek’s 2-Stripe Control Panel, which was paired with the Video Mix Engine in the TriCaster to manage all the discreet NDI IP streams of the panellists along with camera control of the Panasonic NDI PTZ cameras in the main auditorium and all of the scaling and mixing and graphics for the stage and web outputs. Singapore Deputy Prime Minister Heng Swee Keat was the Guest-of-Honour for the event’s opening ceremony. Mr. Ang Chee Chiang, General Manager, Centre Management, SingEx Venues, said “SingEx was delighted to have partnered with Ideal Systems to build our digital production and broadcasting capabilities to support our first hybrid event. Ideal Systems worked closely with our technical team to design and build a fully functional system in a tight time frame. They also trained and upskilled our production team and operators on the new system, shared valuable insights and advice, leading to the flawless execution of a very successful hybrid event.” Fintan Mc Kiernan, CEO if Ideal Systems Singapore stated, “This was a great experience for us to use the latest NewTek NDI IP video technologies to drive a live international event of this scale and we are honored to work with companies like SingEx who have great technical foresight to leverage these new IP video technologies to overcome the challenges presented by Covid-19.” Visit www.idealsys.com
AsiaSat Appoints Tony Chung VP of Data Services ASIA SATELLITE Telecommunications Company Limited (AsiaSat) has announced the appointment of Tony Chung as Vice President, Data Services. In this new role, Tony will be responsible for overseeing the company’s data services operations and infrastructure. Tony brings over 17 years of experience in the satellite communications service industry, with demonstrated success in managing and leading technical teams to deploy networks and to increase operational efficiency. Prior to joining AsiaSat, Tony served as Senior Vice President, Asia Pacific Operations of Speedcast International Limited where he was tasked with running the company’s operations, including field engineering and service delivery for customers in the region. He had contributed to a series of successful acquisitions by Speedcast. Tony obtained his B.A. and M.Phil. degrees in Computer Science from The Hong Kong Polytechnic University. Visit https://www.asiasat.com
Fu Appointed VP APAC Sales for TVU LIMING FU HAS BEEN APPOINTED Vice President of Sales (APAC) for TVU Networks, the developer of cloud and IP-based live video solutions. Fu comes to the role from EVS/Axon Digital Design VP where he was head of APAC Regional Operations. He has also held roles with Grass Valley, Thomson Broadcast and Philips. He is also an APAC Council Member with industry body the IABM which he helped introduce and promote throughout the region. Visit https://www.tvunetworks.com
Riedel Names Vincent Lambert as GM for Japan/ South Korea RIEDEL COMMUNICATIONS has promoted Vincent Lambert to general manager for Riedel Japan and South Korea. Moving into his new role after serving for four years as Riedel’s head of global system consulting, Lambert reports to APAC director Simon Roehrs. As head of global system consulting, Lambert grew a team of 10 customer service engineers into a 33-person technical presales department focused on strategic, structured, high-performing commercial support. Prior to that, he served as system consulting manager for Riedel APAC in Japan. Other previous positions include manager of operations and technology at Walt Disney Television Japan, sales and product management functions at FOR-A in Japan, as well as several broadcast engineering roles in London. Lambert attended Columbia Business School in New York City, London Business School in the U.K., and Hong Kong University, where he received an executive MBA through a joint global program. He also holds a bachelor’s degree with honours in broadcast engineering from John Moores University in Liverpool, U.K. Lambert takes the helm of a Tokyo-based operation that has grown significantly since its opening five years ago. In 2018, Riedel Japan moved to a spacious new headquarters located between the popular Shinjuku and Shibuya districts and near the new National Stadium. The Tokyo facility, designed to foster collaboration and connection with APAC clients, is situated near Riedel’s long-term local partner Otaritec.
Cooke Names Hon Ming Lai MEA/APAC Sales Director COOKE OPTICS HAS APPOINTED Hon Ming Lai to the role of Director of Sales (Asia, Australasia, Africa, Middle-East), effective immediately. Reporting to Thomas Greiser, Director of Global Sales, Hon Ming will be based in Hong Kong Hon Ming joins Cooke from Shriro (H.K) Ltd where he spent seven years as Business Manager leading a sales and marketing team focused on highend cine and video equipment including Zeiss, RED, Atomos, Tiffen and Kinoflo. Prior to that he held increasingly senior regional sales and business development roles with Kodak over 19 years, culminating in a 10-year stretch as Country Business Manager. Hon Ming holds an MBA from Hong Kong University of Science and Technology. Visit www.cookeoptics.com
Parimal Pandya MD for Akamai APAC & Japan AKAMAI TECHNOLOGIES, Inc. has announced that Parimal Pandya has been named the Managing Director, Asia Pacific & Japan (APJ), in addition to his current role as Vice President of Media and Carrier Sales, Asia Pacific & Japan. Pandya assumes his new role from departing Managing Director, Graeme Beardsell. Pandya began his career at Akamai in 2003 as a product manager at the company’s Cambridge office in the US, where he was instrumental in the launch of Akamai’s Web Performance product line. Bringing a global mindset to the rapidly expanding APJ marketplace, he moved to Bangalore, India in 2009 where he led the expansion of the company’s India operations and global mid-market go-to-market teams. Pandya expanded his focus to Akamai’s business in APJ by setting up the company’s carrier strategy group and delivered key strategic partnerships with major telecom operators across the region paving the way for future growth and expansion. He then moved on to his current role to lead Akamai’s Media and Carrier business for APJ. He is based in Hong Kong. Visit www.akamai.com
Visit www.riedel.net.
VIETTEL GROUP ANNOUNCED the launching of 5G commercial trial, becoming the first network operator in Vietnam to provide 5G services to customers after a period of technical tests.
Customers using 5G-enabled cell phones in the downtown of Hoan Kiem District, Ba Dinh District and Hai Ba Trung District can now enjoy 5G service without SIM card upgrade. During the trial period, Viettel will provide unlimited 5G data free of charge, enabling customers to experience the advantages of the fifth generation of mobile technologies in term of speed and connectivity. Viettel’s 5G base transceiver stations use Non-Standalone Access (NSA), technology currently used by 5G carriers such as SK Telecom, KT (South Korea), Verizon (the U.S.) and Vodafone (the U.K). Besides improving the coverage, this technology increases capacity and reduces interferences. The improved bandwidth helps to increase 5G speed by tens of times while reducing the
latency by 10 times compared to 4G. All of Viettel’s 5G antennas are 64T64R type (64 transmitters and 64 receivers) that double both radius of coverage and capacity compared to 4T4R antennas (4 transmitters and 4 receivers) commonly used in Vietnam. Initial tests show that Viettel’s 5G speed reachs 1.2 – 1.5 Gbps. Customers using Viettel’s 5G services can download a 90-minute HD movie in just 30 seconds (tens of times faster than 4G services), watch live football, or play online games with lag-free experiences. It is lso anticipated that Viettel’s 5G will fuel AR/VR applications. Following Hanoi, Viettel will continue to expand its 5G network for commercial tests in Da Nang and Ho Chi Minh. Visit http://viettelglobal.com.vn
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Vietnam’s Viettel Launches 5G Commercial Trial
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NJOI’s Content to be Purchased via Boost
NJOI, MALAYSIA’S FIRST prepaid satellite TV service and Boost, Malaysia’s leading e-wallet provider, have entered a strategic partnership enabling customers to buy NJOI channels and content packs on the Boost app seamlessly. The service is enabled by Apigate, a leading global content monetization and acquisition platform. NJOI Prepaid is a Satellite TV service delivered via Astro with 28 free channels and 64 prepaid packs/channels to choose from. Duration varies from 3 days to 90 days.
Guangdong Radio & TV Upgrades with Lawo UPGRADING GUANGDONG Radio & Television’s (GRT) video operations to IP is an on-going process that started in 2018, with their first 4K UHD OB truck, a new 300m2 studio and a series of other upgrades. According to William Liu (pictured), Managing Director and Project Manager at Lawo-partner Mindo, “The MCR we helped to build, which is a part of this master plan, will evolve in two stages: right now, GRT operates in HD, but they are determined to switch to UHD 4K as soon as this becomes a necessity for their operations. “When we started discussions about migrating GRT’s MCR to IP-based video, Mindo as the system integrator suggested considering Lawo solutions for open-standard-based ST2110 IP technology. “Having used Lawo mc²-series audio consoles in most of their studios and OB trucks since 2007, Guangdong TV knew exactly what they expected from a Lawo solution: stability and and reliability under critical conditions, such as live broadcast and sports productions. The fact that Lawo has always thought two steps ahead of everybody else gave us the confidence to propose a video solution from Lawo. “Today, we are happy to say that the V_matrix solution we installed in May 2020 delivers on Lawo’s and Mindo’s promises and leaves all options open regarding future updates. We believe that GRT’s IP-based MCR is the first full-IP setup in China that can handle SD, HD and UHD indiscriminately. As it turns out, Guangdong TV currently operates 14 HD channels and 1 UHD
New Sky NZ Chief
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SOPHIE MOLONEY, Sky NZ’s current Chief Commercial Officer, has been appointed Chief Executive. She replaces Martin Stewart who is leaving the company to return home to Europe, and is the first woman to be appointed to the position in Sky’s history.
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She brings deep international media experience with an impressive 20-year track record, including roles with Sky
channel. “Their Lawo-based video infrastructure consists of four Vmatrix8 and eight V_ matrix solution2 units for a total of 38 C100 flexibly programmable processing blades (FPGAs), some of which are used for their MCR multiviewer, based on four vm_mv 24-4 licenses. Since quite a few video sources are still baseband SDI, we added 34 vm_ streaming licenses and the adequate connection backplates. GRT run two +fs add-ons for video frame syncing and delay as well as sample-rate conversion and delay for audio. For 4K UHDTV1 Single-Link and Quad-Link (2SI) operation, two +12g licenses have been added. “We are still amazed at the compact size of the Vmatrix platform and the flexibility Lawo’s C100 processing blades afford. Simply by uploading different software to these blades, GRT can change their functionality. Plus, the blades will not become obsolete when they are no longer needed as SDI > IP gateways. Uploading different software will allow Guangdong TV to use the “free” C100 blades for other tasks, such as switching to Lawo’s vm_dmv flexibly scalable, distributed multiviewer. “Apart from being an excellent ROI, the V_matrix solution allows GRT to work in its private, on-site cloud, using the massive processing resources for whatever the future has in store for TV stations that operate on the cutting edge.” Visit www.lawo.com
New Zealand, Sky UK, Sky News Arabia, Abu Dhabi Media and OSN. Her recent achievements include leading the team that secured New Zealand Rugby and SANZAAR rights, negotiating the new Optus satellite agreement and spearheading Sky’s purchase of entertainment streaming service Lightbox. Visit sky.co.nz
Mazhairul Jamaluddin, Director of NJOI and OTT said, “NJOI is pleased to partner Apigate and Boost to improve the user experience for millions of our customers in purchasing Astro Originals, signature local and vernacular hits, popular drama series, live sports, blockbuster movies in a seamless manner. This initiative is also timely in these challenging times where safety is a priority. In conjunction with this milestone, the first 1000 customers with purchases over RM30 with Boost, will get to enjoy RM5 extra rebate.” “Over the past eight months, Malaysians have increasingly adapted to a home-centric work life and lifestyle, in which we have seen a surge in digital entertainment consumption in the form of online or video games as well as streaming services. On top of that, with the recent extension in movement restrictions, going out for entertainment is no longer an option. Hence, Boost is partnering with NJOI to deliver a wide variety of digital entertainment content easily accessible and affordable for users to indulge with just a few clicks while staying safe at home,” said Mohd Khairil Abdullah, CEO of Boost. Visit www.njoi.com.my
Astro GO Introduces Downloads CUSTOMERS OF MALAYSIA’S Astro can now download their favourite shows on the Astro GO app to watch offline anywhere. The download function is available for iOS, Android and Huawei devices. The software update for the new download function will be rolled out in batches to users. More than 85% of all content on the app can be downloaded and enjoyed offline by Astro GO users. Customers will be able to download both local and international content that is part of their subscription and watch popular TV series. Users will also be able to choose the download quality (Higher, Standard and Lower) for all content. There will be no limits on the amount of downloaded content, and customers can choose to download the same shows as many times as they wish. All downloaded movies will be retained on the device for two days while each TV series episode will be retained for seven days. Expired content will be automatically deleted from the app. The Astro GO app is available from Google Play, Apple iOS App Store, and Huawei App Gallery. Visit https://www.astro.com.my
China’s 4K Garden Taps AJA Gear to Keep 4K HDR Production Blooming
When broadcasting 4K HDR content live, 4K Garden relies on FS-HDR, primarily using it in
an OB truck that receives signals from a 4K HDR or HD SDR camera or recorder. The team then genlocks the signals with FS-HDR, which converts them to the appropriate gamma and colour space and syncs the audio. “FS-HDR is powerful for processing signals and supports a wide range of standards with ideal outputs. Its logic is easy to understand, and it works well with different camera brands, so we might also use it for the down-conversion process in the future,” noted Jia-Xing Ma, Broadcast Engineer, 4K Garden. Each piece of 4K HDR content that 4K Garden helps to produce must be in the HLG format with BT.2020 colour space to meet standards set by the National Radio and Television Administration. By tapping AJA’s HDR Image Analyzer 12G for quality control of HDR content in broadcast trucks, at colour correction stages, and for 8K production signal monitoring, the 4K Garden team can be confident that captured footage meets the required standards, and with detailed data for HDR and down-converted outputs. “Productions require different levels of brightness, and some have colours that are rich, but they can’t be over the limit. The accuracy of HDR Image Analyzer 12G allows us to closely monitor the process, and ensure the footage is
UNREAL ENGINE NATIVE WITH UNIQUE UNREAL CONTROL GUI
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PBR HDR 360º LAYERS
where it needs to be by using the Pixel Picker feature to look at important image data,” explained 4K Garden Senior Technical Manager Liang-Hong Zheng. Along with designing and implementing production workflows, 4K Garden also offers training for rising technical talent. Partnering with schools and industry professionals, the company’s efforts are aimed at increasing education and understanding around 4K and HDR technologies as well as best production practices. “4K/UltraHD is now the delivery standard for channels across China and though not yet a requirement, a number of stations are also embracing HDR to help set their content apart. At the same time, HDR technologies and techniques are still very nascent, so we decided to launch this educational program for our customers just starting to dip their toes into HDR,” noted Yu. “Having reliable high-quality gear like AJA’s FS-HDR, Ki Pro Ultra 12G, and HDRIA12G in our arsenal is central to the program’s success, as it delivers pristine results yet is intuitive to use operate, configure and control, not to mention it’s compatible with a range of an emerging range of HDR formats.” Visit www.aja.com
VIRTUAL SETS REAL-TIME 3D GRAPHICS AUGMENTED REALITY www.brainstorm3d.com
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4K HDR PRODUCTION can elevate the quality of content and help it stand out in a crowded marketplace, but requires a workflow equipped to handle vast amounts of complex data. Since launching in 2016, China-based 4K Garden has focused on providing solutions that alleviate common pain points when working in 4K and now HDR. As the popularity of 4K HDR content has grown, so has demand for its services. 4K Garden’s clients include the top two 4K channels in China, offered by national public broadcaster China Central Television (CCTV) and provincial broadcaster Guangdong TV Station, each featuring a range of live 4K programming. To ensure reliable, quality 4K HDR outputs across productions, 4K Garden relies on an array of sophisticated gear, including AJA’s FSHDR real-time HDR/WCG converter, HDR Image Analyzer 12G, and the Ki Pro Ultra 12G recorder/ player. These tools also play a crucial role in a 4K/ UltraHD HDR training program that 4K Garden provides to up-and-coming talent. “For 4K and 8K production, 12G-SDI can decrease a lot of time, work and complexity when building out your workflow, and using only one cable of 12G-SDI for 4K/UltraHD compared to 4x 3G-SDI cables is more secure and easier to troubleshoot for checking signals compared to 3G-SDI, especially 2SI mode,” said Lu Yu, CTO, 4K Garden. “The 12G-SDI capabilities of Ki Pro Ultra 12G were a key factor in our decision to use it, as the single cable decreases the chances for mistakes. Also, we can record continuously for a long time because it includes two slots for long recordings with Ki Protect support, the connections are reliable, and we can alternatively record four HD channels simultaneously on a single unit. Since it also records to an SSD drive, getting material to the DIT is a lot more convenient and efficient.”
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ACQUISITION & LIGHTING www.content-technology.com/acquisition
Thailand’s Red Snapper Goes 6K Full-Frame with Sony’s FX9
ESTABLISHED IN 2009 by Preethep Boondech and a small group of like-minded friends; Umpornpol Yugala and Wittaya Jungyingruangrung, Red Snapper was created at a fortuitous time, when film was making its transition to HD and digital technology. Recognising that many filmmakers were shifting to digital cameras, Preethap took the bold move and acquired the Sony PMW-F3 Camcorder. That move paid off handsomely and soon Red Snapper was acquiring all the latest Sony digital cameras for its growing clientele of filmmakers, production houses and TV stations.
Red Snapper which was also one of the first in Thailand to acquire the VENICE had by then, built up a sizeable line-up of Sony cameras such as the highly rated PXW-FS7. Thanks to its close collaboration with the film community, Red Snapper always had its pulse on what DOPs were looking for. For instance, they noticed that the run-and-gun style form factor of the FS7 was a top draw for its clients and used for everything from making movies to TV serials, TV advertisements and even YouTube videos. “Knowing what our customers need is
essential to our success,” Preethep commented on Red Snapper’s ability to invest in the right camera equipment. “We discuss a lot with the DOPs, Directors and Cinematographers. This experience is not built overnight but over the years.”
