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VOLUME 15 ISSUE OCTOBER/NOVEMBER 2 MARCH / APRIL 2018 2018

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Blackmagic’s URSA Mini 4.6K Used for Tower of the Sun... page 14. REGULARS 02 EDITOR’S WELCOME

47 PICTURE CUT

03 NEWS TVB Continues Calrec Upgrade,

Intelsat Announces Horizons 3e Satellite Launch, Media Prima and Dailymotion Ink Content Collaboration Deal, Hong Kong’s TVB Upgrades with Calrec, Imagine Automates Janata TV Nepal, Celcom Axiata Berhad Malaysia upgrades LTE Network with Ericsson.

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FEATURES 12 STANDARDS Dolby’s Patrick Griffis New

30 POST-PRODUCTION Baselight Takes

Famous Colourist ‘Sky High’, Retro HDR in Singapore, VEGAS Pro 16.

SMPTE President, IMF for Broadcast.

TAKING STOCK Streaming Gains Ground Over Broadcast, Riedel Expands into Beijing.

ACQUISITION Tower of the Sun and

Blackmagic, Kantana Expands with VENICE, Crazy Rich Asians Go Varicam Pure, Tiffen Steers a Steadi Course, 8K x 6K Cinema Camera.

18 SPORTSCASTING Shanghai Media Group

Chooses ChyronHego, Singtel Group Boosts eSports, Kicking Goals with AR, Lawo IP Core Routing & Processing Used at Asian Games, World Cyber Games Esports Finals.

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NEWS OPERATIONS Etere Powers News

MEDIA IN THE CLOUD DAMsmart Expands Archival Film Scanning Capabilities, EditShare Accelerates Workflows, Masstech Solves Modern Content Storage Challenges

34 AUDIO SMPTE Standards for Audio

Watermarking, Jands Distribute Bosch, Neumann Turns Ninety.

38 RADIO NOVA Futures Up with LAWO, Oz

Radio Rolls Out Ad Sales Automation, DAB Digital Radio Tops 70 Million.

CONTENT DELIVERY Viaccess-Orca Partners with RedSo, UHD 4K Trial Throughout ANZ, Media Links Expands MDP Series.

in Indonesia and Philippines, ChyronHego Launches Vidigo News, Studio Prompting on an iPad.

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EDITOR’S WELCOME

8K – the “Sharper” Image? By Phil Sandberg

For its part, Sharp Electronics also sees potential for 8K in market verticals such as medical, security, and infrastructure monitoring. The company has also been collaborating with telco NTT Docomo in experiments of multi-channel transmission of 8K video using 5G technology.

Thanks for reading

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Meanwhile, the BS8K channel - not to mention the 2020 Olympics - will be a publicity goldmine for 8K imagery and technology.

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BSAT-4a (broadcasting satellite) will carry both the 8K and 4K services. It is capable of transmitting signals of both clockwise and anti-clockwise polarisation. “Going clockwise”, in the 12 GHz band (11.7 to 12.2 GHz) BSAT-4a features 12 channels (simultaneous transmission possible), along with 16 repeaters (including 4 as spare). Capacity is the same for anti-clockwise signals (repeater configuration is separated from those of clockwise orientation). Meanwhile, in the 21 GHz band (21.4 to 22.0 GHz), BSAT-4a can provide two channels (bandwidth 250 MHz or more). 16:00

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The 8K service (4320p) will offer a viewing resolution of 7680 × 4320 (33.2 megapixels), along with 22.2 multi-channel sound (requiring 24 speakers, including two subwoofers) arranged in three layers. The launch follows years of development and test events including the 2018 FIFA World Cup Russia, and the 2018 Pyeongchang Olympic Winter Games.

According to Ooyala’s recent Global Video Index Report, smartphone video starts topped 50 percent globally for the first time, a 13.2 percent year-overyear change and the largest in five quarters. Video plays on mobile devices (tablets and smartphones) surged 9.8 percent globally in Q2 2018, exceeding 62 percent of all online videos for the first time. Mobile video’s share of all plays in the APAC region was 74 percent - the highest ever, and up 64 percent in two years. (For more, visit http://go.ooyala.com/wf-video-index-q2-2018. html).

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December 1st sees the launch in Japan of the world’s first commercially available 8K TV service, BS8K. Broadcast by Japanese public broadcaster, NHK, alongside a new 4K channel (BS4K), the 8K offering will initially consist of a limited number of programmes repeated throughout the day. The programming slate will expand as the country heads towards the 2020 Summer Olympics in Tokyo, culminating in 8K coverage of the Games.

As technological advancements go, the achievements of NHK and its partners cannot be disputed, but is there a market for 8K globally? Even in Japan some would say especially – a great many domestic dwellings would be hard pressed to accommodate an 85-inch 8K display, let alone a 22.2-channel sound system. Then there is the great shift in the devices consumers use to watch video content.

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THERE IS AN OLD SAYING that just because you can do something, it doesn’t mean you should. In a world where there are broadcasters still migrating to high definition, and a small number of HD networks contemplating the launch of 4K channels, it’s an adage that could easily apply to 8K services.

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

Of course, consumers will need equipment to receive and watch the new 8K channel. The current front runner in this regard is Sharp Electronics with its Aquos range of decoders and televisions (a dedicated satellite dish is also required). Sharp has also released an 8K (60p) professional camcorder capable of shooting, recording, playback, and live output. The 8K TVs, meanwhile, retail for the best part of USD$10,000.

ersburg Moscow

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TVB Continues Calrec Upgrade TVB, THE LARGEST BROADCASTER in Hong Kong, recently purchased two Artemis Beam consoles and one Artemis Light console as part of its continuing audio technology upgrade. The latest installations bring the total of Artemis consoles at TVB to eight. “We used Calrec Alpha consoles in our studios for many years and were very impressed and happy with them so upgrading to the Artemis was an easy choice for us given our legacy with Calrec products. What we love about the Artemis is that it gives us industry standards like multi-format audio and loudness for a truly modern workflow,” said Mr Law Yui Wah, Studio Production Department/Assistant Manager at TVB Hong Kong.

TVB Hong Kong is using the new Artemis consoles for a variety of programming including Miss Hong Kong, Hong Kong Ruby 7, and the International Chinese New Year Night Parade. This is in addition to 24-hour news and live sports use. The installations were handled by Calrec’s official Hong Kong distributor, Jolly Pro Audio. In addition to already upgrading to Artemis Light across several of its entertainment and 24-hour news studios, Studio 2, Studio 28, and OB van also benefit from using Artemis. Studio 2 and the audio OB van are now fitted with Artemis Beam consoles, Studio 28, designed for live sports events, is now using Artemis Light.

With the Artemis consoles, TVB Hong Kong can switch between an existing 56-fader Artemis Beam in their OB van and 48 faders in their larger studio to a compact, 24-fader Artemis Light for their smaller new studio. Staff members move between studios with exactly the same workflows. Visit https://calrec.com

Vietnam, France Strengthen Broadcast Ties VIETNAM’S DEPUTY MINISTER of Information and Communications, Hoang Vinh Bao, has foreshadowed greater cooperation between France and the Southeast Asian nation during a meeting with Mrs. Marie-Christine Saragosse, President of France Medias Monde Group. At the reception, Deputy Minister Hoang Vinh Bao welcomed and congratulated the French-language France 24 channel which has recently been licensed to broadcast on Vietnam's pay TV system. Mrs Marie-Christine Saragosse expressed her

thanks to the Ministry of Information and Communications for facilitating the launch of France 24. Currently, the English version of France 24 is available in Vietnam. Regarding cooperation between France and Vietnam in the field of broadcasting, Deputy Minister said that the broadcasting of France 24 in both English and French language on the Vietnam television system was the start of the strengthening of cooperation and exchanges between the two countries in the field. He

expressed his hope that the two sides would intensify cooperation on training in the production of television programs, and hoped the French side would share their experiences in broadcasting management. The President of France Medias Monde agreed with Deputy Minister ‘s proposals and expressed her hope that there would be more cooperative projects between the two sides in the future, especially in the field of training. Visit http://english.mic.gov.vn

www. i dea l s y s . c om

NEWS + PEOPLE

f r om s t udi ot opl a y outa nde v er y t hi ngi nbe t ween

NEWS + PEOPLE MediaKind Evolves Papua New Guinea TV MEDIAKIND, THE NEW IDENTITY for Ericsson’s Media Solutions business, is supporting Digicel, a communications provider in Asia Pacific, to evolve its digital TV service, adding 48 new channels through deploying MediaKind’s compression headend technology and expanded transmitter infrastructure. Digicel is the leading provider of digital TV services in Papua New Guinea (PNG). The company enlisted MediaKind to enhance its current system

support as part of the deal managed from Sydney, Australia. AVP 4000 System Encoders offer a future-proof modular architecture that permits on-site upgrades with no hassle or interruption. The AVP 4000 system encoders handle MPEG-2, MPEG-4 AVC and HEVC, with a smooth upgrade path to 4K UHDTV.

with an additional 48 SD MPEG4 channels to Digicel’s PNG platform. The

Alan Constant, CTO of Digicel Media Ventures Ltd, said, “We are always

extension brings Digicel’s coverage to 92 channels broadcast over satellite

looking for ways to enhance the services we offer to our customers in Papua

DTH and DTB-T2 networks. MediaKind is deploying two of its next generation AVP 4000 Encoder Systems and modulation to feed two new satellite transponders. To support the largest number of users, the first expansion for the DVB-T2 VHF terrestrial transmitters takes place at Burn’s Peak site in Port Moresby that will be integrated by Techtel with MediaKind providing a three-year headend

New Guinea. This extension is helping us to deliver a wider range of highquality content to our viewers. We have been working alongside MediaKind for many years and trust its ability to deliver the highest quality content with leading technologies and support.” Visit www.mediakind.com

Janata TV Nepal Automates with Imagine IMAGINE COMMUNICATIONS HAS SUPPLIED a virtualised playout and asset management system to Janata Television, based in Kathmandu, Nepal. Broadcast Technology Limited was the systems integrator on the project.

software-based solution makes the entire system extremely compact, as

Janata (which translates from Hindi as “the people’s”) TV is part of the Nepalese Janata media company, which is also active in radio and publishing.