Based in Bangkok is also an enormous advantage as Thailand is regaining its groove as a movie-making destination. “The Thai market is growing on two fronts, local and overseas clients. With such a wide base, we need to ensure we have the best options available for our clients at reasonable costs.” It’s this close relationship with clients that convinced Red Snapper to invest in 20 units of the FX9 and four additional units of the VENICE. Red Snapper acquired 20 units of Sony’s 6K Flagship camera, the PXW-FX9. “The FX9 is a worthy successor to the FS7. We witnessed first-hand the demand for the FS7 as
Atomos Brings DCI 4Kp60 Full-Frame ProRes RAW Recording to Sony’s FX6 ATOMOS HAS ANNOUNCED Apple ProRes RAW recording support for Sony’s new FX6 professional camera with fullframe sensor; which natively outputs RAW over SDI. This is made possible with the Atomos Shogun 7 7-inch HDR monitor, recorder and switcher which will record pristine ProRes RAW images at up to DCI 4Kp60. The resulting images have amazing detail and a high degree of latitude to utilise in post-production - optimal for HDR finishing or to give greater flexibility in SDR (Rec.709). Recording over SDI from the FX6 to the Shogun 7 extends the performance of the class leading professional camera by taking 16bit linear RAW data from its state-of-the-art Exmor R sensor and recording it in ProRes RAW format. Recorded with log 12bit colour depth, corresponding to over 68 billion colour graduations. FX6’s interface of 12G-SDI and SDI RAW output direct from the main camera body makes for a powerful combination when used with the Atomos Shogun 7.
ACQUISITION
Content creators and filmmakers can also benefit from the storage advantages of ProRes RAW, where the codec harnesses the ability to capture 12bit RAW in the same file sizes as 10-bit 422 standard ProRes. Apple ProRes RAW files are smaller than other RAW file types – simplifying and accelerating file transfer, media management, and archiving.
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Visit https://www.atomos.com
well as the FS7M2 and knew that with the FX9’s versatility there would be a constant demand for a 6K full-frame camcorder.”
The FX9 revolutionizes fullframe cinematography with its peerless ergonomics and advanced technology for on-the-go shooting. It offers the world’s first full-frame electronic variable ND filter for variable lighting conditions and even offers built-in Wi-Fi and 12G-SDI support. As for the VENICE, Red Snapper had the opportunity to test it a couple of times and was instrumental in renting out a VENICE to the filmmakers of the Thai hit movie Friend Zone. “We make considered decisions based on customer feedback, reading as well as our own trials and tests. Our goal is to create the ultimate film experience for our clients and that starts with using the best equipment available.” Visit https://pro.sony
Fujinon Cabrio Puts Blackmagic 12K to the Test FOLLOWING THE RELEASE of the URSA Mini Pro 12K, Fujinon has been putting the new Blackmagic Design camera through its paces with the Cabrio XK20-120mm T3.5 zoom lens The XK6x20 is a zoom lens designed for cinema cameras that offers optical performance compatible with 4K cameras and covers a wide range of focal length from 20mm to 120mm. It also realises T3.5 brightness in the entire zoom range. “With this new camera, we’ve gone and tested our existing product to see how viable it is,” says Marc Cattrall, Market Development Manager for FUJINON Cine Products (UK). “We firstly did some coverage tests and some resolution tests. So, the resolution tests were absolutely fine. That 12K sensor, the lens is more than able to resolve that resolution. If you are specifically using it for the 12K, the 20-120 will be fine for that. “Quite important is the price point. We don’t like to talk about price but, realistically, it’s a sub-USD$10,000 camera with a sub-$10,000 lens, so we really hope that people who are considering this camera also consider looking at this lens. “In terms of the image coverage, the image circle is 28.5mm. It is also slightly larger in terms of the illumination circle. In all of our tests, we found that there was some slight vignetting on the full sensor – DCI 17x9 – but only at certain focal lengths and certain T-stops. Obviously, we would always recommend that you test that corner illumination – it might be a look that you’re after – but it’s just that we want people to be aware that we wouldn’t guarantee that it covers in the 17x9 mode, just because of the corners.” Visit www.fujifilm.com
ACQUISITION & LIGHTING
SmallHD Unveils Reference-Grade 4K OLED
SmallHD says the OLED 22 display has virtually no image degradation at any viewing angle, providing a real-time image as vivid and pristine as a final output, whether on set or in post. Monitor features include: 21.6in/55cm screen size, >1,000,000:1 contrast ratio with an absolute black point, 10-bit color depth for nuanced colour fidelity, 3840×2160 resolution, 350nit brightness
level, and 100% P3/135% Rec 709 colour gamuts that generate true-to-life colour reproduction. Power options include two hotswappable power inputs: one 3-pin XLR and a slide-on Dual Battery Plate (Gold Mount & V-Mount options, sold separately), which can be attached via the built-in Smart Rail on the rear side of the monitor. Two 2-pin locking accessory outputs add power flexibility for additional devices. For untethered freedom, OLED 22 is Teradek Bolt 4K compatible: an ideal combination for cablefree, zero-delay video monitoring in 4K 10-bit HDR. Coinciding with the release of OLED 22, SmallHD is also introducing what it says is its most sophisticated internal toolset yet: PageOS 4. With this new software, users gain easier access to a diverse and customisable array of curated exposure tools and workflows for enhanced production functionality. Beyond a host of
Firmware Update for JVC’s CONNECTED CAM
Roland, Canon Unveil Facial Recognition Workflow
JVC PROFESSIONAL VIDEO has announced it is furthering its commitment to providing the video production industry with the highest quality streaming solutions in a complete, plug-and-play package with its latest CONNECTED CAM firmware update. Using the open source Secure Reliable Transport (SRT) technology, JVC has added Forward Error Correction (FEC) and Stream Identifier (ID) to its 500 Series and 900 Series CONNECTED CAM cameras.
ROLAND, IN CONJUNCTION WITH CANON, recently showcased the Ver.2.0 update for its
Adding FEC to JVC’s CONNECTED CAM allows for redundant data stream packet loss recovery, meaning that data loss can be corrected before the video must buffer, while Stream ID makes it possible for multiple cameras to stream directly to one device. The company has also incorporated VITC (vertical interval time code) and LTC (longitudinal time code) functions with this latest update, which are essential for live production and synchronized streaming of live events, such as concerts, sports, ceremonies and conferences. The JVC CONNECTED CAM system, which also includes its SRT-enabled BR-DE900 decoder, BR-EN900 encoder and the KM-IP6000 switcher, is an easy to use streaming solution that meets a wide range of budgets. The system’s cross-compatibility between brands also means that users can incorporate the latest streaming video capabilities with their existing streaming studio equipment. The new firmware will be available as a free download from the JVC Professional Video website from the end of September. Visit http://pro.jvc.com/prof/support/ productupdate.jsp
V-600UHD 4K Multi-format Video Switcher which now adds “Automatic ROI (Region Of Interest)”, a new technology-assisted camera workflow that blends robust facial recognition technology with Roland’s ROI tool. LAN-based PTZ camera control is also included as part of the Ver.2.0 update. “Automatic ROI” marks the beginning of a new technical collaboration between Roland and Canon, lending technologyassisted workflow enhancements to several of Canon’s leading digital cameras and camcorders including the Canon XF405/ XF400 Professional Camcorders. The V-600’s Region Of Interest windows automatically finds and follows two people within the scene aiding in single operator productions.Ver.2.0 update allows the V-600UHD’s Automatic ROI to work seamlessly with the camcorder face-tracking autofocus of these Canon camcorders when using specific firmware, settings, and HDMI and CAT LAN cable. The Roland V-600UHD adds value to many different production scenarios by letting users transition to 4K workflows as demand and budgets allow, one input at a time. Scaling is also provided on every input with Roland’s Ultra Scaler technology, making it possible to use Full HD and 4K sources simultaneously while outputting at multiple resolutions. The high pixel density of 4K camera sources can be leveraged in Full HD workflows as well, for problem-free, visually-impressive productions. Visit https://proav.roland.com/global
improvements for simplicity and speed, PageOS 4 supports a streamlined colour-calibration experience with Colour Pipe, an intuitive rendering tool that accurately converts log formats into SDR and HDR. PageOS 4 also includes significant upgrades in user page presets, 4K HDR (PQ) waveforms, improved false colour, and dual/quad viewing options – as well as retaining the same dependable features known to users of previous PageOS-equipped monitors. Visit www.smallhd.com/4K
Micro Pan/Tilt Mount Head for Mini Cameras MARSHALL ELECTRONICS has joined forces with high-end pan/tilt head designer BR Remote, to design and build a micro P/T head, the CV-PT-HEAD, for Marshall miniature cameras. The new P/T head is compatible with all Marshall 500 series cameras including the CV503, CV503-WP, CV506, CV506-H12, CV565 and CV566. The CV-PT-HEAD body is less than 3.5-inches tall and less than 2-inches wide creating one of the smallest P/T footprints available. The CV-PT-HEAD comes with an IP65 weatherproof rating, which means it is dust-tight and protected against water under pressure from any angle. When paired with Marshall’s weatherproof CV503-WP camera, the CV-PT-HEAD creates an excellent movable camera position that can be left out in wet and dirty environments. There is a built-in camera power supply delivering a constant 12V to the camera socket as well as camera control data. The input voltage is from 12V to 35V allowing operators to run up to 3000 feet (914.4 metres) with a common 4-pin XLR cable. Unique for a small head, the input socket for power and control data is on the fixed base. This allows for better freedom of movement, with the camera socket on the moving part with the camera. For seamless plug-and-play, operators can use Marshall’s CV-MICRO-JYSTK controller (sold separately) with thumb joystick control. Visit www.marshall-usa.com
ACQUISITION
SMALLHD HAS ANNOUNCED a new entry into the reference-grade monitor space: the OLED 22 4K Production Monitor. Setting what the company says is “a new standard for colour purists”, the OLED 22’s hardware design is built around the Small4K Video Processing Architecture, which provides a range of input/output options with eight 12G-SDI and two HDMI 2.0 ports, all of which enable 4K signal processing. Housed in a rugged, unibody, milled-aluminum chassis that includes 36 individual ¼-20” mounting points along the top and sides, the OLED 22 weighs-in at a total of 9.3-lbs/4.2kg. A removable handle and feet allow for convenient portability.
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ACQUISITION & LIGHTING
Komodo 6K from Red Digital Cinema RED DIGITAL CINEMA’S new KOMODO 6K camera system includes a global shutter sensor (27.03mm x 14.26mm) that maintains RED’s high standard of image quality and dynamic range. The camera is packaged in a small 4-cubic-inch (101.6 mm) form factor and weighs only 2.1 pounds (0.95 kgs). KOMODO captures 6K at 40 fps, 6K WS at 50 fps, and 4K at 60 fps. Highlights of the camera include an RF mount for users to leverage adaptors for EF, PL and other lens systems, including anamorphic lenses, for maximum creative flexibility; a phase-detect based autofocus control on the integrated, color LED touchscreen display that simplifies monitoring and menu navigation; and new streamlined REDCODE® RAW settings (HQ, MQ, and LQ compression options) enhancing the user experience for various shooting needs. Additional features include compatibility with CFAST 2.0 recording media, 4K SDI output, builtin wireless capabilities, and connectivity via the all new RED Control app, which is available now for iOS devices and coming soon on Android. Additionally, a community of partners has worked with RED to bring KOMODO and KOMODO accessories to market, including
Angelbird, CoreSWX, Fool Control, Gates Housing, KipperTie, SmallHD, and Wooden Camera, among others. Adobe, DaVinci Resolve, Final Cut, Assimilate, Autodesk, Avid, and Colorfront all offer post-production support for KOMODO via RED’s latest SDK. The KOMODO 6K includes: • KOMODO 6K camera brain • AC power adaptor 45W • 1x RF to EF mechanical lens adapter • Mini world travel adaptor kit RED is also launching two pre-bundled pack options: • KOMODO Starter Pack - This prebundled setup is perfect for content creators and run and gun operators. Including KOMODO 6K with the Wing Grip and RF to EF adapter with ND filter. Also included is media and media reader, as well as a PTap-to-power cable and timecode cable. • KOMODO Production Pack - This includes everything from the Starter Pack plus additional production-level accessories including the Expander Module and Outrigger Handle.
ARRI EF Mount (LBUS) for Large-format and Super 35 Cameras ARRI HAS ANNOUNCED its new EF Mount (LBUS), allowing EF mount lenses to be used on ALEXA Mini LF, ALEXA Mini, and AMIRA. In order to extend the benefits of using EF mount lenses to large-format motion picture productions, ARRI has redesigned its EF mount with a wider light baffle and LBUS connector, allowing it to cover the large-format sensor of the ALEXA Mini LF, as well as the Super 35 sensors of the ALEXA Mini and AMIRA. The new EF Mount (LBUS) allows the ALEXA Mini LF, ALEXA Mini, or AMIRA to accept lenses with an EF mount. On the Mini LF and Mini it also provides an LBUS connector, which is not supported on the AMIRA. The previous ARRI Lens Mount will remain available for the AMIRA.
ACQUISITION
The use of cine-style EF mount lenses on motion picture cameras has been a popular way to make more affordable optics available to budget-conscious productions. Their mechanical design allows the use of external lens motors connected to the mount’s LBUS connector. Precise remote control is accomplished through ARRI ECS hand units like the wireless WCU-4 and SXU-1 and the wired Operator Control Unit OCU-1 and Master Grips.
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Additionally, the new mount allows filmmakers to utilize the wide variety of still photo EF mount lenses for insert shots, including vintage lenses, extreme wide-angle lenses, fisheye lenses, tilt-shift lenses, extreme telephoto lenses, macro lenses, and other specialist EF mount lenses. The new mount allows setting of the lens’ internal iris motor and even powers the image stabilization built into some telephoto EF mount lenses. Visit https://www.arri.com/lens-mounts-and-adapters
Several accessories are also available from RED to customize the KOMODO, including the Outrigger Handle, an Expander Module, a Wing Grip, Link Adaptor, RED CFast 2.0 Card Reader, and RED PRO CFast 512GB, among other ancillary components. Visit https://www.red.com/komodo
Sachtler Gets Aktiv with New Fluid Head SACHTLER, THE MANUFACTURER of camera support systems and accessories for broadcast and cinematography, has announced the launch of a new fluid head product range. From the design team that created flowtech, the aktiv fluid head - with SpeedLevel and SpeedSwap technology - allows camera operators to mount, level and lock the head in seconds and to switch quickly from tripod, slider or hand-held shots in an instant to capture the widest range of shots in the shortest time. According to James Guest, engineering manager - Vitec Production Solutions, “We worked closely with camera operators around the world to understand their needs to develop ‘flowtech’ a tripod that makes camera set-up faster and more flexible. Now with aktiv, we have made fast even faster. Studying camera operator movement, we removed any elements that slow them down while adding more flexibility and control as well as more levels of drag and counterbalance than ever, giving operators more time and opportunities to push their creativity.” Available in four models, aktiv is the latest addition to the award-winning Sachtler camera support range. aktiv6 and aktiv8 are compatible with all main Sachtler 75mm tripods with aktiv8 available in ‘side load’ or ‘touch and go’ camera plate options - while aktiv10 is a 100mm bowl head with side load camera plate. aktiv supports payloads from 0kg up to 12kg (8kg for aktiv6) making it the ideal system for fast-paced electronic newsgathering (ENG), and a wide range of wildlife, commercial, and documentary productions. aktiv fluid heads feature SpeedLevel technology - which replaces time-consuming bowl clamps - allowing operators to release, level, and lock their head tightly into the perfect position by simply lifting a lever never missing a second of action. With no bowl clamp required, aktiv heads, combined with flowtech tripods, can go flat to the ground for the perfect low-angle shot. Clear confirmation that the camera is level comes from the illuminated PrismBubble visible both from above and the side, making levelling easy even when the camera is positioned above the operator. With the aktiv system’s SpeedSwap feature, operators can quickly switch their camera between a tripod or a slider in seconds to capture shots that have previously been unavailable with limited time. Visit www.sachtler.com/en/aktiv
SPORTSCASTING Sport coverage worldwide
www.content-technology.com/sportscasting
HKRU and Accedo Deliver Live Rugby Direct to Fans ACCEDO, THE PROVIDER of video delivery services and technology, has worked with Hong Kong Rugby Union (HKRU) to launch HKRU TV for the 2020 Men’s and Women’s Premiership season. The OTT service, which launched in November, features both live matches and VOD content and has been developed using Accedo’s end-to-end solution offering. As the governing body for rugby union in Hong Kong, HKRU organises and oversees both global and local rugby events. This includes the annual Cathay Pacific/HSBC Hong Kong Sevens, as well as the Saxo Markets Men’s and the KPMG Women’s Premiership, both featuring six local clubs.
Accedo’s end-to-end sports offering enables sport organisations and right holders to rapidly and cost-effectively deploy live and on-demand video apps across multiple platforms. It also allows for an element of flexibility, enabling HKRU to tailor its app experience with changes made dynamically as requirements or user preferences evolve. HKRU TV is available on web, smartphone, and tablet devices. The use of AuthVOD enables rugby fans across the globe to register and use the video service for free, giving them access to all matches throughout the season, both live and on-demand. Accedo’s solution supports both live event and live linear streaming, as well as VOD or “catch-up” content, including a number of important features, such as clipping and social sharing.