Versio is 100% software running on COTS hardware. The cloud-native,

The channel, which first went on air in 2017, delivers a 24/7 service of news, entertainment and other content. To improve productivity and reliability, the channel needed to deploy an automated playout and media handling system that would be simple to maintain and develop in Nepal. Janata TV turned to Imagine Communications, which implemented a simple and secure design based on virtualised software running on commercial off-the-shelf (COTS) hardware.

environments. Versio is portable to all deployment environments, including

The new, automated workflow is supported by Imagine Communications’ Nexio Motion asset management software and Versio integrated playout solution. As well as handling playout, Versio also provides the engine to design and drive workflows, making it a true channel-in-a-box solution. The

well as readily secured through redundant signal paths and hardware. It also made the implementation at Janata Television swift. microservices-based playout solution is designed for pure-IP, geo-dispersed premises-based appliance approaches, hybrid IP/SDI solutions or virtualised in private data centres or as public cloud deployments. “We needed to implement a powerful and stable system,” said Laxman Humagain, General Manager of Janata Television. “We also needed to get it installed and running without impeding our existing daily work. Imagine Communications offered not just a neat and powerful solution, but also a plan to implement it and get our staff trained and ready to go, with minimum disruption to our operations.” Visit www.imaginecommunications.com

SatADSL and Talia Expand Broadband in Iraq, Afghanistan A NEW LOW-COST SATELLITE BROADBAND service will be launched across Iraq and Afghanistan with SatADSL, a provider of professional VSAT services via satellite, and telecommunications company Talia agreeing to expand their long-term partnership. Under the new deal, SatADSL will be able to access Talia’s new platform in Jordan Media City, enabling it to offer Ka-band services across Iraq and Afghanistan.

NEWS + PEOPLE

By connecting its Cloud-based Service Delivery Platform (C-SDP) to Talia’s hub, SatADSL will be able to offer the full range of services available on its platform in Iraq and Afghanistan, including vouchers, VNOFlex, Wi-Fi Hotspots, etc. The C-SDP is a Platform-as-a-Service (PaaS) solution which enables operators to deliver a full range of satellite-based connectivity services without investing in physical infrastructure. SatADSL expects to have

worldwide coverage by the end of the year, further expanding the reach of its C-SDP. To enable connectivity, Talia uses capacity on the Arabsat 5C Ka-band satellite, located at 20o East. Talia is offering its services based on the Newtec Dialog multiservice platform which features small VSAT antennas (75cm) on the remote site to create a new lower price point for internet access and innovative setup guides for self-installation via a smartphone app. A variety of Newtec’s broadband satellite modems have also been deployed, supporting different bandwidth allocations to ensure optimal bandwidth usage. This includes Newtec’s dynamic Mx-DMA technology to achieve the efficiency of SCPC with the dynamic bandwidth allocation of MF-TDMA. Visit www.satadsl.net and www.talia.net

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NEWS + PEOPLE

ASIAPACIFIC NEWS

CHINA GATESAIR, ALONG WITH CHANNEL PARTNER Cimax, has announced that a large group of Chinese radio broadcasters has committed to its new Flexiva FAX air-cooled FM transmitters ranging from 1kW to 10kW, with multiple transmitters equipped for China Digital Radio service. GatesAir remains the only supplier outside of China to support CDR. GatesAir customers receiving the new transmitters include Jiaxing Radio, Shanghai SOPT, Chengdu Radio, Shandong Yishan Station, Jilin Radio and Shandong Radio. Mengshan Station will take delivery of a Maxiva UAXT aircooled transmitter for its new DTV channel.

INDIA

Visit www.gatesair.com

IRDETO HAS PARTNERED WITH BHARTI AIRTEL, India’s largest telecommunications service provider, to secure all content offered on Airtel’s Digital TV services. As part of the strategic partnership, Irdeto Irdeto will implement its security solutions - Irdeto Armor for Android TV, Irdeto Cloaked CA and Middleware - on Airtel’s set-top-boxes.

MALAYSIA MALAYSIAN DATA NETWORK provider Celcom Axiata Berhad has signed an agreement with Ericsson to expand and upgrade its LTE network. Ericsson will supply Radio Access Network (RAN) equipment to help Celcom serve the growing demand for data services in Malaysia. Ericsson’s RAN equipment will also serve as a platform to help Celcom evolve its network to 5G in the coming years.

SINGAPORE

NEWS + PEOPLE

SINGAPORE HOUSEHOLDS which have not made the switch to Digital TV (DTV) are now seeing a smaller picture on their TV screens, as a visual reminder for them to make the switch before analogue TV signals are switched off on the 31st of December 2018. In addition, there are also on-screen instructions to inform viewers how to make the switch to DTV. According to a Mediacorp survey, about four in five Singapore households are already enjoying DTV.

JAPAN

KOREA RADIO FREQUENCY SYSTEMS (RFS) has announced its technology is now powering over 60% of UHD TV deployments in South Korea, serving over 650,000 households so far. RFS began work on the world-first UHD TV project in 2016. It has since deployed 33 end-to-end transmitter systems for UHD TV across 12 sites in 8 of the country’s biggest cities. RFS will add a further 30 UHD-capable antenna systems across 15 sites in 15 cities by 2021, with additional repeater sites deployed thereafter ahead of South Korea’s current DTV transmission being switched off in 2027. Visit www.rfsworld.com

INTELSAT S.A. HAS ANNOUNCED the successful launch of the Horizons 3e satellite, owned by a joint venture between Intelsat and Japan’s SKY Perfect JSAT. Built by Boeing and based on Intelsat’s EpicNG design, Horizons 3e will bring high throughput satellite solutions in both C-and Ku-bands to Asia and the Pacific Ocean region from its orbital slot at 169ºE. The satellite is expected to commence service in the first quarter of 2019.

TAIWAN ASIA PACIFIC TELECOM (APT) has launched Taiwan’s first TD-LTE network on the 2.6GHz band using Airspan’s AirUnity, an all-wireless, plug-and-play, indoor small cell. Deployment of AirUnity enables APT to provide a rapid costeffective network across Taiwan’s shopping areas, night markets, and other high-density areas, resulting in greatly improved indoor coverage and capacity.

AUSTRALIA PAY TV OPERATOR FOXTEL has launched a new, satellite-delivered, 4K live channel - Foxtel in 4K. The channel has already broadcast iconic motor race, the Supercheap Auto Bathurst 1000 and Supercars in 4K ultra high definition, and will televise the Australia Vs South Africa Cricket series in November. Foxtel customers can access the 4K channel via the new iQ4 set top box which combines satellite delivery, along with a host of other linear channels, alongside a library of TV and movies to stream On Demand via the Internet.

HONG KONG

NEW ZEALAND PALISADE INVESTMENT PARTNERS (Palisade) and Hawaiki Submarine Cable Limited Partnership (Hawaiki), today announced that they have signed binding agreements to become equity partners, with Palisade acquiring a significant ownership interest in the Hawaiki cable. The Hawaiki cable was commissioned on 20 July 2018 and is the fastest and largest link between the United States, Australia and New Zealand, with over 43 Terabits of capacity. The Hawaiki cable will enhance connectivity between Australia, New Zealand, the Pacific Islands and the United States. Its network design includes several branching units to expand to additional Pacific Island countries.

NEWS + PEOPLE

i-CABLE Communications Limited and China Mobile Hong Kong Company Limited have signed a strategic partnership agreement, marking the beginning of cross-platform collaboration in telecommunications and value-added mediarelated services between the two companies. The agreement will see the two companies offer a one-stop service covering mobile communications, home fibre broadband, home telephone, and smart home businesses. CMHK customers will also be able to view i-CABLE programming via CMHK’s mobile network.

NEWS + PEOPLE The Resolution Will Be Televised 4K AND REMOTE PRODUCTION are on the rise across the region. That’s the word from Moriharu Ide, Division Managing Director, Sony Asia Pacific, based in Singapore. “Some countries, yes, like Australia or Taiwan, or even India, they are very much interested in migrating to 4K with HD, for example,” says Ide-san. “Some countries, I don't think it is possible for them to jump from HD to 4K, so they have to migrate HD first and then they need more expertise generated by the HD operation first. “We have already delivered a 4K IP OB truck in Taiwan. Taiwan is very close in relations with Japan, so that's why the IP standard they adopted was NMI (Sony's Networked Media Interface)], not SMPTE 2110. NHK, in Japan they are implementing NMI. Basically, Taiwan's PTS public TV stations, they implemented an NMI-based 4K IP OB truck.” According to Ide-san, 4K technology is also seeing adoption in the production sector, including Sony’s high-end Venice CineAlta camera. “This news is spreading around more, because the industry and content creators is a small world, so that is how the Venice camera is useful in film production. Now, all the content creators or filmmakers even in Asia-Pacific, they know. They're exchanging opinions among all the worldwide filmmakers, so that's why the feedback from about Venice in Asia-Pacific is also very active. “What I would like to emphasise is 4K is no longer a dream. In the past, 4K product is a very high, expensive product and it's faraway, it’s a kind of dream, but now 4K is becoming a reality. And not just in studio cameras, but we have also introduced the hand-held 4K camcorders without any compromising of the picture quality. We launched the PXW-Z280. This is a three-chip, half inch sensor. This enables all the broadcasters, or even the content creators or freelancers, to realise 4K production in an affordable budget.” With the Tokyo Olympics less than two years away, it is not only 4K that will be in the spotlight, but also 8K production and delivery, something Japanese broadcaster NHK will begin highlighting from December 2018 with the launch of a new 8K channel. “So, NHK will launch the 8K channel in December 1st. If you have chance to come visit Japan after December 1st, if you go to retail shop, you can see the 8K signals. NHK will simultaneously broadcast in 4K and 8K. So, in line with

Moriharu Ide, Division Managing Director, Sony Asia Pacific.

this, in China in 2022 they have Winter Olympic Games in Beijing. So once the NHK runs the 8K channels in Tokyo, China also, it's possible, will be making the preparation for 4K or 8K.” Ide-san also sees the Tokyo Olympics as another arena for remote production technologies. “Remote production is one of the technologies that we can help customer to reduce the total cost of production. This is good and bad for Sony. In the past we have lots of OB truck because they deliver, but remote production is getting popular, number of OB truck maybe less, vice versa. From the customer's perspective this is saving cost. NEP, they successfully did remote production between Australia and Los Angeles. I think this is one of the kind of new solutions which we have been providing. Other than NEP, in Asian countries, still we are in discussion stage with all the broadcasters but sooner or later, the IP technology, the implementation have kind of benefit they can enjoy if they implement IP is remote production. Sooner or later even in Asia, I do believe that this momentum will be spreading.” Visit https://pro.sony/en_SE/

Ooyala Powers Starhub Streaming Box SINGAPORE’S STARHUB HAS LAUNCHED the brand new StarHub Go Streaming Box, powered by the Ooyala Online Video Solution. The box is the first in the world to run on the Operator Tier version of Android TV Oreo, and comes pre-loaded with the best of StarHub’s content catalogue. Ooyala’s Online Video Solution simplifles and streamlines the OTT content preparation and publishing process for StarHub.

“Media companies today invest heavily in content and look to maximise

“The StarHub Go Streaming Box offers customers seamless and easy access to our breadth of content, our Partners’ apps, as well as the Google Play Store,” said Chong Siew Loong, Chief Technology Officer, StarHub. “Ooyala’s Online Video Solution plays a vital role in content management and video playback, ensuring that our customers enjoy a fuss-free content viewing experience.”

“We’re excited to expand our collaboration with StarHub, a major

The Ooyala Online Video Solution is a suite of content management and video publishing apps that deliver high quality, personalised video experiences across multiple devices for media owners, allowing them to keep their viewers engaged, and monetise their content easily.

in Singapore, worked closely with StarHub to deliver the project on time,

their ROI by making the content available through multiple channels,” said Jonathan Huberman, CEO, Ooyala. “Ooyala solutions allow them to do exactly that, by simplifying millions of workflows and delivering content anytime, anywhere, to any device.” entertainment provider in Asia,” said Huberman. “StarHub is an important customer of Ooyala, and we have once again proven that our platform is flexible to support integrations with other applications to meet our customers’ requirements. Our strong Asia Pacific services team, based allowing them to launch this innovative service successfully.” Visit www.ooyala.com

NEWS + PEOPLE

Korea’s SK Broadband Targets TV Ads with dataxu

DATAXU, A PROVIDER OF programmatic marketing software, has signed a Memorandum of Understanding (MOU) with SK Broadband, the South Korean operator of IPTV service Btv, OTT service Oksusu, and TV Commerce service SK Stoa. With this agreement, SK Broadband is now able to utilise dataxu’s TotalTV offering, which improves the way TV campaigns are planned and executed by enabling targeting at the household level, in real-time, via dataxu’s self-serve DSP, Touchpoint.

by-household basis, powered by SK’s view of the Korean consumer, who are watching Btv’s premium VOD and Live Linear services on SK Broadband set top boxes.

Marketing professionals can now buy advanced audiences on a household-

Visit www.dataxu.com

This service is now live and available for marketing professionals to buy through TouchPoint. Within the scope of the MOU is continued co-innovation: dataxu will develop additional Advanced TV products in partnership with SK for the Korean and broader Asian markets.

AsiaSat Patent Improves Satellite Spectrum Use ASIA SATELLITE TELECOMMUNICATIONS COMPANY has received its second patent from the United States Patent and Trademark Office (USPTO), titled, ‘Methods and Systems for Improving Spectrum Utilisation for Satellite Communications’ (US Patent No. 10,050,698 B2). This new patent is about the methods and systems to mitigate the imbalance of uplink and downlink spectrum allocation in satellite communications. Through digitalising uplink spectrum with an onboard digital channelising processor (DCP), unused Fixed Satellite Service (FSS) guard bands in the uplink spectrum, whether from the same band or different bands such as C-, Ku- or Ka-band can be extracted, fully harvested and put into use. Dr. Roger Tong, Chief Executive Officer of AsiaSat said, “The spectrum for satellite communications is a scarce and valuable resource. The developments made by our strong engineering team have provided real-world value through the more efficient utilisation of our spectrum resources. This is the kind of innovation that drives AsiaSat and our staff to strive for better, for both our users and partners and their customers.” The invention can prove to be of huge benefits given the imbalance of uplink and downlink spectrum allocation of the Ku-band frequency in the ITU (International Telecommunication Union) Region-3 (Asia-Pacific) coverage. According to the ITU Region-3 allocation, the Ku uplink spectrum has 750MHz

The Switch Connects with China Unicom VIDEO SOLUTIONS SERVICE PROVIDER The Switch has partnered with China Unicom (Americas) Operations Limited to extend its global network further into Asia. The arrangement will enable all customers of The Switch to have instant access to stadiums, broadcasters and technology leaders throughout China Unicom Americas’ vast geographic network, at the same high level, quality of service, customers have come to expect, via The Switch’s global network. Additionally, customers of China Unicom will now have access to The Switch’s 53 points of presence (POPs) around the world, and connection to U.S. tech leaders, major global broadcasters and more than 180 sports organisations, venues and rights holders. The Switch network will now reach the cities of Shenyang, Beijing, Xi’an, Wuhan, Tianjin, Shanghai, Chegdu, Guangzhou and Fuzhou via China

whereas the downlink spectrum has 1,000MHz, denoting that there is 250MHz bandwidth in the downlink spectrum unpaired with its uplink spectrum. This new patent grants a recovery of this unpaired spectrum, by installing an onboard DCP in the satellite payload to harvest the previously unused guard bands in the uplink spectrum. Dr. Roger Tong, Chief Executive Officer, AsiaSat. In conventional satellite payload design, guard bands of at least 10% of the spectrum bandwidth are reserved for channel isolation. With the described methods and systems, the guard bands in the uplink spectrum can be harvested and put together as composite channels. While serving the purpose of maximising the utilisation of spectrum resources, the new available bandwidth can support customers in developing new applications that require flexibility and scalability, such as SCADA (Supervisory Control and Data Acquisition) and IoT (Internet of Things) products. Visit www.asiasat.com Unicom’s dedicated connection to The Switch, Los Angeles. China Unicom’s network includes connections to more than 100 stadiums, and more than 50 broadcasters across China, enabling remote production and content delivery throughout the world’s largest population. Over the past year, The Switch has invested heavily in expanding its network, products and services internationally. This includes the launch of The Switch Access, a broadband IP connection enabling low-cost connectivity from anywhere in the world, the addition of strategic partnerships on several continents, and increasing its team to include dedicated personnel in key international locations. As with all connections of The Switch, all China Unicom POPs will be accessible to customers of The Switch. Visit www.theswitch.tv

Media Prima and Dailymotion Ink Content Collaboration MALAYSIA’S MEDIA PRIMA BERHAD AND DAILYMOTION, a video player technology and content discovery platform, have signed a memorandum of understanding (MoU) that will see Media Prima video content available on the platform which attracts a global audience of over 300 million monthly unique users and three billion monthly video views. This collaboration is in line with Media Prima’s strategy to expand its digital reach to a larger audience beyond Malaysia. Dailymotion can be accessed on the web, mobile devices (iOS, Android) and over-the-top devices including Apple TV, Android TV, Amazon Fire TV and Xbox One.