The Switch Teams with Japanese Transmission Provider Aruji THE SWITCH, the platform for the production and global delivery of live video, has teamed up with Aruji, one of Japan’s leading transmission and production services providers, to extend the global reach of its combined transmission networks. The agreement allows The Switch and Aruji’s customers to leverage live feeds from more events and seamlessly distribute them via a reliable and robust international network. Atsushi Kobayashi, Satellite Broadcasting Division Director at Aruji commented: “Our customers expect flawless live feeds and the best possible media experiences, so we are always looking for ways to expand our service offering to meet their needs. With extensive experience in global transmission and excellent connectivity to sports and entertainment venues throughout North America, The Switch is a trusted partner that allows us to significantly expand our reach and ability to deliver even more high-quality live content.” As part of the deal, Aruji benefits from a direct link between its Tokyo facility and The Switch’s Los Angeles Network Operations Center (NOC), allowing the Japanese service provider to tap into The Switch’s connections to premier stadiums and arenas in the US to access live events such as concerts and live sports. The Switch will have access to similar venues and events in Japan, including horseracing and boxing, as well as Aruji’s teleports and production capabilities.
Rocky Chow, Chief Commercial Officer, HKRU, commented: “Thanks to Accedo, we have been able to implement a premium OTT service costeffectively. I have no doubt that HKRU TV will be well received by fans across the globe and I look forward to working with Accedo to bring more exciting value-add features for our sponsors and partners.” Matt Kossatz, SVP Asia-Pacific, Accedo added: “The sports industry has been hard hit by COVID-19. In a time of empty stadiums, a direct-toconsumer service gives HKRU another channel to engage with its fans. By leveraging insights gained from our analytics platform, HKRU will be able to better serve its existing customers and attract new ones. Looking further ahead, we are excited about collaborating with HKRU to deliver new and more value for its commercial sponsors.” Visit www.accedo.tv
Live Delivery SaaS Platform CERBERUS TECH LTD has launched a new version of its Livelink SaaS live delivery platform, which allows users to self-manage live feeds from any location. Livelink is a robust IP delivery solution for transporting live linear and OTT content from point to single-point or multi-point. It allows users to self-manage their live content for delivery to any destination worldwide by utilising cloud environments available in every region. Livelink is cloud agnostic and compatible with any transport protocol including Zixi, RIST, SRT, HLS and RTMP. Livelink’s expand on-demand infrastructure ensures that teams can quickly scale their requirements within minutes. This flexible approach enables stakeholders managing live broadcasts and events to adapt to changing circumstances. Livelink does not rely on traditional infrastructure which makes it extremely cost-effective. Its intuitive self-service interface enables users to easily transport, manage and extract value from live content. The platform integrates rights management, automatic booking updates and customisable monitoring and alerts so that customers retain control of all aspects of delivery.
“This agreement with Aruji brings mutual benefits to both companies’ customers in the drive to meet rising global demand for live content,” says Nicholas Castaneda, Senior Vice President of Sales at The Switch. “Live content continues to be a key revenue driver for our customers and partners, and Aruji will now be able to pick up live event feeds from anywhere on The Switch network, guaranteeing audiences seamless and compelling viewing experiences.”
Livelink offers broadcasters the ability to deploy and deliver live feeds with minimal on-site presence. The platform offers global reach and is the ideal solution to reduce live event overheads and also supports current social distancing measures which the broadcasting industry has implemented. The self-management interface monitors availability, routing and scheduling for all feeds, as well as tracking cloud environment costs. Cerberus Tech can fulfil hardware requirements, direct to the end user if required. However, in many instances no additional hardware is required for set-up, just an internet connection.
Visit www.theswitch.tv
Visit www.cerberus.tech
SPORTSCASTING
Hong Kong rugby boasts 11,026 members competing across Mini, Youth, Schools, Tertiary and Senior competitions for players aged 4 to 40+, making rugby the city’s third most popular participatory team sport behind basketball and football. The largest participation figures are at entry level, with mini and primary rugby accounting for 6000-plus participants. While the majority of participants are Chinese, Hong Kong Rugby features players from 51 nationalities competing week in and out. Women constitute 28% of players (45% of the senior game).
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SPORTSCASTING
Ross Releases Version 10 of XPression Graphics Platform ROSS VIDEO HAS ANNOUNCED the release of Version 10 of its XPression real-time motion graphics platform. XPression V10 adds enhanced support for HDR workflows, multiengine control for non-MOS workflows, HTML5 enhancements and third-party vendor support. Ross has enabled customers to evolve their workflows and work in HDR on XPression as standard since version 8.7, launched in July 2018. In XPression Version 10, users can now load 48-bit and 64-bit PNG files as HDR materials, to produce real-time motion graphics content that integrates into HDR workflows and supports the most demanding, leading edge productions. “The introduction of non-MOS workflow XPression Sequencer Gateway extends the power of XPression Remote Sequencer,” notes Patrick Twomey, Director of Product Management for XPression. “Workflows featuring a single operator controlling multiple engines of XPression can now be applied
the DashBoard API has been a chargeable option. Starting with XPression Version 10, the Dashboard API is now included as part of XPression Studio. The Dashboard API allows for a simpler view of the XPression Sequencer for less experienced operators. Visit www.rossvideo.com
EVS Cerebrum GO Training
ROLAND has announced the P-20HD Video Instant Replayer, an affordable hardware solution for bringing professional instant replay capabilities to any live production setup. Offering simple operation and seamless integration with most Roland A/V switchers and HDMI camcorders and cameras, the P-20HD is suits video production for school sports, coaches, trainers, esports, and more.
THE FORCED CANCELLATION of live sports and other events in 2020 has led to a new reality for broadcasters as they attempt to deliver the best programming for viewers and remain competitive in a rapidly changing market. Production engineers now find themselves under additional pressure to adapt their workflows and processes and rethink the way they deliver live events.
The P-20HD records directly to high-capacity SD cards. Action can be replayed in forward, reverse, or slow motion, stepped through frame by frame, or frozen for detailed analysis. The game is continuously recorded in the background during replays, with no gaps in the action. The P-20HD panel features an array of dedicated hardware controls for a hands-on, frustrationfree experience. Transport buttons include play, pause, forward, rewind, mark in, and mark out. A jog/shuttle wheel with optical encoding provides precise, fluid control to scrub clips for replay and editing, while the T-bar directly adjusts playback speed. A Speed Range function offers ultra-fine control, perfect for focusing in on tight action and contested plays.
SPORTSCASTING
XPression is an important part of the Ross ecosystem of live production solutions, and so additions to the XPression API allow for greater integration of XPression with custom development, user interfaces and automation control. Equally exciting is the tighter integration to Ross DashBoard, the open interface control platform. XPression customers have been able to use DashBoard for quite some time, but until now
Roland Unveils P-20HD Video Instant Replayer
Using intuitive controls and the integrated colour LCD, a single operator can cue up replays of action to let fans relive important moments, either on a streaming feed or live event screens in the venue -or both at once.
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to more traditional program formats such as talk shows, live sports, entertainment and current affairs programming that may not use a MOS Newsroom for rundown creation.”
With its onboard colour display, the P-20HD makes it simple to manage and execute workflows in real time. In recording view, the screen shows the current video input, plus critical
SD card information like recording duration, remaining storage space, and available time. And in playback view, users can display cropped previews of all video clips for live replay or later compilation. After the action is over, the media playlist builder makes it possible to aggregate clips into curated pro videos, letting users celebrate the best moments of a game on social media or distribute practice and training sessions to coaches and players for evaluation. The P-20HD natively records in the H.264 format, so files can be uploaded to most platforms with no conversion steps in-between. The P-20HD can be used on its own, or upstream or downstream of any Roland video switcher. Users can connect two video sources via HDMI and switch/composite between them for replay capture. Both HDMI inputs feature built-in scalers, providing worry-free connectivity with nearly any source. The P-20HD is expected to ship in February 2021. Via future firmware updates, Roland has a roadmap for additional capabilities that include annotation, RS-232/LAN support, external footswitch control, file import/export, multimedia playback, and more. Visit https://bit.ly/3nnWbUu
EVS has moved to provide a range of programs designed to support production engineers and recognise the vital role they play. Close to 1200 industry professionals have already signed up to the EVS Cerebrum GO online training course which was made available at the start of lockdowns in April. Consisting of 18 video tutorials, and finishing with an exam and an official certification, the on-demand course teaches operators how to prepare and run complex workflows with absolute ease using the EVS Cerebrum broadcast control and monitoring system. Those engineers who complete the course will optionally also be added to a centralised database of certified EVS Cerebrum engineers. EVS is also publicly sharing innovative designs for workflows, panels and GUI interfaces put forward by production engineers from around the world. The Workflow Genius Wall of Fame is available to view on the EVS website, and additional designs can also be uploaded from there. Visit www.EVS.com
SPORTSCASTING
New Second Screen Offering for Sports Fans STATS PERFORM, a developer of AI and data technology, and NativeWaves, an ultralow latency streaming and high precision synchronisation solutions company, have announced a new partner-ship and the launch of a new product that gives sports fans an enhanced viewing experience on their mobile devices. The new platform lets fans create their own personalised viewer experience, overlaying video an-gles they choose and the data and information they want to see, creating a unique second screen experience that can be leveraged by broadcast and OTT providers. Based in Austria, NativeWaves uses ultra-low latency streaming technology to deliver a high preci-sion synchronisation solution that allows audiences to choose what they want to see. It provides instant access to alternate camera angles, audio and data feeds without any lagging sequences or interruptions to enhance the viewing experience. “We are really excited to be partnering with a global leader in sports data such as Stats Perform to bring this new captivating experience to sports enthusiasts worldwide,” adds Eva Wimmers, CEO of NativeWaves. “Combining the vast array of data, analytics and insights from Stats Perform with the technology from NativeWaves allows us to complement each other and create a unique experi-ence that offers broadcasters a range of monetisation opportunities.” The product was made possible through collaboration with Stats Perform product incubator, which helped bring the latest AI-
powered insights and content to the product. NativeWaves is part of Stats Perform’s Sports Partners Intelligence Network (SPIN), which connects top technology and consulting partners with Stats Perform’s leading data and SportsTech solutions to develop new of-ferings for the sports market. Stats Perform brings innovative sports solutions to life for betting, media and team/player performance and is a leader in leveraging AI to challenge how the games and players are measured. SPIN partners range from broadcast infrastructure providers to high-tech AI companies to system integrators and beyond, creating a robust partner ecosystem to meet the industry’s needs. “Fans today want to craft and control their own viewing experience and we are thrilled to kick off this new partnership between Stats Perform and NativeWaves, which puts so much personalisa-tion power in the fingertips of fans,” Stats Perform Senior Vice President of Global Partners and Channels Wayne Ford says. “The new solution combines NativeWaves’ ultralow latency streaming and synchronisation capabilities with Stats Perform’s advanced data and sports insights, letting fans watch a match using the video angle and information they care about the most. This is the future of sports
viewership and we are thrilled to kick off this project with NativeWaves.” “The future of the fan experience is a personalised viewing experience where video is integrated with the most relevant data and analytics displayed at the appropriate time to dive deeper into the games we love,” Stats Perform Chief Innovation Officer Christian Marko adds. “We are excited to launch this new offering, which is providing the capability to choose the camera angle, statistics and analytics within the second screen experience and look forward to the continued collaboration with the NativeWaves team.” The initial offering from Stats Perform and NativeWaves will target soccer and will be rolled out to select customers in the coming months. Moving forward, other sports will be included so that a wide range of fans can benefit from a unique and personalised second screen live viewing experi-ence. Visit www.nativewaves.com and www.StatsPerform.com
ROSS HAS ANNOUNCED the latest version of PIERO, the innovative sports graphics analysis solution. Acquired by Ross Video in February 2019, PIERO uses image recognition and stateof-the-art graph-ic overlays to augment sports content with visually engaging and informative effects. Broadcasters around the world use PIERO to engage and entertain their audiences, while professional sports clubs use PIERO for coaching and professional development. The latest version of PIERO – version 16 – includes a host of feature improvements and adds sup-port for 4K-UHD and HDR workflows over SDI. Integration with Ross Video’s Mira replay server has been enhanced, enabling operators to browse, preview and load clips from Mira directly in PIERO Broadcast’s user interface. In addition, the new Asset Manager opens up the ability to insert, mass-import/export and back-up all your PIERO visual assets. PIERO V16 also broadens out the number of sports supported, and American Football fans around the world will appreciate the new ‘Down and Distance’ feature that’s included in PIERO Live. In terms of feature enhancements, V16 sees the addition of new graphical arrow shapes, along with a Filter effect that enables parts of the playing field, pitch or court to be blurred or
darkened to focus attention on a specific zone. New magnifier backgrounds also enable specific zones or players to be highlighted, with monochrome and blur backgrounds adding even more dynamism to the analysis of a passage of play or event. The new Range effect allows operators to count up or down a number range and link to an effect with a measurement component, like the Track. Finally, the Virtual Presenter feature is now even easier to set up, enabling presenters to be inserted into either a real or virtual scene in PIERO with dynamic shadows and audio passthrough. Vincent Noyer, Director of Sports Analysis at Ross, is delighted to be making this significant step forward with V16. “We’ve worked very hard
to increase the number of visual effects available to our customers in order to give them more options and help make their analysis content even more engaging. We’re also very pleased to be adding the ‘first and ten’ feature that so many customers have been asking for; we’ve been steadily expanding our customer base in North America and we know football fans will really appreciate this important addition to the solution.” Visit www.rossvideo.com
SPORTSCASTING
Ross Releases v16 of PIERO Sports Graphics Analysis Solution
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NEWS OPERTAIONS OPERATIONS www.content-technology.com/newsoperations
CNA MediaCorp Named AIB Channel of the Year CNA FROM SINGAPORE’S MEDIACORP has received the prestigious accolade of Channel of the Year at the AIBs 2020, the international competition for journalism and factual productions. Announced during an online TV show screened globally, the award recognises CNA’s the varied range of content that the channel delivers to its audiences as well as its clear cultural identity at the heart of Asia. “It is great to see CNA named the AIB Channel of the Year,” says Simon Spanswick, Chief Executive of the Association for International Broadcasting. “Our international panel of judges were impressed by many aspects of CNA’s work. They noted the meaningful engagement with multiple social media platforms and the compelling on-air presenting team across the channel’s output. The recognition by CNA’s peers in media companies worldwide is significant and well-deserved.”
Each year the AIB Channel of the Year award attracts nominations from broadcasters in all parts of the world. This is the first time that a channel based in Asia has been the recipient of this important award. CNA news anchor and senior producer Dawn Tan told the AIBs awards show audience that for the past two decades, the channel has worked to represent the cultural, ethnic, historical and political diversity that Asia enjoys. You can watch Dawn Tan’s interview in the AIBs awards programme at www.theaibs.tv
New Avid Mobile Apps Deliver News from Anywhere
LiveU Breaks Usage Records on US Election Day
AVID HAS INTRODUCED mobile apps and support for third-party newsroom computer systems (NRCS) via its media workflow platform, MediaCentral.
LIVEU, THE DEVELOPER of live video streaming and remote production solutions, has played a pivotal role in the live coverage of the US Presidential Election. With a mix of LiveU portable transmission solutions, including its flagship HEVC units, bonded LU-Smart app, and LiveU Matrix, the company’s IP contribution and distribution solution, around 700 broadcasters from around the world were able to provide comprehensive live news and updates of the highly publicized election worldwide.
MediaCentral is a platform for multiple users in different locations to collaborate in the creation of news content while enhancing the visibility of workflows across locations and departments. With the new MediaCentral | Collaborate app, users can align resources around stories, assign the right people to cover different events and angles and monitor progress. MediaCentral can then be used to manage the distribution of stories to broadcast and digital media outlets. In addition, the Collaborate mobile app keeps everyone on the team informed and connected wherever they are, giving supervisors real-time visibility into assignments and streamlining the remote story creation workflow. Avid also has introduced the MediaCentral | Reporter mobile app that enables journalists to create, manage and deliver finished stories from any location to the newsroom with just a mobile device and Internet connection. Journalists also can use MediaCentral | Reporter to capture video, edit multitrack sequences, add graphics and effects, and send their stories to MediaCentral from their mobile device.
NEWS OPERATIONS
Avid continues to foster openness in MediaCentral by integrating production tools from leading vendors in the industry. MediaCentral now provides direct integration with ENPS and Octopus newsroom computer systems. This integration gives users an HTML5 MOS plugin that provides visual access to the MediaCentral platform to create placeholders, browse, search and preview content, as well as trim and edit media from within their NRCS client application.
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Previous recipients of the AIB Channel of the Year award include Bloomberg Television, Al Jazeera Children’s Channel and CNN International.