The MOU follows the announcement that Media Prima Television Networks’ over-the-top (OTT) service, tonton, will offer Malaysians its subscription video streaming services at no cost. The aim is to enable tonton to reach a wider audience and reduce costs by embedding YouTube and Daily Motion video players on its web and mobile platforms while giving users an enhanced viewing experience across all devices. Visit www.mediaprima.com.my

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www.ihse.com

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The move will also allow Media Prima to generate revenue through programmatic advertising. The first phase saw Media Prima live stream

awards show Anugerah Skrin 2018. This will be followed by upload of videos from Media Prima Television Networks, Ripple, The New Straits Times Press (Malaysia) Berhad, and Media Prima Digital.

NEWS + PEOPLE Globecast Announces Kevin Tan as Head of Sales in Asia GLOBECAST HAS APPOINTED KEVIN TAN as Head of Sales in Asia. In his new role, Tan will lead the sales efforts in Asia and promote Globecast’s new initiatives including the Digital Media Hub suite of services for sports and live events and its Cloud Playout services.

managing sales and marketing in Singapore and areas of the Asia-Pacific region. Tan commented, “It’s a real honour for me to be part of such a well-respected and dynamic organisation like Globecast. The company is very forward thinking and works right across the content acquisition, media management and content delivery spectrum, with a wide range of evolving services. I’m looking forward to building on our success in Asia and working closely with our customers so they can harness the power of our leading edge services.”

Tan has extensive experience in marketing and sales management, planning, forecasting, and problem solving. For 12 years, he served as General Manager, Professional Solutions Singapore Division for Sony S. E. Asia, where he managed a team of 24. He was responsible for sales and marketing in Southeast Asia, including in emerging markets like Myanmar, Cambodia, Bangladesh, and Brunei. Prior to this, he worked as Sales Director at Da Vinci Systems,

Media Prima Names Janor as Exec Director MEDIA PRIMA BERHAD RECENTLY ANNOUNCED the appointment of Mustapha Kamil Mohd Janor as Executive Director, News and Editorial Operations of Media Prima. The Group also announced that Mustapha Kamil had been appointed to the Boards of Sistem Televisyen Malaysia Berhad (“STMB”) and The New Straits Times Press (M) Berhad (“NSTP”) effective as of the 2nd of October, 2018.

Visit www.globecast.com

NHK’s Ryoichi Ueda New President of ABU NHK PRESIDENT RYOICHI UEDA has been elected to the post of President of the Asia-Pacific Broadcasting Union (ABU).

As Executive Director, Mustapha Kamil will be responsible for the overall operations of Media Prima news and editorial functions. He will provide the strategic direction and oversight of Media Prima Television Networks and NSTP news operations, and will focus on optimising the Group’s news resources in-line with Media Prima’s business transformation efforts. He reports to the Group Managing Director of Media Prima.

At the ABU General

Mustapha Kamil brings with him 26-years of experience in journalism. He began his career as a Cadet Reporter at NSTP in 1989 and held various positions in the company including NSTP Foreign Correspondent in New York, Managing Editor of Business Times, and Group Editor of New Straits Times until his resignation in May 2016.

end of 2021. He is the ABU’s sixth President from NHK. He will continue to

Datuk Kamal Khalid, Group Managing Director of Media Prima, said, “On behalf of the board of directors and management of Media Prima, we are delighted to welcome Mustapha Kamil’s return to the Group. He is a highly respected figure among the journalism fraternity and his experience as well as knowledge of the Group will be valuable as we continue to evolve. The past three years saw Media Prima aggressively establish the Group’s digital presence by bringing our award-winning news content online via news portals and video streaming. We are confident that Mustapha Kamil will be able to lead news and editorial operations to further solidify our position as the leading digital news provider in Malaysia.”

about by the digitalisation of broadcasting and widespread use of the

Visit www.mediaprima.com.my

Visit www.abu.org.my

Assembly convened in the Turkmen capital of Ashgabat, Mr Ueda was elected to a term until the lead the ABU for the next three years from January 2019. On his election he stated, “Our industry is now facing a historic transformation. We are seeing the emergence of new media brought internet. We in the broadcast media will not be able to survive unless we adapt to this change in the environment and evolve.” Mr Ebrahimi Eren of TRT Turkey is the newly elected Co-Vice President who will work alongside Mrs Supriya Sahu, Director General of Doordrashan India, and Mr Sun Yusheng, Vice President CCTV and Executive VP CGTN, China who will both continue to serve the ABU as Vice Presidents.

NEWS + PEOPLE

Netflix Launches Bahasa Indonesia UI and Subtitles

STREAMING SERVICE NETFLIX HAS LAUNCHED a localised Bahasa Indonesia user interface complete with Bahasa Indonesia subtitles.

such as Laskar Pelangi, Merantau, Ada Apa Dengan Cinta 2, Galih dan Ratna

Indonesian subscribers can now change their user interface setting to Bahasa Indonesia and enjoy a selection of popular Indonesian content along with globally popular Netflix original series, anime, documentaries, stand-up comedy performances, kids content, and Korean content streamed ad-free. Netflix has also announced its partnership on video data plan package with local operators in Indonesia including XL Axiata, Bolt, Hutchison 3 Indonesia, and Smartfren.

for popular Netflix originals such as To All the Boys I’ve Loved Before, Stranger

Jessica Lee, Vice President Corporate Communications Asia with Netflix stated, “By engaging with consumers in their preferred language, Netflix becomes more accessible and relevant to consumers. We are delighted that now our Indonesian members will also experience the Netflix service in their local language.”

Netfilx is also streaming an Indonesian original movie called The Night Comes

Apart from a fully localised user interface and subtitles, subscribers will also have access to more Indonesian content on the service, including popular films

and Filosofi Kopi. They will also be able to access Bahasa Indonesia subtitles Things, 13 Reasons Why, Insatiable and latest Korean content including Mr Sunshine and YG Future Strategy Office. “When our members in Indonesia come to our service we want to delight and excite them with the depth and breadth of content choices from which they can easily discover through the Netflix experience,” added Lee. for Us. This movie is directed by Timo Tjahjanto and stars Joe Taslim, Iko Uwais, Julie Estelle and Dian Sastrowardoyo. The movie, having previously received highly positive reviews at the Fantastic Festival 2018 in the U.S, will be exclusively available on Netflix in Indonesia and globally. Visit www.netflix.com

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Dolby’s Patrick Griffis New SMPTE President SMPTE HAS ANNOUNCED THE ELECTION of officers and governors for the 2019-2020 term. Patrick Griffis, Vice President of Technology in the Office of the CTO at Dolby Laboratories, will take office as the new SMPTE President as of the 1st of January, 2019.

Six Governors were re-elected: Masayuki Sugawara, Executive Engineer at NEC Corporation for the Asia-Pacific Region, François Abbe, President and Founder of Mesclado for the Europe, Africa, Middle East, Central and South America Region, Gary Mandle, consultant at Outtahand Displays, for the USA – Western Region, Michael Koetter, Senior Vice President for Digital Media Systems at Turner for USA – Southern Region, James M. Burger, partner at Thompson Coburn LLP, for the USA – Eastern Region, and Christopher Fetner, Director, Post Partnerships and Integrations (PPI) at Netflix, for the USA – Hollywood Region.

“Pat’s dedication to SMPTE is truly remarkable, and his passion, energy, and expertise will be vital to the Society’s success in meeting its ambitious goals for the coming years,” said current SMPTE President Matthew Goldman, Senior Vice President of Technology at MediaKind. Griffis, who currently serves as SMPTE Executive Vice President and has previously held roles including Education Vice President, Secretary-Treasurer, and U.S. Western Region Governor, will serve a two-year term as SMPTE President. Goldman will continue to serve as a SMPTE officer on the Executive Committee of the Board of Governors as the Society’s immediate past president. Other incoming SMPTE officers elected for the two-year 2019-2020 term include Hans Hoffmann, Senior Manager, Media Production Technologies, for the European Broadcasting Union (EBU) Technology and Innovation department, who will serve as Executive Vice President, Sara Kudrle, Product Marketing Manager at Imagine Communications will serve as Education Vice President, and John E. Ferder, Director of Engineering at MultiDyne Video and Fiber Optic Systems will serve as Secretary-Treasurer.