Another example of openness within the Avid MediaCentral platform is the integration with Adobe Premiere Pro, which enables users to easily exchange content. With MediaCentral | Connector for Adobe Premiere Pro, Avid now offers a unified platform to share content for broadcast and digital news creation. Visit www.avid.com/products/mediacentral
“LiveU experienced an unprecedented 16,540 live streams on Election Night,” said Mike Savello, LiveU VP of Sales, Americas. “This year has challenged our broadcast customers to approach live newsgathering in unique ways. The pandemic has changed studio environments, crew allocation, budgets, and workflows. What has remained consistent is LiveU’s ability to provide high-quality, flexible solutions that news organizations can rely on, especially to cover high-profile news and events.” The 2020 Election brought record-breaking numbers in the utilisation and value the LiveU solutions delivered compared to the 2016 Election – a 35% increase in portable transmission units’ usage to 2764 units from 1800 in 2016 and an over 30% increase in simultaneous live streams to 1760 from 1200 in 2016. LiveU Matrix proved to be mission-critical on Election Night with nearly 500 customers consuming 3700 live feeds for distribution to local, national and global news broadcasts. The platform delivered more than 12,000 hours of video over the course of election day without interruption. LiveU’s global cloud-based video management and distribution platform allows global news teams to share high-quality, low-latency live feeds with multiple internal and cross-organizational end points. “The sheer amount of content shared and distributed was tremendous,” added Savello. “The platform was able to successfully support the rapid influx of content without interruption or failure. This demonstrated the power of LiveU Matrix during an ongoing live event.” Visit www.liveu.tv
NEWS OPERATIONS
Ross LUCID When it Comes to AR and Virtual Studios
AVIWEST 5G Field Transmitter and Encoder
ROSS VIDEO has announced the launch of what it is calling a “significant new solution” that changes the way virtual solutions are configured and control. The LUCID platform replaces the previous UX solution from Ross as the primary configuration and control interface for all Ross virtual studio and augmented reality applications. Users will immediately be struck by the brand-new user interface, and LUCID is the first Ross product to feature the new ‘Aura’ visual language that will be a key aspect of many future solutions from Ross. Highly dynamic and offering impressive new levels of flexibility, this new interface enables operators to design their own customised layouts, as well as save and recall layouts based on personal preference or production stage. “This is a big step forward for Ross – we’re taking direct market feedback and ensuring that the increased sophistication of our virtual solutions doesn’t translate into increased complexity for operators,” notes Gideon Ferber, Director or Ross Virtual Solutions. “We have an impressive roadmap planned for virtual solutions, but every future development has to be underpinned by ease of use, speed of operation and flexibility. Making the move to this new LUCID platform now provides us with a more solid bedrock that we can develop on, and I know customers are going to find our ‘Aura’ look and feel highly dynamic and intuitive. We have already beta tested LUCID with a variety of different customers, and everyone has loved what they’ve seen. This is going to make our customers’ lives much easier and open up a great deal of creative potential.”
AVIWEST, THE PROVIDER OF video contribution systems, has announced its new PRO3-5G and AIR-5G Series solutions, which are to be released in December. Using the 5G versions of AVIWEST’s powerful and lightweight bonded cellular transmitters, video professionals will be able to deliver live news, multicamera sports and events coverage with greater efficiency, higher quality and cost-effectiveness from any part of the world. “5G networks are expected to bring many improvements to the current bonded cellular transmission scenario,” said Ronan Poullaouec, chief technology officer at AVIWEST. “Gigabit speeds and reduced transmission latencies are the initial advantages broadcasters can realize from 5G. Beyond the new capacities and services that 5G networks enable, our AVIWEST field units will help to maintain a consistent quality of service and make the best use of 5G network performance.” AVIWEST’s flagship camera-mounted and backpack PRO3-5G unit features six embedded 3G/4G/5G modems that are compliant worldwide with a high-efficiency, patented custom antenna array. As the market’s most compact advanced 5G field unit, the AIR-5G features a long-life internal rechargeable battery and a large set of audio and video interfaces. Both mobile transmitter series leverage AVIWEST’s SST (Safe Streams Transport) protocol, which aggregates multiple IP network connections and dynamically adapts video bit rates according to network bandwidth fluctuations. With SST, broadcasters can effectively protect streaming content and support the retransmission of lost data. Visit www.aviwest.com
Visit www.rossvideo.com
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• HD or 4K acquisition • SDI, HDMI and streaming outputs of both H.264 and H.265 • An Exmor© 1-inch block and lens with digital image stabilization • POE, LTE, and WiFi connectivity And best yet, the RoboEye camera module (including the sensor and lens) can be upgraded to the latest technology as it becomes available. RoboEye is ready for anything. Does your PTZ even come close? The Leader in Camera Robotics sales@telemetrics.com • telemetrics.com
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NEWS OPERATIONS
Unlike other PTZ products on the market, The Telemetrics RoboEye™ RE-2 integrated compact P/T head, lens driver and camera provides smooth and precise movement for on-air use and remote production. This high-quality, rugged and fully
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NEWS OPERATIONS
Dalet Pyramid Unifies News Operations DALET HAS ANNOUNCED Dalet Pyramid, its next generation solution for Unified News Operations. Designed to accelerate the evolution of news organisations with distributed teams, the company says Dalet Pyramid ushers in a new era of agility, flexibility and mobility for content creation. It provides an integrated solution for news production, content management and multi-platform distribution, all accessible through a web-based user experience. Offered on a subscription basis, the solution can be natively deployed in the cloud, on-premises or in a hybrid configuration. Dalet Pyramid wraps all of Dalet’s news innovation within a modern workspace with natively integrated tools that enable 360-storytelling and faster breaking news across all viewing platforms. News producers can create content from anywhere for all audiences with sophisticated media asset management and workflow orchestration powering all ingest, production, delivery and archive workflows. Propelling digital-first multiplatform workflows, the new solution is designed to offer remote workforces comprehensive editorial, graphics and distribution tools accessible from desktop and mobile devices. “Editorial and production teams need to collaborate more efficiently on stories for all platforms from any location. Conversely, audiences love their news and want access on their favourite device, at all times,” said Raoul Cospen, Director of Product Strategy, News at Dalet. “Tying your story line-up to a rundown limits production workflows and the efficiency for stories to be delivered across platforms. With more than two-thirds of newsrooms distributing content to an average of four platforms, it is a natural next step to refocus the newsroom away from rundowns and reimagine their operations. Dalet Pyramid gives news professionals the creative freedom to focus on the story, with collaborative tools and efficient resource planning to feed all audience platforms. It’s a holistic news experience that enables great storytelling.”
Encompassing 20 years of Dalet expertise in news workflows, Dalet Pyramid’s digital-first content production approach offers outstanding mobility for individuals and teams working remotely as well as agility and flexibility for storytelling across radio, TV, digital and web. As Cospen explains, “With Dalet Pyramid we have completely revamped the user workspace to offer an exceptional creative experience and all the conveniences you expect from a modern architecture including native-cloud support, configurable workflows, scalability, enterpriselevel security, frequent feature updates and accessibility across devices. It’s one platform to serve your entire multichannel news operations.” With Dalet Pyramid, production tasks such as ingest, scripting, audio and video editing, digital versioning and graphics are always connected to the story, enabling multi-user collaboration and speeding up news delivery to audiences. Advanced AI capabilities automate metadata tagging and provide real-time contextual
recommendations, saving valuable time logging and searching content while optimising use of all relevant assets for editorial. Dalet Pyramid can be set up for cloud, onpremises or hybrid operations. The intuitive configuration module and open APIs give greater control to system administrators, requiring less ramp-up time. Customers opting for cloud will benefit from immense flexibility and elasticity in managing resource fluctuations, with the ability to spin up additional seats when immediate user access is needed, without the need to increase capital investment. Dalet Pyramid will be offered in a range of flexible business models, such as subscription and SaaS, enabling news organisations to calculate resource costs with precision. Shorter development cycles and regular updates ensure users are up to date with the latest functionality with minimal operational disruption. Visit www.dalet.com/pyramid
Vizrt Streamlines Workflows for Viz Story 2, Viz One 7 and Adobe
NEWS OPERATIONS
VIZRT, THE PROVIDER OF software-defined visual storytelling tools for media content creators (#SDVS), continues to add more powerful video editing capabilities into media production workflows with expanded integration for Adobe Premiere Pro. Editing is placed at the centre of creative workflows with the newest releases of the Viz Story easy editing tool and the Viz One production workflow manager to better meet the needs of editorial staff.
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“Editors need the best possible interoperability within their production workflows,” said Sue Skidmore, head of Partnerships for Adobe Video. “With Viz One and Viz Story’s integration for Adobe Premiere Pro, our customers can work faster and seamlessly with video production content.” To save time when making edits without compromising quality, it is now possible to
work with video proxy content stored in Viz One directly from Adobe Premiere Pro, rather than needing to access high-resolution material. Stories edited with Adobe Premiere Pro can be easily re-used, changed, updated later, or even replaced completely for efficient re-versioning without full re-edits with the option to burn Vizrt graphics into the video or not. Metagraphics data is automatically brought into Adobe Premiere Pro when loading material from Viz One, providing ultimate graphics flexibility. Graphics added in one project can be re-used for the same clip in other projects. To reduce cycles when re-purposing previously used content, an editor in Adobe Premiere Pro can access and re-use Vizrt graphics that were added to a clip by a journalist using Viz Pilot Edge newsroom graphics systems. Once editing is complete, stories can be sent directly to
placeholders in Viz One to be used in rundowns and playlists for efficient playout. Viz One provides partial restore of offline and archived media for both Viz Story and Adobe Premiere Pro editing clients. Automated optimization works to restore only the relevant parts needed as quickly as possible. The reduction in time and overhead is particularly useful when working remotely. In proxy mode the restore only occurs at final conform to maintain efficiency of the system. “Video editing is a critical aspect of media production workflows,” said Helen Blackburn, vice president of Product Management at Vizrt. “Vizrt adds value by incorporating the compelling capabilities of Adobe Premiere Pro for better visual storytelling.” Visit https://www.vizrt.com
MEDIA IN THE CLOUD, STORAGE & MAM EditShare Cloud Capabilities Boost Production for Philippines’ TV5
Philippines-based TV5, a subsidiary of telecommunications giant Philippine Long Distance Telephone company (PLDT), implemented EditShare’s collaborative solutions at its Reliance and Novaliches operations, leveraging FLOW’s smart workflow and cloud capabilities to automate more than 50 manual workflows and increase remote production content output by up to 40%. “With the pandemic, many staff had to work from home and thus we were unable to create enough new programme content for our own schedule and for our partner
channel and networks. To fill the programming demands, we used EditShare to tap into our archives, repackage content and share programs with our sister channels. We were able to use FLOW to automate many tasks and work remotely without having to add resources or increase the team’s workload,” states Angelito R. Salazar Jr., head of post-production, TV5. “EditShare professional services was key in helping us design the automated workflows. They dug deep into our operation to understand the review, approval and delivery process, helping us create the best possible workflow design.” TV5, one of three main broadcasters in the Philippines, is dedicated to creating and delivering news, sports and thematic programming for the Philippine community and beyond. EditShare’s end-to-end smart workflow solutions offered a
secure network enabling the TV5 team to remotely access content and facilitate an often extensive review and approval process and share newly created program packages from existing archives across sites and partner channels. “It is EditShare’s open platform and cloud innovation that enables our clients to adapt their workflows and reimagine their business operations,” states Alan
Telestream Acquires EcoDigital TELESTREAM HAS ANNOUNCED the acquisition of EcoDigital (formerly known as Front Porch Digital). Telestream is a portfolio company of Genstar Capital, a vertical market software business focused on the video space and is a global leader in media workflow orchestration, media streaming and delivery technologies. EcoDigital brings to market a content management software (CMS) solution called Diva, which manages the archiving and retrieval of a customer’s assets. Diva automates the process and provides transcoding to and from the archive repository. The storage repository can be on-premise utilizing almost any vendors physical storage (online, nearline or deep storage on LTO tape) or in the cloud (Google, Microsoft, AWS, Alibaba or Oracle). The considerable overlap between Diva and Telestream’s flagship Vantage Media Processing Platform highlights the potential efficiencies created by the company integration. EcoDigital has hundreds of customers and installations worldwide and there is a strong customer overlap with Telestream. EcoDigital’s primary customer base is broadcasters and content owners. Additionally, Diva software installations typically sit alongside Vantage systems that are providing transcoding of production
media assets. According to Dan Castles, CEO of Telestream, “The acquisition of EcoDigital provides more workflow solutions, especially Vantage-related, which facilitate tighter integration for the production, archive and restoration of raw and finished assets. Once the integration is completed, our customers can be even more efficient in the management of their production assets.” Additionally, EcoDigital’s cloud strategy is consistent with Telestream’s. Both companies are investing in the cloud and both are cloud agnostic, enabling customers to choose the best cloud platform to fit their business needs. Also, both companies recognise that customers are going to be in a hybrid environment where both on-premise and cloud-based solutions co-exist and an integration with both is key.
Dishington, vice president of sales for APAC, EditShare. “TV5 is a prime example of how customers are using EditShare’s solutions in a secure hybrid cloud to successfully facilitate and automate their remote productions while massively scaling content output all without increasing resources. It’s a winning technology combination that is helping business thrive.” Visit https://editshare.com
TVRI Indonesia Upgrades to Etere 30.3 INDONESIA’S STATE BROADCASTER, Televisi Republik Indonesia (TVRI) has upgraded to the Etere 30.3 customisable workflow platform to undertake functions such as media asset management, archive, playout automation, airsales and traffic management. The Etere Ecosystem features a flexible framework that manages and tracks the complete workflow, embracing: financial management, supply chain and CRM, deal and contract management, work orders, production, dubbing, ingest, editing, indexing, subtitling, resource allocation, operational costs, air sales, user permissions, digital rights, multi-format and multi-platform content delivery, licensing, domestic and international sales, distribution and billing. Highlights of Etere 30.3 include • Modern new GUI for Etere Studio Player with enhanced features such as asset search panel and saved playlist panel • Preview of media files from the relationship tab in the media library • View prompter text and layout of story in asset metadata form in Etere Media Asset Management
“This company integration is entirely positive news for EcoDigital and our customers since the technology synergies between our two product ranges are considerable,” stated Geoff Tognetti, CTO at EcoDigital. “This integration has been well thought out – the end result will create greater efficiencies within customer operations and will be beneficial for their businesses.”
• Search by asset’s physical start in media library
Visit http://www.telestream.net
Visit www.etere.com
• Edit flexi-metadata on new asset form • Put a news story on hold in rundown with a single button • Generate Service Access Log report in EtereWeb • New audio-mapping feature in Etere Executive Scheduling to insert breaks display with group spots, insert counter on break or insert display of cue events in addition to on-air event • Insert the language of .mov files as metadata in the asset form for tracks mapping; and more
MEDIA IN THE CLOUD, STORAGE & MAM
EDITSHARE, THE PROVIDER of collaboration, security, and intelligent storage solutions, is helping broadcasters and media companies increase remote content production output to meet growing programming demands with its EFS shared storage and FLOW media management solutions.
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MEDIA IN THE CLOUD, STORAGE & MAM
Western Digital Unveils ArmorLock Encrypted NVMe SSD WESTERN DIGITAL HAS INTRODUCED the ArmorLock Security Platform, a data encryption platform created to help with the diverse security demands of data-centric and content-critical storage use cases.
source elliptic curve cryptography and its GitHub repository includes documentation, a comprehensive test suite, and an independent third-party audit by the security research firm Trail of Bits.
Western Digital plans to apply the platform across a range of storage solutions. The first product to leverage this advanced technology, the new G-Technology ArmorLock encrypted NVMe SSD, is designed to deliver an easy-to-use, highperformance, high-grade security storage solution for creators in the media and entertainment industry. Facing the threat of hijacked media files and leaked films, studios, agencies, and especially investors are demanding a better way to protect critical content. While much of the industry’s focus has been on cloud security, data often remains vulnerable on the portable storage devices holding critical commercial content.
Key features of the ArmorLock Security Platform include:
Unlike password-based encryption technologies that interrupt workflows and prevent fast availability to digital assets, the ArmorLock Security Platform delivers unmatched security that allows the content owner to control how data is accessed and by whom. The ArmorLock encrypted NVMe SSD delivers this technology with simplicity, reliability and speed while protecting mission-critical content. A comprehensive set of technologies covers the ArmorLock product lifecycle from manufacturing to out-of-the-box setup, in-field updates, and configuration and key management that ties directly into hardware-backed modules and biometric protection on some of the latest smartphone and desktop platforms. Designed to help improve how people manage critical data, the ArmorLock platform eliminates the tradeoff between fast access to data and privacy by delivering both at the same time. Building on its legacy of contributions to open source with RISC-V and OpenTitan, Western Digital has also announced the open source release of Sweet B, the high-performance core cryptography library that underlies the ArmorLock Security Platform. Sweet B is designed to provide a new level of safety and assurance in open
• Manufacturing technologies that provision each device with a root of trust and digital certificate of product authenticity • Simple and robust firmware updates delivered straight from the ArmorLock app • Open source, third party audited core cryptography with side-channel attack mitigation • Sandboxed smartphone and desktop applications delivered through platform-native app stores – no special installer required • Communications over wireless and wired connections with zero-touch certificate-based provisioning • Password-less authentication and key exchange technologies that directly link storage encryption to hardware-backed biometric authentication • Zero-knowledge public key management that helps protect your privacy even if the ArmorLock device is lost or stolen The ArmorLock encrypted NVMe SSD – delivering up to 1000MB/s read and write speeds via a SuperSpeed USB 10Gbps port – combines both ease-of-use and next-generation “zero knowledge” security. With the ArmorLock app, users can unlock the device wirelessly with their phone, using face recognition, a fingerprint, or the phone’s passcode ensuring lost passwords don’t cause missed deadlines. The SSD provides encryption without getting in the way of the workflow by enabling collaboration without the need to tape PINs to the drive. The ArmorLock mobile and desktop apps also provide fleet managers the ability to configure
and manage multiple drives and multiple users to control who has access. Especially important for collaborative workflows that require safe shipping of content between physical locations, the next-gen security in ArmorLock devices enables teams to authorize remote users before sharing the drives using popular messaging and email services. Other key features of the ArmorLock encrypted NVMe SSD and ArmorLock app include: • Simple to setup and easy unlock with your smartphone via the ArmorLock app • High-grade 256-bit AES-XTS hardware encryption • Secure erase and reformat to your favorite file system in one step • Track the last known location of the drive on a map • In-field updates for continued security support, improvements, and new features • Ultra-rugged durability with IP67 dust/water resistance, up to 3M drop protection* and 1000lb crush resistance The ArmorLock app for iOS and macOS is available for free download: https://GetArmorLock.com/ Apps Visit https://bit.ly/36yPSIH
Tedial Unveils New Version of Capture Manager
MEDIA IN THE CLOUD, STORAGE & MAM
TEDIAL, THE INDEPENDENT MAM technology solutions specialist, has announced a new version of its Capture Manager scheduling UI. As a result of the COVID-19 pandemic, global media companies have turned to remote production tools that enable operators to control ingest anytime, from anywhere. Tedial’s Evolution MAM will now include a new version of its web-based HTML5 Capture Manager, which provides an agnostic central interface for controlling and monitoring devices as well as advanced, ingest features.