Governors who were not up for re-election and who continue on the SMPTE Board of Governors include Merrick (Rick) Ackermans of MVA Broadcast Consulting (USA – Southern Region); Paul Briscoe of Televisionary Consulting (Canada Region); Mark Harrison of the Digital Production Partnership (DPP) (United Kingdom Region); Siegfried Foessel of Fraunhofer IIS (EMEA and Central and South America Region); Paul Chapman of SIM Group (USA – Hollywood Region); Renard Jenkins of PBS (USA – Eastern Region); Ward Hansford of Grass Valley (Asia-Pacific Region); and Ben Waggoner of Amazon (USA – Western Region).

Newly elected SMPTE Governors include Sylvain Marcotte, Systems Architect and Product Owner at Grass Valley for the Canada Region, Marina Kalkanis, CEO at M2A Media for the United Kingdom Region, William T. Hayes, Director of Engineering and Technology at Iowa Public Television for the USA – Central Region, Michael DeValue, Director of Technology Standards and Strategy at Walt Disney Studios for the USA – Hollywood Region, and Rosemarie Lockwood, northeastern U.S. Regional Sales Engineer at Belden for the USA – New York Region.

Officers who were not up for re-election and who continue to serve on the SMPTE Board of Governors Executive Committee include SMPTE Standards Vice President Bruce Devlin of Mr. MXF and SMPTE Membership Vice President Peter Wharton of Happy Robotz LLC. Visit www.smpte.org

Blackmagic Products Join Netflix Post Technology Alliance BLACKMAGIC DESIGN HAS ANNOUNCED it has joined the new Netflix Post Technology Alliance and that DaVinci Resolve, its editing, visual effects, motion graphics, colour correction and audio post production software, was chosen for three of the alliance’s four technology categories: Colour Grading, Editorial, and IMF and Media Encoding. Blackmagic Design’s URSA Mini 4.6K and URSA Mini Pro were also chosen in the alliance’s Camera category.

production workflows and support creatives globally.

The Netflix Post Technology Alliance is a program for manufacturers of products that generate or manage any kind of sound data, image data, or metadata from production to post. The alliance is aimed at bringing together industry leaders committed to working closely with Netflix to innovate

DaVinci Resolve is used by post professionals worldwide, and has been used for a huge number of films and TV programs shown on Netflix, including Netflix originals such as Daredevil, She’s Gotta Have It, and The Ranch.

To earn the ability to use the Post Technology Alliance certified logo, products must comply with current Netflix delivery specifications, and commit to future technical innovation and timely problem resolution. By being chosen by Netflix for alliance categories, filmmakers are assured the products meet a high mark of quality, service and support.

Visit www.blackmagicdesign.com

DPP and SMPTE Launch IMF for Broadcast

TECHNICAL STANDARDS

THE DIGITAL PRODUCTION PARTNERSHIP (DPP) has announced the release of a new technical specification to support the mastering and international exchange of content: SMPTE TSP 2121:2018 IMF Application DPP (ProRes). The new specification builds on the existing Interoperable Master Format (IMF) standard developed by the Society of Motion Picture and Television Engineers (SMPTE), which was designed for streamlining the distribution of premium feature film content.

IMF Application DPP (ProRes) makes it possible to automate the content supply chain, eliminate the unnecessary creation of multiple versions, enable workflow efficiencies, and reduce QC and archive storage requirements, while maintaining the quality of the original asset. The result is significant cost and time savings.

SMPTE Specification, and represents a significant milestone in industry collaboration. The DPP have worked with the EBU (European Broadcasting Union), NABA (North American Broadcasters Association) and the IMF User Group to create the specification. Following publication of the specification, the DPP will launch a compliance testing programme for IMF for Broadcast and Online tools. This will provide buyers and sellers with the confidence that DPP tested tools and IMF packages will be interoperable and can be exchanged globally. The launch of the specification follows the release of ‘The Business Benefits of IMF’ to support the DPP’s broadcaster, supplier and distributor members in the adoption of IMF Application DPP (ProRes).

The creation of SMPTE Technical Specifications (TSPs) will enable industry groups and business users, such as the DPP, to constrain standards to enable new workflows and international interoperability.

The DPP will continue to work with partners to ensure that the IMF specification is implemented globally, providing support for the production and post communities as they migrate to IMF deliveries.

SMPTE TSP 2121:2018 IMF Application DPP (ProRes) is the first

Visit www.smpte.org and www.digitalproductionpartnership.co.uk

TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Video Streaming Gaining Ground Over Broadcast in Singapore CONSUMERS WORLDWIDE ARE WATCHING more online video than ever, increasing 58% since 2016, to an average of six hours, 45 minutes each week. In Singapore, this figure is even higher – with the average Singaporean watching eight hours and 13 minutes of online video content each week. This is according to the latest ‘State of Online Video’ report from Limelight Networks, a provider of edge cloud services. Singaporeans have begun to embrace online, on-demand sources of entertainment, in contrast with global trends where traditional television broadcast still forms the majority of consumption – Singaporeans watch less content via traditional television broadcasts (an average of six hours and four minutes), as compared to online video mediums. Yet, according to the Limelight report, performance issues with online video continue to turn viewers off. In particular, Singaporeans cite video rebuffers as the most frustrating aspect of watching a video online (46%) followed by poor video quality of online content (32%), with more than half (59%) reporting they will stop watching a video if it rebuffers twice. Additional insights from the report include: • Singaporeans are still relatively new in the adoption of subscription video on-demand (SVOD) services. While more than half (59%) of worldwide consumers subscribe to at least one video-on-demand (VOD) service, over 51% of Singaporeans do not own a single subscription. On average, Singaporeans subscribe to 0.7 SVOD services, below the global average of 1.0. • Singaporeans remain price-sensitive and will cancel services due to price increases. 63% of Singaporean respondents said that price is the reason why they would cancel an SVOD service. This is second to only Italy (70%) and exceeds the global average (55%). • They are also tolerant of advertising in online videos. Most Singaporeans (87%) are not opposed to a short advertisement before an online video if the content they are viewing is free. Yet, Singaporeans are less accepting of mid-roll ads in free content, with only 24% willing to accept multiple advertisements during a longer video if the content is free.

• Binge-watching of video content is on the rise. Global viewers binge-watch shows for an average of two hours, seven minutes. This is slightly higher in Singapore (two hours, 17 minutes), with most Singaporeans spending an average of one to three hours binge-watching on their favourite shows. Binge-watching is highest among younger viewers, with those 18-25 watching an average of almost three hours at a time, while those over 60 watch for just over an hour. • Online viewing ranges widely by country. Viewers in the Philippines watch the most online video at eight hours, 46 minutes each week, followed closely by India and the United States at nearly eight and a half hours of viewing each week. Singapore’s average of eight hours, 13 minutes comes close to this, while Germany has the lowest online video viewership rate at five hours, two minutes. “Singaporean viewers are very savvy when it comes to exploring online mediums, especially for their entertainment needs. We expect this trend to continue in the coming years, especially in the area of growing video ondemand adoption,” said Jaheer Abbas, Senior Director, Southeast Asia and India, “Yet, service providers should be aware that factors such as price and quality have strong influence on viewers. To encourage viewers to make the switch from traditional television options, the issue of latency and quality at a competitive price need to be addressed. At Limelight, we seek to partner with businesses to make this possible, by enabling live broadcast streaming in less than a second, providing online viewers with the same experience enjoyed by broadcast viewers.” The State of Online Video report is based on responses from 5,000 consumers in France, Germany, India, Italy, Japan, Philippines, Singapore, South Korea, the United Kingdom, and the United States age 18 and older who watch one hour or more of online video content each week. Visit www.limelight.com

REFLECTING ITS GROWING MARKET

the Chaoyang District and will be led by Ms Gao Jian (pictured), Riedel’s new

“As the Chinese broadcast, production, and event markets continue to expand, the time is right for Riedel to have an established presence in China. We’re very excited to open an office in China’s capital city and staff it with a great team of professionals,” said Cameron O’Neill, Director, Asia Pacific, at Riedel Communications. “Our award-winning technologies are designed specifically to meet the production challenges of today and tomorrow. Adding local resources and support will help us better service customers who need high-quality broadcast and AV solutions in this important market. The Beijing office is just the beginning of Riedel’s longterm commitment to China.”

Regional Sales Manager for China.

Visit www.riedel.net

PRESENCE in the vital Asia Pacific region, Riedel Communications has announced it will open a new office in Beijing. The China office is Riedel’s fourth Asia-Pacific sales hub, following on the successful launches of the company’s Australian, Japanese, and Singaporean branches. The Beijing office represents a major first step in Riedel’s effort to establish a local infrastructure for supporting a growing Chinese customer base and will allow the company to provide tailored customer service, system design, business development, and sales functions. The Beijing office is located in

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Riedel Expands Global Footprint with Opening of Beijing Office

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ACQUISITION Blackmagic’s URSA Mini 4.6K Used for Tower of the Sun

BLACKMAGIC DESIGN RECENTLY ANNOUNCED that its URSA Mini Pro 4.6K was used as the main camera for the new Japanese documentary film, Tower of the Sun. Blackmagic’s Pocket Cinema Camera was also used as the secondary camera for various scenes in the film. As part of the theme pavilion of the Japan World Exposition Osaka in 1970, artist Taro Okamoto exhibited the sculpture Tower of the Sun. This new documentary pursues Taro Okamoto’s message from his Tower of the Sun and the artist himself. Mr. Kosai Sekine, and award winning worldwide recognised film, commercial and music video director, directed the film, with Mr Senzo Ueno serving as director of photography, who had numerous awards as director of photography and was also active as a director. “I did not know much about Tower of the Sun and Taro Okamoto, and studied them for six months. Many of Okamoto Taro’s works use a lot of primary colours, and in this film I also wanted to make the primary colours stand out,” said Director Sekine. “I decided to use URSA Mini Pro 4.6 K this time, which can capture a smooth and beautiful look. Despite its low price, it is a camera that can obtain excellent image quality of a high-end class. It is my favourite camera,” said Cinematographer Ueno. In the film, the 29 people were interviewed and through these, a story was composed. Two URSA Mini Pro 4.6K were used for the interview shooting, each using a Blackmagic Design Video Assist 4K for backup recording.

Japan, Tibet and Korea. I brought URSA Mini Pro 4.6K and Pocket Cinema Camera for overseas shooting. I was very surprised that Pocket Cinema Camera has a wide dynamic range despite its small body. Of course the compatibility of these two cameras is good, and it provides a unified look,” said Mr Ueno.

“It took two to three hours per person to shoot. ProRes 4: 2: 2 was preferable for the recording format of long interview scenes, taking into consideration work speed in post production. All scenes except interviews were recorded with RAW. It is very helpful to change the recording format according to the situation. URSA Mini Pro 4.6K is a very reliable camera that can be used stably in long interview shooting,” said producer, Dai Sano.

“The URSA Mini Pro 4.6K ND filter was very active in various lighting conditions. It is very convenient that the ND filter is built in. We can concentrate on shooting without wasting time. For the external buttons F1 and F2, logs and false colours were set in advance, and the exposure was decided firmly. URSA Mini Pro 4.6K is a camera with great mobility, in that you can customise external buttons and can make PL / EF and lens choices. Without URSA Mini Pro 4.6K with all necessary functions, it was impossible to shoot with a limited number of people,” Mr Ueno concluded.

“In order to follow the roots of Taro Okamoto, we went to various parts of

Visit www.blackmagicdesign.com

Kantana Group Expands Inventory with Sony’s VENICE KANTANA GROUP HAS ANNOUNCED its recent acquisition of Sony’s next generation motion picture camera system – VENICE. Working in collaboration with SWS Group, the appointed distributor and authorised service centre of Sony’s professional solutions business in Thailand, Kantana’s purchase of the VENICE will strengthen its services and offering to its audiences.

ACQUISITION

With more than 65 years in the Thai entertainment industry, Kantana started from radio dramas to films, television dramas, variety programs, and eventually moved on to become an integrated entertainment company. The media giant has since expanded its wings across international waters, and now has many trusted professional global partners worldwide.

“Sony is the epitome of innovation and never fails to surprise the industry with its groundbreaking products and solutions. Our collaboration with Sony started with a shared goal – to raise the content creation skills and knowledge in Asia – and resulted in a series of HD and CineAlta training courses since 2006,” said Mr Jareuk Kaljareuk, President of Kantana. “At this moment, we’re seeing more content produced in 4K and higher resolutions in Asia Pacific. We are confident that with the newly acquired VENICE, we can challenge ourselves by pushing boundaries in content creation, bringing truly immersive picture quality to our audiences.” Sony’s VENICE is furnished with a full frame image sensor that can capture stunning visuals in almost any format, including full-frame 24x36mm, Super35 and Anamorphic. Offering complete production flexibility, the

digital motion picture camera together with the AXS-R7 external recorder, is capable of achieving 16-bit linear RAW and 16-bit X-OCN (eXtended tonal range Original Camera Negative). Offering significant file size reduction, X-OCN allows content creators to work with full resolution content from VENICE’s 6K sensor effortlessly in terms of file transfer speed and storage requirements. In addition, the VENICE has an exceptional 15+ stops of latitude alongside low noise for extraordinary performances, delivering phenomenal images in conditions from searing sunlight to almost low light. Pilot projects in the pipeline for the VENICE include upcoming drama and TV productions, targeting to release in Thailand later this year. Further, Kantana has purchased three sets of the PVM-A170 TRIMASTER EL OLED high grade picture monitors. Offering the industry’s widest viewing angles of any professional flat-panel monitor in the market, the PVM-A170 fulfils the demand for an affordable HD monitor in a 4K production systems. “Sony’s VENICE continues to generate remarkable interest within the global cinematography community,” said Mr Suchart Tantimekabut, President of SWS. “It signifies a new era in filmmaking, drama and commercial productions. We are excited to be able to bring this powerhouse from Sony to the Thai media community, and look forward to remarkable content from Kantana through the lens of VENICE.” Visit http://pro.sony-asia.com

ACQUISITION

Crazy Rich Visuals with Varicam Pure SHOT IN 38 LOCATIONS AROUND ASIA in just 42 days, Crazy Rich Asians tells the story of an Asian-American woman who meets her boyfriend's family, only to find out they are one of the richest families in Singapore. Based on the best-selling novel by Kevin Kwan, the Warner Bros film was directed by Jon M. Chu (Now You See Me 2, G.I. Joe: Retaliation) and features Constance Wu, Henry Golding, Ken Jeong, Michelle Yeoh, among many others. The film was shot by cinematographer Vanja Černjul, ASC, HFC (The Perfection, The Deuce, Marco Polo) with VariCam Pure cinema cameras. Černjul discovered cinematography at film school at the University of Zagreb, Croatia. After graduation, he became a cameraman for the BBC, CNN, and NBC during the conflict in ex-Yugoslavia. "There was no internet available to us in 1991, so we had to distribute all the footage from the location to the networks via a satellite link, which was very expensive," explains Černjul. "There was also a great time pressure because it didn't matter how amazing your footage was if it wasn't delivered before deadline. That taught me a lot about in-camera editing and shooting under various conditions, always utilising available light." It was Černjul's experience working in South East Asia where he had shot two seasons of the Netflix series Marco Polo that played a role in getting Crazy Rich Asians. It was during the Marco Polo shoot, he met producer Tim Coddington. Černjul discovered the VariCam a year before starting on Crazy Rich Asians while working on the HBO series The Deuce, which he shot with VariCam 35s. On The Deuce, Černjul was impressed with the VariCam's performance on high ISO settings which were going to help him for the series' low-light shooting style. "I felt comfortable mixing different ISO settings even inside a single scene. It was liberating not being held hostage by light levels from practical sources." "After that experience, I knew VariCam was the right tool for the challenges of Crazy Rich Asians because of its versatility and robustness, especially with the Codex VRAW2 recorder for VariCam Pure," says Černjul. "The option of capturing the film in 4K VRAW on a sensor I trusted and knew well made this choice a no-brainer." According to Černjul, it was essential to capture and heighten the beauty of the locations. "I knew from my previous experience that the weather in that part of Asia dramatically changes throughout the day, especially during the monsoon season," he explains. "We ended up with 38 locations in 42 shooting days and we had to move around quickly with a large cast, who had to look their best and were dressed in amazing costumes all the time. You can imagine that the heat, humidity, and daily storms weren't going to be helpful. Luckily, our production designer extraordinaire, Nelson Coates, found ways to protect us from rain as much as possible." Chu collaborated with Černjul, as well as production and costume design, to create a visual portfolio for all the departments with specific guidelines how each part of the story should look and feel. "The colour palette for New York had to be contrasted with the tropical

Cinematographer on Crazy Rich Asians, Vanja Černjul ASC, HFC.

megacity of Singapore," reveals Černjul. "Within Singapore, there were different cultural and socio-economic environments that also needed visual distinction. I am very happy how coordinated we all were despite a very short prep. We looked at a lot of classic Hollywood romantic comedies from the genre's heyday, specifically because we didn't want Crazy Rich Asians to look anything like that. We wanted a timeless cinematic look for the film." Černjul captured uncompressed VRAW 4K files in anamorphic that were desqueezed to 2:39:1 aspect ratio. He worked with his longtime collaborator D.I.T. Matt Selkirk and following advice from colleague Dado Valentic, they decided early in the preproduction to work in the ACES colour space. Selkirk created a bulletproof ACES LUT that they used for the entire film. "Matt's partner from Frame Logic Digital, Nick Kay, had some fresh experience with ACES and VariCam, and his input was very valuable since we had very little time to figure things out," explains Černjul. "Once we had the LUT, we tested it under different ISO settings and decided that the range between 800 ISO (from 800 Base) and 2500 ISO (from 5000 base) was right for the look we were going for. I felt comfortable mixing different ISO settings from within that range even inside a single scene. It was liberating not being held hostage by light levels from practical sources." Working with the Pure's VRAW flexibility, Černjul wanted to capture widescreen cinematic images and having an anamorphic feel was important. "We didn't want to crop the image and lose the resolution, which we would have to do if we went with full 2:1 anamorphic lenses," explains Černjul. "The only choice left was the Hawk 1.3x Anamorphic lenses. Fortunately, I had a lot of experience with those lenses and I was very comfortable working with them."