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The latest version of Tedial’s Capture Manager includes two tools; the first is for the ingest list. This creates ingest placeholders before an event is recorded. It allows the production team to be more efficient by creating the scheduling information using the metadata in advance of the event, before the team knows which router will record the event. When the router input has
been defined, the system automatically allocates the physical ingest channel. This highly efficient workflow reduces the time spent managing the ingest process and gives greater visibility to what’s coming next. The second tool, orchestrates scheduling using a timeline view, per ingest channel and provides dynamic allocation of ingest channels. It’s agnostic to third-parties and more importantly, to video servers. Servers from different manufacturers can be managed together from the same tool, at the same time allowing customers to leverage their investments. It also enables connection to traffic systems like Provys or Mediagenix. Thanks to Tedial’s API, operators can manage an end-to-end ingest workflow. Programme scheduling is created in the traffic system, which allocates a placeholder on the ingest list. Tedial’s Capture Manager tools then automatically control the router and
dynamically switch the input at the time of the recording. The combination of the ingest list and ingest scheduling features provides increased production efficiency. Further key features are integration and interoperability. Tedial Capture Manager seamlessly integrates with most of the videoservers and routers in the market, and in combination with the rest of the Tedial tools can also integrate with external scheduling/traffic systems. Emilio L. Zapata, CEO, Tedial says, “The COVID-19 pandemic has accelerated the move to remote working across the world. It’s our aim to ensure that broadcasters and content owners have efficient automated, end-to-end workflows that provide a centralised UI for controling and monitoring devices, significantly improving ingest time management and scheduling visibility.” Visit https://www.tedial.com
MEDIA IN THE CLOUD, STORAGE & MAM
MediaHub Launches ArkHub Low-Cost Archive Storage Service
According to MediaHub CEO Alan Sweeney, ArkHub is born with a broadcast industry pedigree, but meets all the needs and requirements of even the most security conscious, enterprise-level industries including government, health, banking, financial services, energy, defence, education, media and entertainment. “ArkHub is a total gamechanger that completely eradicates the single biggest complaint in the storage and archive world – bill shock,” says Sweeney. “It has been specifically developed as a low-cost storage service that provides secure, durable and flexible storage for data backuparchive, with a considerably simplified pricing model. ArkHub is also founded on and thus able to embrace MediaHub’s tough, resilient and efficient broadcast industry heritage. This is a heritage which demands, and has always demanded, the upmost security and reliability in every workflow. In the broadcast industry we deal in large, high density, high volume, complex files that need to be transferred quickly and efficiently – and we do this successfully and seamlessly 24 hours a day 7 days a week. That is the foundation of ArkHub’s core development and offering.” ArkHub pricing allows clients to store their data
for only a monthly storage cost, with no further ingress or egress charges, no early deletion or embargo fees and no region fees. Critically ArkHub does not limit clients to storing their data specifically as an ‘archive’. Clients can upload a single file or perform a bulk upload with no price difference as ArkHub is simply a fixed price per gigabyte per month fee. Connecting to ArkHub can be done either via the public internet using ArkHub WebConnect which is a secure, encrypted and accelerated web access portal or via ArkHub DirectConnect, which uses MediaHub hosted connectors. Using ArkHub WebConnect, clients can transfer files from one location to another from anywhere in the world. Based on CatonNET’s incredibly flexible, powerful and easy-to-use Cydex software, its advanced protocol allows for the fastest possible throughput with an intuitive user interface. Seamless integration with HPE’s industry leading object-based S3 storage was done through MediaHub’s solution provider, RedFig Group. In addition, as a long-term technology partner, Hewlett Packard Enterprise also worked with MediaHub to identify significant demand from many industries who were desperately looking for lower cost deep storage solutions making ArkHub an ideal proposition in the current market. Further complementing the ArkHub value proposition is MediaHub’s key foundational layer of connectivity via its FibreHub solution that
enables the pricing model of zero ingress and egress fees for enterprise level clients. This in combination with FibreHub’s high speeds to all the major broadcasters, as well as datacentres such as NEXTDC, Global Switch, Equinix and Telstra Oxford Falls provides an ideal, unrivalled and ultraefficient launch pad for ArkHub. Features of ArkHub deep storage include: • Storage 100% disk, not tape. Tape is available as an option. • Clients know exactly where this content is stored and it is guaranteed to be locally on shore. • All clients have a point of contact in the event that assistance is required. • All clients are provided with an in-built management layer to allow for selfmanagement of their content 24/7. Visit https://bit.ly/3972O9S
MEDIA IN THE CLOUD, STORAGE & MAM
AUSTRALIA-BASED MEDIAHUB says it has completely revolutionised low-cost archive storage with the launch of ArkHub, a multiindustry agnostic solution with all the features of the major deep archive vendors but without the ingress, egress, retrieval and region costs of the major vendors.
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POST PRODUCTION www.content-technology.com/postproduction
Indian Horror Film Makes the Grade with Blackmagic “KRIYA,” THE NEW HORROR FILM by awardwinning filmmaker Sidharth Srinivasan, was graded using DaVinci Resolve Studio by Delhi-based colourist Divya Kehr, with the film premiering at the virtual Fantasia 2020 film festival.
“KRIYA” is the nightmare odyssey of a young DJ named Neel who is picked up one fateful night by the beautiful Sitara, only to be thrust into a hallucinatory world of ritual magic surrounding the imminent death of her father. Following a 10-night shoot at a 150-year-old colonial mansion in India in September of 2018, the film premiered in competition at Fantasia 2020. Director Sidharth Srinivasan had an exact claustrophobic, reddish look and feel he wanted for the film that he knew had to come together during post-production.
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“Filming in just 10 nights at a single location made for a pressure cooker, race against time shoot. ’KRIYA’ was a herculean task simply wrapping on schedule and we knew the look of the film would emerge during post, while grading,” Srinivasan said. “Ultimately, I think Divya and I arrived at the final look of the film through a painstaking but rewarding two-month period of trial and error which resulted in a very earthy, dark, high contrast look with red tones predominating. A warm horror film, if you will.
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“Resolve did all the heavy lifting while grading, affording me a very smooth experience as a director and enabling me and Divya to experiment and enter a dialogue with the footage. It didn’t hurt that Divya is exceptionally comfortable with Resolve and has a highly refined aesthetic sense! The beauty of it was that the final look of the film, while highly stylized, was ‘organically’ dictated by the raw footage, and felt very natural. I’d like to believe we achieved an original ancient, sepia tinted feel, but in color, if that makes sense! To be very honest, Divya really
pushed the footage to its max, and Resolve was instrumental in helping her achieve this,” he said. Kehr added: “I’ve always seen modern film and especially the horror genre as more of resonating with the audience’s imagination than with what is exactly shown in the film. The film, or rather the matter filmed, is only the cue which is interposed in the mind of the audience whereas the actual effect is that of the interpretation the mind derives from the cues given. With Resolve’s ability to tweak the depth/hue of the colours of the film we were able to enhance the underlying tension we wanted to portray.” The film is made up of a majority of close up and mid close shots, with several extreme close ups to maintain a feeling of claustrophobia. Throughout the film, Srinivasan and Kehr avoided a generic horror movie blue/green tone and worked to push a feeling of darkness in every shot. Srinivasan continued: “The red tone of the film subconsciously evokes visceral, passionate and violent emotions. A warning to stand still or you will get burnt, and by extension a sense of inertia, of being unable to escape try as you may.” To get that look, Kehr explained how Srinivasan asked her to make use of shadows and skin tones: “As the adage goes ‘It’s not the dark we’re afraid of its what hidden in it.’ Sid wanted the film to be super dark and wanted to push the envelope and overuse the shadows. So, we had played around with the log window in Resolve quite a bit to tweak the shadows and highlights. “That use of shadows made the shots more claustrophobic. We had used tight vignettes around most of the close up and mid shots and we also had to window and track everyone’s faces and increase the shadows accordingly as their skin tones were slightly different.” One of the most dramatic shots in the film is of the protagonist’s dead father slowly walking
down a dark hallway wide-eyed and covered in blood. Used in the trailer and with all of the film’s press kit materials, the shot was incredibly important to set the feel of the film for viewers at the very start. Kehr explained the grade for this shot: “We didn’t want the image to look dark and dull but dark and dramatic. The curve window gave us control over all the highlights for that. The entire room looked like it was lit by firelight. We had increased the mid tone details in this shot to make the blood stand out more. Darkening the shot had made the blood almost black in colour so we had also keyed some of it and used a parallel node to put the red back into it. Resolve’s luminance curve window worked quite well to get the blood the right colour in all the shots.” Srinivasan continued: “Yes, I’m stoked with how that shot turned out. My DOP’s Karan Thapliyal and Lakshman Anand and I were very happy with the results on set too. It just came together I think: the actor’s skin tone, the lighting and the fake blood. Karan shot that scene on a gimbal in a massive open hallway in the mansion, one side facing the outside world. Of course, the footage was crushed majorly on Resolve, darkening the blood, but because the liquid was also catching the light, it became very real.” “Divya and I collaborated very closely on the grade of ‘KRIYA.’ I cannot overstate how beneficial her proficiency on Resolve was to the ultimate look and feel of the film, a fact that has been acknowledged by many reviews of the film as well. Personally, I felt Resolve enabled me to translate my own personal demons onto the image, in terms of colour. I was actually blown away by how effortlessly the software can interpret what’s going on in your mind’s eye, which is oftentimes indescribable, and deliver it in concrete visuals,” Srinivasan finished. Visit www.blackmagicdesign.com
POST PRODUCTION
Blackmagic Announces DaVinci Resolve 17 and New Speed Editor
BLACKMAGIC DESIGN has announced DaVinci Resolve 17, a major new release with over 100 new features and 200 improvements.
DaVinci Resolve 17 features include: • Next generation HDR colour correction with customizable wheels and tonal zones. • Mesh and grid-based colour warper delivers an entirely new way to transform colour. • Magic mask automatic object isolation powered by the DaVinci Neural Engine. • Improved colour management with tone mapping and colour space aware tools. • Massive DaVinci wide gamut colour space for higher quality image processing. • High speed audio editing with new keyboard and mouse context sensitive tools. • Fairlight Audio Core engine with
auto load balancing and support for 2,000 tracks. • Revolutionary FlexBus architecture for audio routing without limitations. • Automatic transient detection for beats, words, and sound effects. • Support for massive audio projects with thousands of tracks on a single system. • Metadata based card view in media pool on cut page. • Precision audio trimming on the cut page timeline and graphical trimmer. • Smart reframe powered by the DaVinci Neural Engine on cut and edit pages. • Live effect, title, and transition previews on cut and edit pages. • Import and edit projects from ATEM Mini Pro ISO.
• Proxy media workflows up to 1/16th resolution in H.264, H.265, ProRes or DNxHR. • Timeline based clip syncing to create multicam and compound clips. • Alpha support for keying and compositing on cut and edit pages. • Render in place command for effects heavy clips on cut and edit timelines. • Make source side adjustments before editing clips into the timeline. • Portable timeline and bin files for easy sharing. • Native interlace processing and realtime 3:2 pulldown removal. • Node tree bookmarks, customizable Fusion toolbar, and vertical node layouts. • Support for growing files in media pool.
Maxon Updates Cinebench Benchmarking MAXON, THE DEVELOPER of professional 2D/3D digital content creation and composing solutions, has released Cinebench Release 23, an update to its crossplatform benchmarking application designed to evaluate hardware performance. Cinebench uses advanced algorithms to visualise and render a three-dimensional scene on a computer. Cinebench scores are used by hardware manufacturers to optimise CPUs during the development process, as well as press and consumers to evaluate systems. “For more than a decade, Cinebench has been the go-to tool for hardware manufacturers and industry analysts to evaluate system performance,” said David McGavran, Maxon Chief Executive Officer. “Cinebench R23 delivers the most accurate and stable results for the latest hardware, including Apple’s recently announced M1-powered Macs, ensuring users are operating on the highest performing systems for demanding content creation and rendering workloads.” Cinebench is now based on the latest Release 23 code using updated compilers, and has a minimum runtime activated by default (previously hidden in preferences) Cinebench R23 delivers more stable and accurate results for high-performance systems and allows users to check that the hardware is able to deliver the performance steadily, without throttling down due to thermal issues. Users now have the option to directly test the single core performance without manually enabling the “Advanced benchmark” option. The “Advanced benchmark” allows users to set arbitrary minimum runtimes to stress test the hardware for even longer periods of time.
Blackmagic Design has also announced DaVinci Resolve Speed Editor, a new keyboard for DaVinci Resolve’s cut page that allows a new and dramatically faster editing solution that’s a combination of integrated hardware and software. This means the editor can work much faster because, unlike a mouse, the DaVinci Resolve Speed Editor has a control for each edit function and can perform multiple tasks at the same time. DaVinci Resolve Speed Editor features include: • Source tape allows faster clip searching. • Large trim in and out buttons. • New keyboard modes for intelligent editing. • Buttons to allow search dial to live trim. • Buttons to change transition type. • Integrated search dial control. • Keypad for direct timecode entry. Visit blackmagicdesign.com
EditShare and Blackbird Partner to Expand Cloud Video Editing EDITSHARE AND BLACKBIRD have joined forces to give media professionals more options when it comes to collaborating and editing video in the cloud. The integrated solution combines EditShare’s EFS scalable storage, FLOW media management, and open APIs with Blackbird’s cloud video editing and publishing platform. Optimised for both speed and mobility, Blackbird and EditShare connect users into the wider media ecosystem, making content of all types located across storage pools accessible in the proper formats for rapid editing and delivery to multiple platforms and channels. According to EditShare CEO Conrad Clemson, “Cloud-based remote collaboration is no longer merely a “nice to have” but a necessity. Video production teams have rapidly pivoted their workflows to take advantage of the cloud’s scalability, flexibility and mobility. The combination of Blackbird and EditShare delivers added value to customers wanting to incorporate quick turnaround editing into a greater production workflow.”
Cinebench R23 leverages the same powerful 3D engine in Cinema 4D Release 23 (Cinema 4D R23) to accurately evaluate CPU rendering performance capabilities across various systems and platforms. It is offered free-of-charge.
Blackbird CEO Ian McDonough said, “Our exciting new partnership with EditShare is a great example of industry specialists building interoperable end to end solutions. Media assets stored and managed by EditShare solutions can now be accessed directly through Blackbird’s browser interface where they can be professionally edited and passed back or published.”
Visit https://www.maxon.net/
Visit https://editshare.com and https://www.blackbird.video
Because of the code and compiler changes, Cinebench score values are readjusted to a new range so they should not be compared to scores from previous versions of Cinebench.
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“This is a massive update and it has amazing new technology and features for colourists, audio engineers, editors and visual effects artists,” said Grant Petty, Blackmagic Design CEO. “While the new colour science, HDR grading and improvements and Fairlight usability are the most noticeable features, what I am most proud of are the thousands of small improvements that customers will notice every day!”
• Support for frame-based metadata for Blackmagic RAW, ARRI, RED, Sony and EXR. • Workflow integration API and third-party encoder API. DaVinci Resolve 17 public beta is available for download now from the Blackmagic Design website.