TIFFEN INTERNATIONAL RECENTLY COMPLETED a three-day Steadicam Silver Workshop in Beijing, China.

based exercises and low mode.

Robin Thwaites, International Director of Sales at Tiffen International, Pinewood Studios, UK said, “The Workshop was hosted and brilliantly organised by our Steadicam partner Gension Engineering. The venue was the huge ballroom of the Ji Hotel in the South West of Beijing.”

The last day was occupied with further exercises then a final recorded shot by each participant which was then reviewed by the whole class, showing up the acting skills of some of the technicians as well as the newly learned Steadicam skills of the students.

Instructors were Robin Thwaites, helped by Wan Zhong Wei from Singapore, together with local operator Jiang Li. There were 13 students, plus up to five technicians from Gension, at any one time with four Steadicam systems. Apart from one, all of the students were from major regional TV stations. The workshop started with all students having an introduction and first use of the Steadicam. then going through basic exercises and line work. After several sessions of building and balancing the rig the classes progressed on to shot-

Visit www.tiffen.com and www.flysteadicam.com

ACQUISITION

Tiffen Steers a ‘Steadi’ Course in Beijing

ACQUISITION

ARRI Puts Cinematographers in Control AS PART OF ITS ON-GOING EFFORTS to help speed up configuration changes on set, ARRI is extending its range of Compact Bridge Plates for AMIRA and ALEXA Mini cameras. The Compact Bridge Plate CBP-2 for ALEXA Mini is readily adaptable for use with 15mm studio rods. The CBP-3 (19mm) and CBP-4 (15mm studio) are for use with AMIRAs. These new bridge plates are in addition to the CBP-1 (for ALEXA Mini with 19mm rods). This range of Compact Bridge Plates are ergonomically designed to be comfortable on the shoulder, sturdy on the dolly, and establish new standards in versatility, with a unique top-mount system which allows the bridge plate to be swiftly attached to industry-standard balance plates. A key feature is a revolutionary double pressure mechanism which allows the camera to be simply lifted off a tripod. Lightweight 15mm rods can be used natively on the AMIRA Compact Bridge Plates (CBP-3 and CBP-4) and they can be used with the ALEXA Mini Compact Bridge Plates (CBP-1 and CBP-2) using an adapter (15mm LWS adapter for CBP). Also new is ARRI’s Operator Control Unit OCU-1, an addition to the WCU-4 lens control system on ALEXA Mini which enables operators to over-ride and return focus, zoom, and iris controls at the touch of a button. The OCU-1 will help save time while framing shots, as the camera operator will always have the ability to control the lens, even when motors are attached. It allows control of focus, iris, and zoom whenever required for practical or creative reasons. The device enables control of EF lenses mounted on ALEXA Mini and AMIRA cameras without any additional external motors. The OCU-1 is small, lightweight, and easy to use. It has the same control

Mechanical friction can be added in order to make the controls less prone to unintended movement, but more responsive to the individual. The brake lever also pays homage to its counterpart on the ARRIHEAD, mimicking the operation of its mechanical forebear and allowing for optimal, intuitive control. The DRW-1’s assignable controls and interchangeable components make it readily adaptable to the working style and habits of the operator. The angle of the wheels is adjustable to allow for use even in tight or constrained places. An additional third wheel can be quickly added to the system. Screw holes of different sizes allow for easy attachment of a wide range of accessories. The DRW-1 can also be mounted on any tripod or stand. Using the LBUS standard, the wheels are daisy-chainable, and so require a minimum of cabling, and as LBUS cables are widely available they are easily replaceable. Visit www.arri.com

Sony 4K NXCAM Camcorder

ACHTEL PTY LIMITED HAS ANNOUNCED what it says is the industry's first 8K, 48 Megapixel, 4:3 aspect ratio, large format digital cinema camera system. The system is specifically designed for IMAX and Giant Screen Cinema productions striving to achieve the highest image quality and immersive experience.

SONY’S HXR-NX200 TARGETS professional videographers and content creators and is capable of delivering 4K images using a newly refined colour science.

The camera’s small size allows for different stereoscopic 3D configurations, aerial filming and integration with underwater systems that use submersible lenses to achieve the image quality never before experienced on Giant Screen and IMAX Cinemas.

ACQUISITION

Meanwhile, ARRI’s Digital Remote Wheels DRW-1 is an additional controller for use with its Stabilized Remote Head SRH-3. The DRW-1 combines digital technology with components inspired by earlier generations of the ARRIHEAD. The heavy, hand polished, precision-engineered crank wheels are the same as were used on the mechanical ARRIHEAD. Bringing a mechanical touch and feel to a digital workflow, they provide operators with maximum control by producing a smooth, linear information stream, and enabling operators to trust their muscle memory.

8K x 6K Large Format Digital Cinema Camera

The technology offers recording data rates of 2GB/s – about 6 times higher than 8K cameras currently available, uncompressed RAW format, Wide Colour Gamut, and large Full Frame (36.4 x 27.6 mm) sensor delivering the highest image quality traditionally attributed to IMAX® and Giant Screen films.

wheel, display and LBUS integration as the ARRI Master Grips, and can be easily mounted onto common 15mm or 19mm rods, ARRI Rosette, or 3/8-inch mounts. The wheel can also be used to control the roll axis of the ARRI Stabilized Remote Head SRH-3.

“We are very excited to bring a digital camera system specifically tailored for Giant Screen needs offering 8K resolution and native 4:3 aspect ratio and image quality far exceeding that of available cameras. This innovation is set to achieve the high ground that Giant Screen films held over main-stream cinema that keeps audiences coming back,” said Mr Pawel Achtel ACS, the director of the company. The new camera will be available for productions in first quarter 2019. For advanced bookings and enquiries contact Pawel Achtel, ACS at pawel. achtel@24x7.com.au or phone: +61-40 747 2747.

The HXR-NX200 is capable of capturing 4K high resolution images, in addition to its HD capabilities. This is possible with Sony’s 1.0-type Exmor R CMOS image sensor with effective 14.2 megapixel that achieves high sensitivity and delivers superb image quality in 4K. Further, thanks to the large high-resolution sensor, superior image quality when shooting in HD is also available. In addition, the latest NXCAM camcorder offers users the flexibility to shoot in 4K and cut out in HD during post production. The HXR-NX200 is equipped with a 29mm wide-angle G Lens with three independent manual lens rings, enabling manual control of focus, zoom and iris, for quick and precise adjustment. A 12x optical zoom is enhanced with Sony’s unique By Pixel Super Resolution Technology, Clear Image Zoom, at 24x in HD and 18x in 4K. With the built-in 4 Step ND Filters, the HXR-NX200 is able to adjust quickly to capture quality content in a multitude of environments, producing sharp, clear images without losing the detail. Extending the recording format of Sony’s NXCAM family, the HXR-NX200 is capable of recording 4K XAVC S 100Mbps for superb picture quality with less noise due to higher bitrate. Further, the latest camcorder features dual media slots, enabling extended recording time and workflow flexibility through relay and simultaneous back-up recording. Visit http://pro.sony-asia.com/broadcast

ACQUISITION

Atomos Ninja V

New Blackmagic RAW Codec

ATOMOS’ NINJA V 4K HDR monitor/recorder is now shipping. The five-inch

AT IBC2018, BLACKMAGIC DESIGN announced the public beta of Blackmagic

4kp60 HDR monitor recorder comes at a time when several new mirrorless

RAW, which the company describes as a “modern codec that combines the

cameras with 4k 10-bit HDMI output and Log gammas have been

quality and benefits of RAW with the ease of use, speed and file sizes of

launched that partner perfectly with the Ninja V. The new Canon EOS R, Nikon Z6 and Z7 and Fujifilm X-T3 now join the Panasonic GH5 and GH5S in taking full advantage of the Ninja V 4k 10-bit 422 recording to Apple ProRes or Avid DNxHR. Modularity is at the heart of the Ninja V with a bi-directional high-speed expansion port breaking out connectivity for I/O of video, audio and power.

traditional video formats”. Blackmagic RAW is a next generation hybrid codec that features multiple new technologies such as an advanced de-mosaic algorithm, extensive metadata support, highly optimised GPU and CPU accelerated processing and more. It can be used from acquisition throughout post-production for editing and

Atomos created AtomX to ensure users could adapt and connect to any

colour grading, all from a single file.

legacy or future wireless or wired video standard. The expansion system

Traditional RAW codecs have large file sizes and are processor intensive.

offers scalability and is demonstrated by the first of many modules – the AtomX Ethernet/NDI and the AtomX Sync. These dock into the AtomX port and instantly add features like NDI over ethernet and Wireless Sync and Bluetooth control to the Ninja V. The AtomX Ethernet/NDI module has a wired ethernet (1 GigE) connector

Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce colour resolution. Blackmagic RAW solves these problems by moving part of the de-mosaic process into the camera where it can be hardware accelerated by the camera itself. Because the processor

that makes it possible to deliver live broadcast-grade video over IP

intensive partial de-mosaic is done by the camera hardware, post-production

networks. The module has NDI input and output with encode, decode,

software such as DaVinci Resolve doesn’t have to do as much work decoding

control and sync, allowing Ninja V users to transmit, distribute or receive

the files. In addition, GPU and CPU acceleration make decoding of frames

and monitor NDI from any NDI source.

faster, enabling smooth performance for editing and grading.