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POST PRODUCTION
Boris FX Continuum Unleashes its Biggest VFX Plugin Release
BORIS FX’S CONTINUUM 2021 plugin collection has delivered its largest release ever. Users can instantly transform digital video into classic Hollywood looks with 80 new cinematic plugin effects and over 1000 professionally-designed drag and drop pre-sets. New creative options include film stocks, colour grades based on iconic films, optical filter simulations, lens flares, a digital gobo library, light rays and glows, and a new FX Editor to quickly browse, tweak, and save pre-sets directly within the interface. Continuum 2021 is now available for Adobe After Effects, Adobe Premiere Pro, Avid Media Composer, and supported OFX host applications including Foundry Nuke, Blackmagic DaVinci Resolve, and VEGAS Pro. Current annual subscription and upgrade & support plan customers receive a complimentary update to the Continuum 2021 release. Continuum 2021 new features include: • The Cinematographer’s Toolkit features 80+ HDR compliant effects including film stocks, look development, optical filter simulations, and
lighting. All effects are GPU accelerated, support OCIO colour management, and can be easily customised with the new FX Editor interface. • Film Stocks: Transform digital video into beloved analog looks. Includes 300 customisable pre-sets organised by colour, black & white, photographic films, and motion picture film stocks including Kodachrome, Ektachrome, Fuji, Agfa, and Polaroid. • Look Development: Establish a signature colour palette. Includes 85+ colour grading pre-sets from Academy Award-nominated films including 2001: A Space Odyssey, Apocalypse Now, Blade Runner, Back to the Future, Frankenstein, Gone with the Wind, and Titanic, 65+ stylised colour and black & white look
pre-sets, and a visual Colour Wheel interface to create custom looks. • Optical Filter Simulations: Dial in the exact look cinematographers want with digital optical filter simulations. Darken a sky with a polarising filter, reduce wrinkles with diffusion filters, saturate colours with enhancing filters, and add a pop of colour with colour-graduated filters. • Lighting: Create a stylised atmosphere with the digital gobo library (750+ options), enhance a scene with realistic lens flares that can be customised with the new Flare Editor, add drama with volumetric light rays and glows, or choose a coloured gel from the Kodak Wratten set. • Particle Illusion’s real-time particles can now emit in 3D. New turbulence controls create
EditShare FLOW Panel for DaVinci Resolve Studio EDITSHARE HAS ANNOUNCED its FLOW Panel for DaVinci Resolve Studio, connecting thousands of users into the wider media ecosystem. Designed to simplify storytelling, FLOW manages media assets and workflows across on-premise and cloud-based tiered storage environments. The integrated FLOW panel, which was developed with FLOW’s open API, provides DaVinci Resolve users a media gateway to assets and associated metadata. Easy-to-use production tools facilitate advanced remote workflows including seamless proxy editing and review and approvals. The FLOW Panel for DaVinci Resolve Studio lets editors, colourists, VFX artists and sound mixers move beyond their locally connected storage and search, browse, and access proxy and high resolutions versions of video and audio assets across multiple storage pools and archives. FLOW’s fast production tools can be used to quickly organize assets into folders and cuts-only sequences. With one click, users can import assets into DaVinci Resolve Studio, including clips, sub clips, and sequence markers. FLOW delivers the rich metadata and content directly into the DaVinci Resolve Studio bin and onto the timeline. Users can also upload assets from DaVinci Resolve Studio back into FLOW with one click, facilitating review and approval across the operation.
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Suitable for working in remote scenarios, the FLOW Panel for DaVinci Resolve Studio lets users edit with proxies - whether downloaded, streamed over a VPN, or played from central shared storage. This nimble proxy workflow benefits from the lightweight characteristics of highly efficient codecs like H.264/MP4. FLOW generates the proxies and tracks the relationship between high and low-resolution files. A menu toggle in DaVinci Resolve Studio lets users switch seamlessly between original and proxy versions, allowing them to check the original shots any time during editing. With both sets of files always available and accessible to DaVinci Resolve Studio, colour grading, effect creation and conforming are greatly streamlined.
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more naturally moving particles, a new line renderer lets users quickly join particles together, and new pre-sets deliver stunning particle animations. • Primatte Studio’s Academy Award-nominated chroma keying technology adds a new Edge Cleaner effect that recovers fine details while smoothing the edges of keyed compressed footage. Primatte Studio is also available as a separate plugin for Adobe hosts. • Title Studio adds Procedural Noise Generators with dozens of different texture types, and a new Texture Composite Shader enhances the variety of textures and materials available for text and motion graphics. • Maxon C4D integration is improved and now includes support for more texture shaders resulting in even more accurate renders. • 1000+ drag and drop pre-sets designed by professional artists. • Mocha planar tracking is enhanced with the new AdjustTrack feature. Visit https://borisfx.com
Simon Says Brings AI Transcription to DaVinci Resolve SIMON SAYS, AN AI-BASED TRANSCRIPTION, captioning and translation platform for video professionals, has announced integration with Blackmagic’s DaVinci Resolve for macOS. Users can now easily find meaningful dialogue, in any language, and receive the frame-accurate video transcript as ranged markers, colour-coded by speaker, then caption timelines and even align translated subtitles once the edit is complete - all with a few clicks from DaVinci Resolve. With Simon Says, editors can transcribe their raw footage in minutes. Simply select the clips to import and transcribe. Add speaker labels, bookmark and make any edits in the video-transcript editor. Collaborate with your team to identify the key soundbites and then export back into Resolve, receiving ranged transcript markers, colourcoded to delineate speakers, that attach back to the original clips. Editing just got a whole lot more efficient - versus scrubbing through audio and switching back to the edit list in another program. In addition to transcribing video, Simon Says can easily and quickly caption video edits and translate subtitles into 100 languages. Use the visual subtitle editor to preview formatting and export subtitles that import back into Resolve. This will make your delivery compliant and increase accessibility to those who are hard of hearing, as well as delivery to international audiences.
The FLOW Panel for DaVinci Resolve Studio will be generally available with FLOW 2021.
To get started, users download the Simon Says app for macOS and install the Resolve scripts to communicate between Resolve and the Simon Says AI cloud.
Visit https://www.editshare.com
Visit https://www.simonsays.ai
AUDIO Digital soundwaves
www.content-technology.com/audio
Singapore’s The Production People Joins Clear-Com Rental Group CLEAR-COM HAS WELCOMED Singapore-based company, The Production People (TPP), to its growing network of global rental partners. TPP has a 22-year old history, beginning as a small enterprise providing sound for parties and growing into a one-stop production services provider for live events offering audio, lighting, video and rigging services. TPP has fostered a loyal client base throughout Asia and earned a reputation for superior customer service in the region, so when COVID threatened the live events market, they were determined to find a way to continue to exceed customer expectations. “I saw the need for reliable comms as virtual events became part of the new normal,” said TPP owner, Sheldon Gooi. “New safety restrictions meant that audiences in a single location would be limited and spread across multiple rooms and venues. Comms between these sites would be crucial.” “MICE” events (meetings, incentives, conference, exhibitions) make up a large part of Singapore’s live events, and during COVID, they have been limited to 250 people per event, separated into 50 people per “zone,” each of which is in a separate location. Difficulty communicating across remote locations can often lead to end-user frustration, so TPP wanted to find an effective and trusted solution in anticipation of this issue. TPP worked with local Clear-Com partner, Electronics & Engineering PTE LTD (E&E), who caught their attention with Clear-Com’s Agent-IC Mobile App.
Clear-Com, and they were so impressed, it sold me too!” said Gooi. TPP has since been able to carry out live events in a virtual capacity, with some onsite deployments as well; Agent-IC has been essential in keeping these events running smoothly. “Clear-Com and Agent-IC have restored confidence in our clients who are forced to be physically separated in today’s circumstances,” concluded Gooi.
“The fact that Agent-IC could be connected to a hard-wired system made it a secure and reliable solution for linking remote sites, said E&E Sales Manager, Gordon Tan.
“We’re proud to welcome a company who is as dedicated to customer satisfaction as we are,” said Clear-Com’s Regional Sales Manager for Southeast Asia, Hans Chia, “and we look forward to supporting TPP in today’s event formats, as well as in live, in-person events once they resume.”
“We had a few trials with event organiser clients before partnering with
Visit www.clearcom.com
DR MARK BASSETT, Director of Academic Quality Assurance for Licensed Territories at SAE Creative Media Institute has developed a fully-functional, audio capable, photo-realistic simulator of the small format Audient ASP4816 console. “I designed the software as a teaching tool to allow students to learn the signal flow of the ASP4816 and practice using the console while off-campus,” explains Mark. “The simulator was created by taking a high-resolution photo of the console and programming it to function from a UI perspective, so the interaction is as authentic as possible to the physical console; all the dials, switches, lights, and faders are visually and functionally identical to the real thing. Once the console is ‘visually functional’, it is then programmed to function from an audio signal processing perspective so that it replicates the audio functions of the physical console. Learning and teaching assets and modes of operation are then added.” Mark continues, “As it is a digital simulation, students cannot connect microphones to the console, so I created the Audio Inputs feature to allow students load audio files to function as microphone inputs or as digital audio workstation inputs.” The simulator also incorporates interactive tutorials and custom console scenarios to help walk students through signal flow and routing, as well as the desk’s features. “I chose the ASP4816 as it is one of the most deployed consoles throughout SAE globally,” he adds. The Mac-based SAE Audient ASP4816 Simulator software is freely available from https://tinyurl.com/SAEAudient4816
Riedel’s Bolero 2.2 Raises the Bar for Wireless Intercom in Japan
RIEDEL COMMUNICATIONS has announced a new release of the company’s Bolero wireless intercom system, including features and functionality optimised for users in Japan. Bolero 2.2 offers a series of enhancements that enable greater capacity, more extensive monitoring capabilities, and use of stereo headsets via Bluetooth and line-in input. A new DECT Region Japan (JDECT) setting in Bolero 2.2 supports up to 100 antennas and 60 beltpacks (over six DECT bands) in a non-interfered environment. Improved PHS detection helps to prevent interference from mobile phone signals, which share a frequency spectrum with the JDECT band. The 2.2 release of Bolero also features new RF monitoring capabilities that allow users to leverage both antennas and beltpacks to scan or monitor the radio spectrum used by DECT devices. Built into antennas, a radio scanner enables period measurement of time-slot usage and identification of DECT systems in the RF space, in turn serving as an additional capacity monitor while making it easier to diagnose radio issues and plan for system expansion. Up to five Bolero beltpacks in a network space can be set to periodically monitor the radio spectrum at their locations while still operating normally. Each Bolero beltpack features a sunlight-readable TFT display, six keys/channels, and a reply key and operates in any of three modes — beltpack, walkie talkie, and desktop — for up to 17 hours on battery power. A replaceable 10-pin socket gives Bolero users the option of listening to stereo sources from Bluetooth music (A2DP) and a line-in input, which is especially useful in esports applications. Riedel’s ADR technology combines a unique receiver design with multiple diversity elements specifically designed to reduce sensitivity to multipath reflections, allowing Bolero to operate with unparalleled reliability in challenging RF environments. On top of that, Bolero’s BV32 high-clarity audio codec provides significantly higher speech intelligibility than other DECT-based systems. Like earlier releases, Bolero 2.2 can be integrated into large intercom installations with a mix of Riedel Artist panels and wireless beltpacks, as a plug-and-play stand-alone link, or as a stand-alone solution on a SMPTE ST 2110 network. Visit www.riedel.net
AUDIO
SAE Launches Audient Console Simulator
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AUDIO
Blackmagic Announces New Fairlight Desktop Console, HDMI Monitor Interface
BLACKMAGIC DESIGN has announced the new Fairlight Desktop Console, a portable audio control surface featuring 12 touch-sensitive flying faders, built-in LCDs above each channel strip for pan and effects control, and full automation control. The Fairlight Desktop Console also features an HDMI interface for connecting a monitor to view an expanded graphical interface with audio status and metering. The Fairlight Desktop Console is an audio mixing control surface for mixing multiple tracks at once, automating a variety of parameters and plug-in settings, controlling channel functions, recording, monitoring, and navigating a project. Users get a familiar mixer design with 12 motorized faders, precision control knobs and illuminated buttons for quickly identifying channels. Customers can use the knobs and buttons to control channel parameters, EQ, dynamics, plug-ins and more. The built-in HDMI output lets customers connect a display, giving customers the same interactive graphical feedback as larger consoles. The Fairlight Desktop Console uses the same high-quality faders as the full-size modular studio consoles. The precision engineered encoder knobs ensure a long life of noiseless operation, and the console buttons are rated at a million presses. Individual LCDs display track information for each channel. The high-quality search dial is extremely responsive and faster than a mouse. The console can be installed flush in a custom desk and comes with built-in power supply. The Fairlight Desktop Console features 12 channel strips, each with a motorised fader for adjusting levels, a series of buttons for solo, mute and other parameters, a multifunction pan knob, and an LCD that shows customers information about the channel or track on which customers are working. Channel strips can be used to control an individual track and any strip can be assigned to any track in the project. Operators can also use a single strip to control multiple tracks in a group, or to control buses. The Fairlight Desktop Console also includes transport buttons and a jog shuttle wheel. Users are able to quickly move around the timeline and navigate clips, scrub, start or stop playback, or jump to a new position quickly. The controls are logically grouped, allowing customers to keep their hand in one position while navigating the timeline from end to end, or anywhere in between, in seconds. The search dial can also be used for timeline zooming, clip levels and more.
AUDIO
Control function selector buttons let users assign buttons and knobs on the panel for different purposes. Operators can select between master and channel controls, panning, plug-in control, EQ, dynamics, and more. By default, the console works in strip mode, giving
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customers one channel strip per track. Focus mode lets customers assign all of the select buttons and knobs on the console to work on the parameters or plug-ins for a single track. That means users can adjust the EQ, dynamics or any other plug-in parameter for a track using all of the select buttons and knobs on the console. Fairlight’s automation can record parameter changes made over time. For example, fader adjustments are saved and can be edited later. Fairlight lets customers automate anything from simple level changes to complex plug-in, EQ and dynamics changes. The faders and knobs are touch sensitive, activating the moment users touch them, so they don’t have to move them for the console to know the user wants to work on that parameter. Six automation buttons enable and disable automation, set recording method, and which automation curves show in the timeline tracks. The monitoring controls on the Fairlight Desktop Console let users switch between sources, control both their studio and booth levels, or even control talkback if there is a Fairlight Audio Interface installed on the user’s computer. Users also get a level knob along with buttons for dimming and muting their speakers, allowing them to cut or reduce the sound to allow conversations in the studio. For visual feedback users can add an HDMI display to the Fairlight Desktop Console. This enables an extensive graphical display of everything happening on the console without users having to open pop-up windows on top of their timeline. Blackmagic has also announced the new Fairlight HDMI Monitor Interface that lets customers use any HDMI or SDI television or computer monitor with the large Fairlight studio consoles. The Fairlight HDMI Monitor Interface lets customers use their own HDMI monitor with Fairlight 2, 3, 4, or 5 bay studio consoles for direct visual feedback. It works by converting the console’s ethernet data into HDMI and SDI, making it compatible with virtually any computer display or broadcast monitor. Visit www.blackmagicdesign.com
Audionamix Combines Audio Source Separation with Enterprise Licensing
AUDIONAMIX IS THE DEVELOPER of audio source separation technology. Built on advanced signal processing and artificial intelligence, Audionamix technology extracts specific elements from an audio file, including speech, vocals, drums, and bass.
Audionamix has now taken its AI audio separation algorithms to the next level in the professional space with Enterprise Licensing. Streaming re-releases, international dubs, live film concerts, and immersive up-mixes transform classic content into new revenue. Valuable catalogue assets are often locked in their original state, so these revenue creating projects aren’t possible without the availability of separate stems or a full session. Audionamix separation technology removes these audio challenges by separating dialogue and music elements from a master file, unlocking these assets for revenue-generating repurposing. The Enterprise Licensing solution gives studios, distributors, publishers, and record labels the freedom and flexibility to access these solutions on their own schedules, and from their own facilities. Enterprise Licensing offers on-demand separation processing and integrates best-in-the-business technology through three secure options: a local on-site server, connection to online asset management systems, or through a web-based interface. Clients receive unlimited access to Audionamix Professional Services’ exclusive algorithms, including Dialogue Isolation/Removal, Music Removal, and the newest service, Music Stemming. With this new Music Stemming service, record labels, distributors, and publishers can separate a mastered track into four separate stems: vocals, drums, bass, and remaining music. A vital component of the Enterprise Licensing solution is the customisable security it offers. To avoid security breaches, where personal employee data, emails, scripts, and even contracts, can be leaked, it is increasingly evident that securing assets has become paramount. The Enterprise Licensing solution adapts to the client’s security protocols to make it a suitable solution internally or externally. Visit https://bit.ly/2H7c1Dm
AUDIO
TSL MPA1 Audio Monitoring Range AS THE LATEST ADDITION to TSL Products’ range of entry-level MPA1 audio monitors, the new MPA1-SOLO-IP helps to make the transition to IP seamless. The MPA1-SOLO-IP offers the same features as TSL’s MPA1SOLO-SDI, with ‘scroll to hear’ functions that allow operators to quickly monitor 16 audio channels, as well as the ability to view video sources but with the added benefit of monitoring across redundant SDI and IP networks for future-proofed confidence without compromise.
As productions grow more complex and the transition to IP expands beyond greenfield sites, facilities often require audio monitoring across multiple feeds and infrastructures. The new MPA1-SOLO-IP can host two Embrionix SFP modules for IP connectivity for cost-effective redundant ST-2022-6 and ST-2110 audio and video monitoring. Borrowing design concepts from its MPA1-SOLO-SDI, TSL’s MPA1-SOLO-IP also supports SDI, AES and analogue audio source monitoring via BNC or fiber via SFP+ port connection, whilst retaining the depth of 100mm for a compact and lightweight deployment, which is found on all MPA1 audio monitors. TSL’s MPA1 units are commonly used across studio control rooms and within OB trucks and fly packs to monitor audio mixer outputs and technical monitoring of the feeds. As with all MPA1 monitors, the MPA1-SOLO-IP features SNMP connectivity with additional integration to control systems via Ember+ and NMOS. This allows engineers to set pre-sets and operators to recall MPA1
states as part of a system salvo, thereby minimising risk and complexity. The range also offers a built-in web server, offering operators the ability to manage channel names and system parameters remotely over an Ethernet network, view audio levels, and signal status and format via a user-friendly web GUI (graphics user interface). Visit https://www.tslproducts.com
Dante Bridge for Network Interconnection AUDIO PROFESSIONALS have adopted the Dante Audio-over-Ethernet (AoE) protocol as a “go to” method of interconnecting devices using standard Ethernet networks. Dante’s audio quality, flexible features, and simple deployment has encouraged broad adoption among equipment manufacturers. Despite these strengths, interoperability between networks can prove challenging. Studio Technologies, manufacturer of audio, video, and fiber-optic solutions, has announced a simple, yet high performance solution with the Model 5482 Dante Bridge. The unit provides a means of “bridging” up to 64 AoE channels between LANs or Dante domains.
Each of the Model 5482’s independent interfaces provide three Gigabit Ethernet network ports, allowing support for both switched and redundant Dante operation along with a separate management network connection. Each “side” of a Model 5482 can be independently configured to match the unique demands of an application. The unit allows up to 64 audio channels to pass in each direction with support for up to 24 bits at 44.1, 48, and 96 kHz sampling rates. Sample-rate-conversion (SRC) capability, implemented in high-speed programmable logic, ensures that audio signals with different sampling rates and timing references can be directly interconnected.
The Model 5482 is compliant with the AES67 standard and supports the Dante Domain Manager (DDM) software application. Each of the unit’s Dante interfaces can function independently — for example one of the network interfaces can be operated through DDM while the other remains “open.” Each interface can be configured to support AES67 digital audio signals, allowing the Model 5482 to serve as a unique Dante-to-AES67 bridge. The 1RU unit’s front panel features a user-friendly interface with LED indicator lights, a graphics display, and push-button switches to observe and configure key operating parameters. Operating power can be provided by 100-240 volts, 50/60 Hz, or a source of 10-18 volts DC. If both AC and DC power are connected, then the Model 5482 will be powered by the AC mains source with DC serving as a “hot” standby. Visit www.studio-tech.com
USB Microphone
According to PreSonus, the secret to a “radio sound” is a combination of the right talent and microphone with just the right amount of EQ and compression. Revelator makes it happen with the same EQ and compression algorithms found in PreSonus’ StudioLive Series III mixers. Eight easyto-use, professionally crafted presets give you that “radio sound” at the press of a button, with the right combination of EQ and compression to make your voice stand out. Eight additional user presets are provided to make a Revelator sound that’s all your own using the full StudioLive Fat Channel controls available in Universal Control. You also get
a wealth of voice effects to create just about any crazy sci-fi sound you want. Even better, you can store up to four presets to be instantly selectable via the Preset button on Revelator. Revelator also features two stereo streams for loopback audio so you can quickly and easily conference in Zoom calls, record gameplay, or showcase the audio in a YouTube video while adding witty commentary. Two streams for loopback audio mean you can mix and record the audio from two different applications on your computer, along with your voice, at the same time using the intuitive interface in Universal Control. Built-in monitoring and an onboard headphone amplifier let you listen to your performance and your mix in real-time. Three pickup patterns provide maximum flexibility. Use the cardioid pattern for voiceovers or
performances where only one voice should be captured. Doing a podcast interview in person? Change to the figure 8 pattern and position Revelator between you so one side will pick up the interviewer and the other will pick up the guest. Doing a roundtable discussion or recording multiple instruments? Switch to the omnidirectional pattern to pick up sound all the way around the microphone. With its bus-powered, USB-C compatible design, Revelator connects to Windows or macOS computers and Android or iOS tablets, and it comes with PreSonus’ Studio One Artist recording and production software and Studio Magic Software Suite. An integrated desktop stand with built-in cable management and elegant aesthetic keeps your broadcast space clean. Visit www.presonus.com/products/Revelator
AUDIO
DESIGNED FOR vlogging, podcasting, voiceovers, or general home studio use, the new PreSonus Revelator USB microphone comes with presets, easy-to-use loopback audio, and selectable polar patterns.
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RADIO The original broadcast media
www.content-technology.com/radio
WorldDAB Launches Asia-Pacific Technical Group WORLDDAB HAS ANNOUNCED the launch of the WorldDAB Asia-Pacific Technical Group (APAC TG), a forum dedicated to assisting broadcast radio industry stakeholders in the Asia-Pacific region implement DAB+. The Technical Group will offer participants the opportunity to discuss, learn and collaborate on all technical aspects of DAB+ digital radio, with information tailored specifically to the region. The group will ensure all activities are aligned with the DAB standards and will refer sustained new ideas or thinking back to WorldDAB Committees. Membership of the WorldDAB APAC TG is open to broadcasters, governments, regulatory bodies, network providers, equipment and receiver manufacturers – both members and non-members of WorldDAB. The WorldDAB APAC TG will meet up to four times per year, with most meetings held virtually, however there will be at least one physical meeting every year. Meeting attendance and activity is voluntary. “The launch of the Asia-Pacific Technical Group is a testament to the growing interest in DAB+ across the APAC region,” said WorldDAB Vice
President & Asia Pacific Committee Chair Joan Warner. “The Group will give radio stakeholders in the region the opportunity to come together on a regular basis, and share knowledge, expertise and experiences on how to successfully implement and rollout DAB+ digital radio. Importantly, through this Group WorldDAB will be able to plan and deliver practical, on the ground assistance to countries moving forward with DAB+.”
WorldDAB VP & APAC Committee Chair, Joan Warner.
The Technical Group’s first meeting will take place online on 2 December 2020 at 11.00 ICT / 04.00 UTC. Participation in the Group is limited, and is subject to approval. To find out more and register your interest, contact the WorldDAB Project Office. Email projectoffice@worlddab.org
New Era for Oz Radio Advertising with RadioMATRIX THE AUSTRALIAN COMMERCIAL RADIO industry’s new industry-wide media briefing platform is now live and operational, ushering in a new and easier way to plan and buy radio advertising. The briefing portal is a key part of the industry ad buying platform RadioMATRIX and allows media buyers to log in and brief multiple radio networks on their campaigns once through a single, cloudbased platform. Commercial Radio Australia chief executive officer Joan Warner said the new module standardises the briefing process and allows advertisers to save time and get the best results for their radio campaigns. “The radio industry has united and worked closely with media agencies to develop a world-leading solution that removes complexity, ramps up efficiencies and makes it easier for advertisers to consider radio for every campaign. We want radio to be a valuable innovation partner for marketers as the industry moves into recovery,” she said. Michael Harvey, ARN’s chief operating officer and chair of CRA’s Automation and Programmatic Committee, said: “This solution will be the first
stage of simplification of the radio buying process and will enable more efficient communication between agencies and radio networks. The solution will ultimately enable agencies to plan and buy across the whole radio ecosystem in one place – broadcast, radio streaming, podcasting and more.”
automated holdings and is in use by 200 media agencies to manage radio campaigns running across 370 stations. The first stage enabled buyers to shift from paper to online management of bookings. The platform has processed more than 1.5 billion items of radio inventory since launch.
The rollout of the Briefings Module follows extensive collaboration with agencies including Carat, Dentsu, Havas Media, Ikon Communications, Initiative, MagnaGlobal, Mediacom, Mindshare, OMD, Orion, PHD, Rufus, Spark Foundry, Starcom, The Media Store, UM, Wavemaker and Zenith.
Following the roll out of the Briefings Module, the next major stage of development of RadioMATRIX is the Proposal Module. This is now underway and will enable broadcasters to respond to briefs and submit and manage media proposals with individual or multiple media agencies concurrently. The Proposals Module is expected to roll out in the first quarter of 2021.
Sophie Madden, chief executive officer of media agency industry body the Media Federation of Australia, said: “It’s exciting to see this initiative come to fruition. It’s another big step forward in streamlining the radio media buying process and takes collaboration between agencies and the radio industry to a new level. Radio has shown a strong commitment to innovation that will allow agencies to work more efficiently and to ultimately deliver better results for advertisers.”
GfK radio survey data will be incorporated into the RadioMATRIX workflow, so that agencies and networks can test and estimate the audience, reach and frequency of each proposal while shaping the best campaign structure to achieve maximum results for clients. Future stages of development will also enable large direct advertisers and smaller agencies to use the platform.
RadioMATRIX first launched in October 2017 with
Visit www.radiomatrix.com.au
“We thank the FCC for expeditiously approving commercial All-Digital AM Broadcasting,” said Jeff Jury, GM Automotive at Xperi Holding Corporation, owner of the HD Radio and DTS Connected Radio brands. “This broadcast-led initiative heralds a new generation of radio listening for the digital age. With more than 4500 AM radio stations in the United States, we anticipate a growing number of digital-only stations in the future.
to support new station launches. Because existing HD Radio technology is future-proof, it will enable both legacy analogue stations, existing analogue/ digital simulcast stations and any new all-digital stations going forward.
USA Approves All-Digital AM
RADIO
THE U.S. FEDERAL COMMUNICATIONS Commission (FCC) has authorised all-digital AM radio broadcasting based on the in-band onchannel (IBOC) HD Radio standard.
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The FCC Report and Order allows AM radio stations to operate using all-digital broadcast signals offering AM listeners improved audio quality and more reliable coverage over a wider listenable area than analogue or hybrid digital broadcasts. It also allows broadcasters to provide additional services to the public, such as song title and artist information.
“We believe this authorisation benefits both broadcasters and listeners and, to that end, Xperi is working closely with the broadcast community
“We look forward to working with the auto industry in further rolling out digital radio technology in vehicles and are currently engaging in digital testing for both electric and ICE vehicles so that the cars of the future receive digital and analogue stations through HD Radio technology.” Visit www.xperi.com
RADIO
Strong Progress in Troubled Times for DAB+ LIKE MANY OTHER INDUSTRY EVENTS affected by COVID-19, the 2020 WorldDAB General Assembly was an online affair. However, according to Patrick Hannon, President of WorldDAB, 2020 has been a good year for the DAB+ digital radio standard, despite the global pandemic. Speaking from his London residence, Hannon said, “Major markets continue to expand. Germany launched its second national multiplex in October, UK DAB listening has actually overtaken FM for the first time and Italy, since the beginning of this year, have had a law which requires all receivers to have DAB+ and we’re seeing significant developments in many other countries. Belgium, Netherlands, Sweden, Czech Republic, Austria and Australia all are expanding.
“Norway switched off in 2017. What’s interesting is that in this July, they actually had the highest levels of listening they’ve had for many years. And Switzerland is next. They’re planning to switch off between 2022 and 2023. We’re getting pockets of interest increasing around the globe. In North Africa, Middle East, Southern Africa and Asia-Pacific. So, a lot of great progress.” While steady progress has been made throughout the year, the WorldDAB President says now is the time to raise the bar as the organisation pursues three priorities - the case for DAB+, cars and consumer receivers; and new territories. “So, number one, we need clear messages about DAB+ and the benefits for listeners, for broadcasters and policymakers,” he says. “For listeners, it’s pretty straightforward. DAB+ offers much greater choice. In North London, I tuned my radio in last week, 152 stations on DAB and DAB+. And of course, clearer sound particularly where FM is overcrowded. “For broadcasters, the first thing to remember is DAB+ preserves the core strength of traditional radio. It’s free-to-air, there’s no third-party gatekeeper and it’s reliable in times of emergency. But it also offers opportunities and, in particular, one of the main opportunities or the key opportunity is the opportunity to build brands. These are examples from the UK you’ve probably all heard of many, many times, but it’s worth noting Virgin Radio, Heart, all have very similar approaches. And so, they’re able to segment their markets and have this bouquet of stations which have allowed them to grow their audiences and increase revenues. “And then, the final point from the broadcaster’s point of view is that DAB+ is key to securing radio’s long-term position in the car. And there’s really a three-step approach to this. First of all,
we have to make sure that DAB is actually in the car. And then, you have to make sure they optimise the experience. And then, finally, we’re using DAB+ as a gateway to hybrid radio where we’re combining both DAB and IP to offer a wholistic experience for the listener. “Then, for policymakers, in addition to the benefits that we’ve already talked about, I think the one thing I would highlight is that DAB+ is the green solution. And the key message here is that DAB+ consumes significantly less energy than FM.” When it comes to receivers, Hannon says that while legislation such as the European Electronic Communications Code, which requires all new car radios in the EU to be able to receive digital terrestrial radio, go a long way to promoting rollout, it is the listening experience which is key. “Having got DAB+ into the cars, we need to make sure that the experience is optimised, positioning DAB+ at the heart of hybrid radio,” he says. “Now, when we look at consumer radios, the headline is too many are analogue only. In Europe, 64%, so two thirds of consumer radios sold today are still analogue only and this means a poorer experience for listeners. It means that the adoption of DAB+ is slowed unnecessarily and it has a negative environmental impact.” In terms of driving DAB+ adoption in new markets, Patrick Hannon says, “We’ve seen what’s happened in Europe. We’re now looking at the rest of the world and we’ve got three priority regions. We have Europe, Eurasia, Asia-Pacific, Africa and Middle East - I should say that we’ve also had interest from parts of the Caribbean and Brazil - but these are our priorities. “For Europe, really, the key thing is here most countries actually have already launched but there are some which have yet to launch national services. So, Spain and Portugal, Greece, Romania and Bulgaria; those are the countries with the largest populations. Some of them have trials but we want to move to a full-scale launch. “In Asia-Pacific, the focus is on potential first movers, Thailand, Malaysia, Indonesia and
Vietnam being the
“Having got
ones that have all shown the greatest
DAB+ into the
interest. And then, finally, Africa and
cars, we need to
the Middle East. Specifically, we’re
make sure that
looking at countries that are going to
the experience
react as leaders for their regions. Tunisia
is optimised,
actually has already launched but we want to make sure that launch is successful
positioning DAB+
and showcase that performance for other countries. “In Southern Africa,
at the heart of hybrid radio...
South Africa, clearly, is the most important market. And in terms of how we approach this key part of our strategy is to work with partner associations. With Europe, that’s the European Broadcast Union, EBU. Asia-Pacific, it’s the ABU and for Africa and the Middle East, ASBU, who are the Arab States Broadcasting Union and in South Africa, NAB – that’s National Association of Broadcasters in South Africa. “To summarise, we have three key messages. Number one, DAB+ is firmly established as a core future platform for radio in Europe. Number two, we still need to fight to have DAB+ in all receivers. We’ve made great progress in cars. We need to see that through and we need to make sure that the same thing happens for consumer receivers. And then finally, next step is to take DAB+ to new regions around the world.” Visit www.worlddab.org
RADIO
“And then, we have France. France will have national DAB+ next year. It was going to be this year, but because of COVID, it’s been delayed. And the first countries are switching off FM.
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RADIO
Radio’s Race for the Connected Car THE YEAR 2020 MARKS the first time in which more than half of all cars manufactured in the world will come with a built-in modem which will enable, among other things, streaming content. According to Roger Lanctot, Director of Automotive Connected Mobility at market research company Strategy Analytics, “You won’t have to connect your smart phone to your car. You will be able to get access to streaming content via the built-in connection in the car and you can see where that’s headed in the future.” Addressing an online audience during the 2020 WorldDAB General Assembly, Lanctot outlined imminent challenges for the radio industry in the form of battles over user experiences and interfaces, the impact and onset of Android, Google and Apple, Amazon and others, the emerging role of digital assistance, the role of driver monitoring, the potential for audience measurement, and the car as a “browser”. According to Lanctot, connected vehicles are a “USD$4 billion business that has been growing, but it’s slightly impacted negatively by the emergence of digital cockpits which are integrating the instrument cluster with the infotainment unit and introducing more powerful processors, enabling richer experiences for content consumption and multimedia, including video in that cockpit, in that dashboard.” Part of the puzzle of this connected vehicle scenario is the integration of smart phone mirroring systems. “So, connecting your Apple or Android-based smart phone in your car so you can access your apps and content without accessing the built-in device in the car. That’s becoming a check-off item in new cars around the world and it’s introducing this conversation around the hybrid radio,” says Lanctot. “Audi was the first hybrid radio solution and essentially remains the only real hybrid radio solution which is integrating the terrestrial signal with the streaming content so if you lose that terrestrial signal, it will automatically access the streaming source of the broadcast seamlessly so you have a seamless content consumption experience in the car that’s bringing together broadcast with streaming content. “And the key that’s enabling this is the backend metadata infrastructure that’s being provided by multiple suppliers. And the solution from Audi is a very bespoke customised platform but it is being rolled out across VW’s brands, so Audi, VW, Porsche, SEAT, SKODA, all the rest, will ultimately get this hybrid radio experience.” For other auto makers, it was up until recently, says Lanctot, Google with the Android Auto capability from smart phones. However, this did not have the capability of accessing broadcast signals. Likewise, Apple Car Play. Lanctot says Google is beginning to prioritise and pay attention to radio in the car, the key issue being that it can stitch together the metadata that’s enabled by digital radio, which then makes radio searchable.
RADIO
“Now, auto makers are talking about a more personalised experience,” he says, “opportunities and user interfaces to search for a radio station
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with voice interfaces, to search for a particular genre of content, or to search for a particular artist or a track. And then, to get a richer visual experience in the car with that metadata, artist information, radio station metadata or track information.” With digital assistants, smart speakers, multiplying throughout homes across the world, auto makers are increasingly pursuing similar functionality in their vehicles.
“Car makers want to leverage the availability of smart speaker technology to build out the value of their brand but, also, to enable an experience in the car which is more engaging and allowing that driver or even, passengers, to get the content they want via a voice request.
According to the Strategy Analytics’ Roger Lanctot, “Car makers want to leverage the availability of smart speaker technology to build out the value of their brand but, also, to enable an experience in the car which is more engaging and allowing that driver or even, passengers, to get the content they want via a voice request. “Additionally, to achieve 5-star safety ratings around the world which are also a very high priority for auto makers, driver monitors are being required to make sure that drivers are paying attention when they’re using safety systems in the car, that they’re not distracted, that they’re not drowsy. Of course, this is introducing the ability to add a credentialling layer to the system to identify the driver and then, to integrate all of their social grab, all of their personal preferences, content, information, maybe email, etc. on these social platforms. “Google is trying to get into the automotive industry because they’ve built a $100 billion business on your and my search behaviour, on our TV’s, our mobile devices, our mobile computers and our desktop computers, but there’s a big black hole in the market which is the car. So, they don’t have browsing insights into what’s happening in the car in the same way that broadcasters have very little knowledge of what people are listening to in automobiles. “Where I would say in North America, most estimates are that more than 50% of radio listening is occurring in the car. Companies like Drive Time Metrics are working with auto makers to help them understand how to gain insights into the listening behaviour of their customers in their cars and getting insights to tell them what are people listening to, where are they listening to those things, when are they listening to, what stations, what kind of content, in what kind of cars. This is a very powerful value proposition that can potentially transform the broadcast industry if we can get at these insights. “This effort is just beginning today, but I expect
further progress to come soon. It probably will start with individual auto makers trying to understand their own audience behaviour, their own consumer behaviour in the car but ultimately, the industry is seeking a projectable sample for entire market places across vehicle brands. This will take some time to evolve but ultimately, if we can get there, it will give us this amazing tool to understand not only consumer intent, but attribution, the holy grail of advertising. “Can we connect consumer behaviour to advertising activity that’s taking place in that car where the listener is literally seat-belted in to that content engagement experience? Now, Google, the Android operating system, is coming into cars and it’s coming into the infotainment system. In addition to that, Google’s connected services are coming along with the operating system for some of the auto makers, in particular, Volvo, Renault and GM as well as Polestar. You’re going to have that entire connected experience on your phone in your dashboard.” What does this mean for those trying to reach the driving audience? According to Roger Lanctot, the automobile world is an increasingly fragmented content consumption environment in the car. “But there’s a consistent shift to streaming,” he says, “to digital sources which is why we’re having this digital radio conversation because digital is the way that the broadcast industry is going to compete and maintain an even playing field with streaming sources, because of that ability to have that metadata and make that content searchable and accessible via those digital assistants. “Infotainment systems in cars are big business for the auto makers. Google wants a piece of the action. Connectivity is all about customer retention but increasingly, it’s about understanding customer behaviour and pleasing customers in that cabin. “Radio plays an essential role and remains dominant, but is at risk. There’s a fragmented content consumption experience in the car. We are at the cusp of realising a new audience measurement experience. Digital radio technology is the tool that is levelling the playing field. New content, new user experiences, more content and the potential for audience measurement and attribution from content consumption in the car.”
CONTENT DELIVERY Terrestrial, Mobile, Broadband
www.content-technology.com/transmission
Thailand’s PSI Broadcasting Installs 19th PlayBox Neo TV Playout Server
tvN is a Korean pay TV channel majority-owned by CJ ENM, one of Asia’s leading entertainment and merchandising company, headquartered in Seoul, Korea. tvN provides a range of entertainment including variety shows, dramas, music shows, lifestyle programmes and original productions. Asw ell as Thailand, it is available Hong Kong, Singapore, Taiwan, Malaysia, Indonesia, the Philippines, Myanmar, Sri Lanka and Maldives. PSI Broadcasting provides round-the-clock television playout and monitoring services via Thaicom 5 and Thaicom 6 satellites from its headquarters in Bangkok. In addition to tvN Thai, channels using the PSI platform include JKN, JatingJa, MChannel, Boomerang and TNT. “AirBox Neo-20 server-based systems are the trusted and proven core of the service we provide to our various clients,” comments Rattana Taipong PSI Broadcasting Technical Manager. “The new addition, joining the 18 AirBox Neo systems we already have here, allows us to supplement the tvN Thai channel with full backup redundancy including automatic switchover between primary and secondary feeds. This N+1 configuration is
AsiaSat Certified for Information Security
ASIA SATELLITE Telecommunications Company Limited (AsiaSat) has been awarded ISO/IEC 27001:2013 certification, a globally recognised international standard for Information Security Management System (ISMS) for its hosting service provided from AsiaSat’s teleport in Hong Kong. The certification validates the company’s commitment to continually enhancing its service security and integrity to customers. AsiaSat received the certification following a security compliance audit validated by an independent audit firm, covering areas of operational and security control; information security policies and procedures; risk assessment and management; monitoring, measurement and evaluation. “In this digital era when data is driving the world and our economies, safeguarding information security has become a top priority of any thriving business. This new ISO-certified hosting service will leverage our satellite and ground facilities to deliver fully integrated, service-oriented solutions. We look forward to continuing to exceed customers’ expectation in everything we do with the highest standard of quality and information security,” said Ina Lui, Senior Vice President, Commercial, Business Development & Strategy of AsiaSat. Visit www.asiasat.com
an added level of operational security we recommend for all broadcast TV channels provided the customer accepts the relatively low-cost overhead. “Our scheduling and playout staff find the PlayBox Neo control interface very user friendly, allowing them to handle the entire channel management process quickly and easily. AirBox Neo-20 also scores well from a technical viewpoint, being straightforward to install and highly reliable. “The Channel-in-a-Box format simplifies the otherwise complex task of system expansion because each channel functions essentially as a stand-alone module. tvN Thai currently transmits in 1080i HD but the ability to deliver UHD, HD and SD from a single AirBox Neo-20 server is also a major asset.” “We are very pleased to be supporting PSI Broadcasting in this latest expansion of their AirBox Neo infrastructure,” added Nut Deesamer, PlayBox Neo Branch Director, Thailand. “The PSI servers have all been upgraded to latestgeneration Neo-20 software which includes a web-based multiviewer with an integral resource monitor, SRT output support for secure and reliable video streaming via public internet, easier than ever connectivity with third-party devices plus the ability to output in a choice of video
standards and frame rates.” Centred on a scalable multi-format parallel output playout/streaming engine, AirBox Neo-20 allows media files of various kinds to be combined into a single transmission playlist and supports simultaneous multiple SDI/IP streaming UHD/ HD/SD outputs. Files can be trimmed, edited or repositioned at any time prior to being aired without losing the freedom to transmit live. Playlists can be scheduled weeks in advance for automated transmission. Gaps and time overlaps are automatically corrected to ensure continuous operation even when events with conflicting times are present. Special protection is provided to ensure uninterrupted operation where content files or even entire schedules are missing or misplaced. Visit www.psi.co.th and www.playboxneo.com
Tokyo’s ALAMODE Live Streams and Records with AJA HELO
TO MEET A GROWING DEMAND for high-end web content, Tokyo-based studio ALAMODE provides end-to-end production services for YouTubers and social media influencers, corporate enterprises, and entertainment industry clients, including ad planning and design, graphic services, studio and location shoots and video delivery. On the production side, ALAMODE’s in-house studio is fully equipped to produce and stream a range of web content, encompassing video interviews, shows and commercial content, via an AJA HELO-based workflow. Following a surge in client demand for live streaming to connect with audiences and virtualize events during the global COVID-19 shutdown, ALAMODE introduced HELO into the studio’s workflow in March 2019. During production, HELO is used for live streaming to a range of CDNs, including Facebook Live, YouTube Live, Twitter and others, while simultaneously recording content to affordable SD cards and off-the-shelf USB storage drives. Ancillary recorded versions are used as archives for live streams, backup versions for clients and
lightly compressed video capture to be edited and repackaged for web broadcast at a later time. For in-studio shoots, video is captured via three Sony professional cameras and two high-end microphones, and all video and audio feeds are routed to a Roland mixer, then output to HELO. HELO has proven essential in automating ALAMODE’s streaming workflow, helping the team both reduce operating costs and function more efficiently with minimal staff. HELO also streamlines immediate client delivery of H.264 files, an ideal capture codec that offers high quality imagery and compact sizes for simple sharing, high-quality compression and compatibility with any PC or device. Visit https://alm.co.jp and www.aja.com/ products/helo
CONTENT DELIVERY
PLAYBOX NEO has announced the completion of an AirBox Neo-20 Channel-in-a-Box TV playout system for PSI Broadcasting, one of Thailand’s leading suppliers of broadcast playout facilities. It will be assigned to tvN Thai which PSI transmits on behalf of Korean partner CJ ENM.
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CONTENT DELIVERY
Multi-Channel NDI|HX 4K Decoder
3GSDI/HDMI to USB 3.0 Streaming Converter
THE KILOVIEW MG300 is an embedded, high performance, NDI|HX 4K transcoder UHD multichannel media gateway. The MG300 integrates functions such as multichannel video decoding between NDI|HX, SRT, RTMP, RTSP, TS-UDP, and HLS to SDI and HDMI. The MG300 also provides multi-view output and streaming, video image segmentation, protocol cross conversion, streaming media and distribution services. It excels at connecting videos from different systems, manufacturers, types and encoding. The MG300 also works as a streaming media server with the capability for up to 100 concurrent access points. The MG300 also supports video/audio decoding of various media protocols, up to nine-channel 1080p picture synthesis, and picture/text overlay with a direct output as SDI or HDMI. The Kiloview MG300 can be widely applied to RTSP LAN monitoring or other IP-camera video live broadcasts over public networks. This works especially well for monitoring sites such as scenic locations, stores, campuses, and farms. It can also switch images for various on-site cameras with different angles, multi-party video collaboration, SIP video conference to live webcast, IP stream distribution forwarding/switching/live streaming, and streaming media decoding to display multi-channel split screen display. Kiloview MG300 supports: • NDI|HX, H.265, H.264 decoding, up to 16 channels 1080p30, or 4 channels 4K HD video simultaneous decoding output.
MARSHALL ELECTRONICS’ VAC-23SHU3 USB 3.0 adapter enables any HDMI or 3G/HDSDI video and audio source to • HDMI and SDI dual interface output; HDMI up to 3840×2160@60Hz; and SDI up to
conference, collaboration, video production, and recording. The
output.
converters offer a plug-and-
• IP Stream Function – nine channels of video stream dynamic switching output with smooth and seamless switching and custom 1/2/3/4/6/8/9 split display. • Image enhancement and fault-tolerant technology for low code-encoded video, 10 percent of network packet loss video, etc., clear and distortion-free decoding output. • Intelligent delay control technology to achieve a less than 200ms decoding delay in network environment. • Conversion protocols – up to nine protocols at a
play setup that integrates professional video sources to the user’s choice of PC-based soft codecs and applications. Active HDMI/3G-SDI (BNC) loop-through outputs keep sources available for other purposes, such as feeding monitors, switchers, recorders, etc. UVC protocol support allows the application to control the video format, resolution, frame rates, and other settings
time with streaming separated into SRT, RTMP,
independent of the original
RTSP (Onvif can be customised).
source format.
Visit http://en.kiloview.com
PHABRIX HAS ANNOUNCED that its QxL 25G IP rasteriser is now shipping.
The QxL inherits all the JT-NM-tested features of the Qx with a common look and feel across both platforms. Out of the box, this 10G/25G IP enabled rasteriser supports JT-NM TR 1001-1:2018, 2110-20 (video), 2110-30 (PCM audio), 2110-31 (AES transport), and 2110-40 (ANC media) flows all with 2022-7 Seamless IP Protection Switching (SIPS), and independent PTP slaves on both media ports for fully-redundant media network operation. The toolset also provides support for DHCP on all IP ports, unicast DNS-SD, AMWA NMOS IS-04 Discovery and Registration, IS-05 Connection management, system resource, and Network Topology Discovery using Link Layer Discovery protocol (LLDP). IP media interfaces are provided as standard and SDI media interfaces with optional SDI Eye and Jitter measurement are available as a factory fitted option. The flexible user-friendly GUI provides up to 16 user-configurable windows with pre-sets for rapid visualisation of different traffic and workflow configurations, and with the same accessible user interface as the Qx there are minimal re-training costs for existing Qx users. The complexities of ST 2110 and NMOS operation are also presented to the user in an intuitive and accessible manner.
CONTENT DELIVERY
for live streaming, video
1920×1080@60Hz, same or different content
Phabrix QxL 25G IP UHD ST 2110 Rasteriser
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be ingested into a computer
Visit http://marshall-usa.com
Dalet AmberFin Transcodes in the Cloud
DALET HAS ANNOUNCED Dalet AmberFin Cloud Transcoder, a new SaaS-based, high-quality media processing service with robust media packaging and distribution capabilities for post-production and broadcast workflows. The solution includes every feature from the on-premises version of Dalet AmberFin, with tools beyond simple media conversions, ensuring media professionals have access to image scaling, standards conversions, cut/splice, caption conversion, audio normalisation, localisation versioning, IMF creation and submission, and HDR conversions. Dalet AmberFin Cloud Transcoder can be accessed via a public cloud managed service environment, or deployed as a scalable container-based service inside a customer’s existing private cloud infrastructure. The high-performance transcode service, which supports a wide range of formats, takes a factory-like approach to managing media conversion projects from small-scale post-production operations to larger media enterprises, with the highest degree of quality and economy. Feature highlights include: • SaaS Offering, controllable from the Dalet AmberFin Workflow Engine and via REST API. • Elastic scaling in a managed service or within an existing VPC. • Supports all industry standard codecs, plus HDR and Dolby Vision. • API-first approach enables customers to use Dalet AmberFin on its own or inside a larger work order or MAM system, including Dalet Galaxy five or the Ooyala Flex Media Platform, now part of Dalet. • Fully compatible with existing Dalet AmberFin transcode profiles.
A suite of operator level IP flow health and PTP monitoring features are provided with warnings and alarms. For detailed analysis and debug, the new IP-MEAS toolset provides advanced engineeringgrade information including four 2022-7 Packet Interval Time (PIT) displays, media port network statistics, real time measurements of Flow to PTP relationships and latency plus real-time measures of 2110-21 Cinst and Vrx.
• Easily balance transcode volume between on-premises and cloud, controlling both from the same workflow engine.
Visit https://www.phabrix.com
Visit https://www.dalet.com
• Monthly tier-based subscription with cost per minute pricing. Dalet AmberFin Cloud Transcoder is supported globally by Dalet’s professional services and customer support teams who can assist with workflow development, including scripting and API integration within a wide range of media environments.
CONTENT DELIVERY
Transport Stream Outage Detection
Dolby Atmos for Wohler Monitoring
DIGITAL NIRVANA recently introduced a near frame level accurate Transport Stream Outage Detection capability for its advanced MonitorIQ 7.0 broadcast monitoring and compliance logging platform. The new feature enhances MonitorIQ’s video outage detection by automatically inserting black frames into recorded video to indicate the exact instances in which a loss of signal has occurred.
WOHLER HAS ANNOUNCED that Dolby Atmos is now available as part of its decoding and monitoring option for its flagship iAM-12G-SDI audiovideo monitor. Wohler’s iAM-12G-SDI is the only in-rack monitoring and
fibre options, pre-set enhancement, including import/export, and pre-fade or post-fade selection on both the XLR and DB25 output connectors.
metering device to integrate the Dolby Audio Professional Decoder, which will enable customers the ability to monitor in Dolby Atmos along with other traditional Dolby Audio technologies. Support may be enabled over the 12G-SDI inputs, the AES inputs and SFP inputs.
for VoIP formats (SMPTE 2110, SMPTE 2022), as well as a growing range of additional I/O options via its small form-factor pluggable (SFP) interface. All iAM Series products use SFP cages to enable simple adaptation of interfaces and a wide selection of signal I/O. The addition of Dolby Atmos, Dolby E and Dolby D makes this unit a first in the marketplace.
The iAM-12G-SDI supports multiple signals: 12G/3G/HD/SD-SDI, options
Digital Nirvana’s MonitorIQ allows operators to record, store, monitor, analyse, and repurpose content quickly and efficiently with a minimum of clicks. Natively recording content from any point in the video delivery chain, from production (SDI) to consumption (OTT), MonitorIQ enables broadcasters to collect and use knowledge about their content to meet a wide range of regulatory and compliance requirements.
Visit https://digital-nirvana.com
Enhanced functionality includes the ability to mix Dolby signals with other broadcast signals in customised presets, a capability giving the iAM-12GSDI a very rich feature set.
Visit www.wohler.com
Other new features since launch that are available in the iAM-12GSDI include loudness measurement, phase indication, support for 12G
CONTENT DELIVERY
The new Transport Stream Outage Detection feature gives MonitorIQ end users an accurate video record of any spot in the video delivery chain in which a loss of signal has occurred. Rather than relying on the recorded video to detect loss, as is done with competing solutions, MonitorIQ constantly monitors the physical input for any loss. Once the system detects a loss of transport stream input signal, an encoding process immediately starts inserting black frames into the recorded video. When Monitor IQ detects the return of good signal input, it stops the insertion of black frames into the video stream. This process allows MonitorIQ to report highly accurate outage durations and allows end users to view the actual outage in the browserbased user interface with a black slate inserted into the video.
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1st Week March
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3rd Week February
Mar-April
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23-03-21 27-03-21 30-03-21
May-June
Editorial Submissions: Ad Bookings: Ad Artwork:
15-05-21 15-05-21 27-05-21
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1st Week July
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14-08-21 17-08-21 25-08-21
4th Week August
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23-10-21 26-10-21 02-11-21
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C+T ASIA FEATURES + DEADLINES 2021
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Mar-April
Editorial Submissions: 27-01-21 Ad Bookings: 27-01-21 Ad Artwork: 03-02-21
3rd Week February
+ HDTV & Beyond + Broadband & HbbTV + Multi-screen Delivery + NDI Solutions + Data Unification –Targeting, Privacy, Recommendation, Subscriptions + Remote Production Tools
+P re-Show Briefing: ABU Digital Broadcast Symposium March 1-3, Kuala Lumpur
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Editorial Submissions: 15-05-21 Ad Bookings: 15-05-21 Ad Artwork: 20-05-21
4th Week June
+ OTT/IPTV/VOD Solutions + Sports & Esports Production + Podcasting + RemoteProductionTools
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Editorial Submissions: 24-07-21 Ad Bookings: 24-07-21 Ad Artwork: 29-07-21
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