The AtomX Sync module, meanwhile, brings professional wireless timecode, genlock and Bluetooth control to Ninja V, suitable for enhancing DSLRs, mirrorless cameras or game recordings. Users can sync and/or control literally thousands of Ninja V units equipped with AtomX Sync

Blackmagic RAW is much more than a simple RAW container format. Image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image

modules on the same network at ranges of up to 300m. Allowing multi-

quality, even at higher compression settings, as well as total control over

cam shoots, AtomX modules bring broadcast level standards to any HDMI

features such as ISO, white balance, exposure, contrast, saturation, and more.

camera or source, making it easy to integrate large sensor consumer cameras easily into traditional live productions. AtomX Sync has a builtin battery extender that allows for continuous power when swapping batteries, ensuring uninterrupted operation of the Ninja V during a shoot. To coincide with the Ninja V release Atomos have announced a major new

Blackmagic RAW also uses Blackmagic Design Generation 4 Color Science for high-quality imaging that results in reproducing accurate skin tones and lifelike colours. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of colour data and dynamic range.

update to the AtomOS operating system. AtomOS 10 has been redesigned

A free developer SDK lets any third-party software application add Blackmagic

from the ground up to offer simpler operation combined with fewer

RAW support on Mac, Windows and Linux. The Blackmagic RAW developer

distractions when monitoring a shot. Operation is quick and intuitive, with extensive use of swipe commands. Redesigned icons have an emphasis on easier HDR production enhancing the creative process. The waveform monitor and audio level meters are clearer than ever.

SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design colour science, for predictable and accurate image rendering that yields consistent colour throughout the entire pipeline.

The near edge-to-edge high bright five-inch screen has a stunning

Blackmagic RAW features two types of file compression. Customers

1000nits of output coupled with an anti-reflection finish – allowing users

can choose either constant quality or constant bitrate encoding options,

to clearly see their images even in daylight. Use the colour-accurate display

depending on the kind of work they are doing. This lets them prioritise image

with AtomHDR to see in High Dynamic Range, or load creative LUTs at the

quality or file size.

touch of a button. Ninja V gives you all the critical monitoring tools you need in SDR – Rec709 or HDR – HLG or PQ. False colour, peaking, movable

Constant quality uses variable bitrate encoding so complex frames are

1-1 and 2-1 pixel magnification, waveform, RGB parade, vectorscope, eight

encoded at higher data rates to preserve detail and maintain the highest

channel audio level meters and more are all available in AtomOS 10.

possible quality. Blackmagic RAW Q0 has minimum quantisation and yields

The AtomHDR engine ensures simple and perfect exposures when

the highest quality, while Blackmagic RAW Q5 uses moderate quantisation for

shooting HDR every time. It delivers a stunning 10+ stops of dynamic

more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1

range to the LCD in real time from Log/PQ/HLG camera signals. Playout

and 12:1 use constant bitrate encoding to give customers the best possible

Log as PQ or HLG to a larger HDR-compatible screen. The Ninja V display can be calibrated to maintain perfect colour and brightness accuracy over Visit www.atomos.com

unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used. Visit www.blackmagicdesign.com

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ACQUISITION

time.

images with predictable and consistent file sizes. The ratios are based on the

SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Shanghai Media Group Chooses ChyronHego’s Virtual Placement

SPORTSCASTING

THE SHANGHAI MEDIA GROUP (SMG), one of China’s largest media organisations, has adopted Virtual Placement, ChyronHego’s tool for incorporating striking virtual graphics into live broadcasts. SMG is using Virtual Placement to strengthen its brand presence and create new revenue opportunities during its broadcasts of Super League games of the Chinese Football Association.

“Virtual Placement is the industry’s most sophisticated tool for placing eyecatching virtual graphics within a program that not only grab the viewer’s attention but enrich the acute nature of visual storytelling. When we looked for tools that could help us build our on-air brand and grow our viewership, we knew Virtual Placement would be ideal,” said Yang Chao, Design Director, Shanghai Media Group. “Because Virtual Placement is so easy for our operators to maintain and use, it’s opening up many different types of new advertising and revenue opportunities. It’s our first ChyronHego product, but it won’t be our last.” ChyronHego’s systems integrator partner in China, Shanghai Digital Precision Development Ltd., has managed the installation of Virtual Placement at SMG. Generally deployed in SMG’s outside broadcast trucks, the company has used Virtual Placement to create virtual elements for its live production to include product placement, advertising, scores, and sponsor logo graphics. Virtual Placement uses advanced image-processing algorithms to analyse incoming camera movements in real time and add robust, tied-to-surface virtual graphics to live productions without the need for a specialist operator, expensive camera sensors, or lengthy calibration processes. Virtual Placement’s Scene Tracking feature makes it possible to place virtual elements into a live scene to make them look physically real and in harmony with the

environment into which they are projected. The solution is easy to learn and operate, and it can be used to augment practically any live broadcast scenario with virtual objects – from physical studio sets to much larger scenes such as sports arenas, racetracks, or landscapes. “Just like broadcasters throughout the Asia-Pacific, SMG is looking to generate more revenues in an increasingly competitive environment. That means engaging and exciting viewers who expect ever-greater sophistication in their graphics and programming,” said Ivy Wee, Vice President of Sales, Asia-Pacific, ChyronHego. Visit https://chyronhego.com

Singtel Group to Boost eSports Across Region SINGTEL, ITS WHOLLY-OWNED SUBSIDIARY, OPTUS, and regional associates Airtel, AIS, Globe, and Telkomsel, have signed a Memorandum of Understanding to cooperate and jointly leverage their strengths to grow the gaming and esports ecosystem in Southeast Asia, Australia and India. The MOU brings together the six members of the Singtel Group to partner across the gaming space, including scaling up esports, content creation and distribution, and collaboration with the broader gaming ecosystem. This was announced at the Singtel Group’s inaugural multi-title and regional esports league, PVP Esports Championship, which took place from the 5th to the 7th of October and featured some of the biggest international names in gaming. The Singtel Group will tap on its telco assets, strong knowledge of its local markets in Asia and mobile customer base of more than 700 million to explore opportunities to enable esports enthusiasts and gamers in their passion. As more than 200 million customers across the Group play games on a regular basis, Singtel, Optus, Airtel, AIS, Globe, and Telkomsel, intend to work together to develop solutions and services for gamers and fans in the region. This includes access to high quality local, regional, and global esports competitions, as well as original content and exclusive programming. Mr Arthur Lang, CEO of Singtel’s International Group said, “Gaming is part of a digital world without borders, where fast network speeds, connectivity and local market knowledge are critical. It is a natural and perfect fit for Singtel and our partners. We are committed to working as a group to better

serve the gamers in our networks, and in the region. We hope to play a major regional role as an enabler of esports, to collectively grow the gaming ecosystem, and give gamers the support and recognition they deserve.” The number of gamers in the region is projected to surge from 400 million in 2017 to more than 700 million by 2021, with esports viewership numbers expected to double and reach over 40 million by 2019. Singtel is the organiser and owner of the PVP Esports Championship and the content related to this event, which enables Singtel to distribute the event content globally. The event attracted over 3,600 teams competing in both Dota 2 and Arena of Valor for a US$300,000 prize pool, and was broadcast in seven languages – English, Bahasa Indonesia, Chinese, Korean, Russian, Tagalog and Thai. Singtel is collaborating with Optus and regional associates Airtel, AIS, Globe, and Telkomsel to build an ecosystem of digital services such as mobile payments and gaming for customers. Earlier this month, the Singtel Group extended Singtel Dash, its mobile wallet, to be used overseas and announced the launch of VIA, its cross-border mobile payment alliance, with AIS and Kasikornbank, Thailand’s largest digital bank. This payment alliance will be progressively expanded to include other regional associates and non-telcos. Visit www.singtel.com

SPORTSCASTING

AsiaSat Wins MEDIAPRO 4K Top Tier Soccer Distribution Deal

ASIA SATELLITE TELECOMMUNICATIONS COMPANY LIMITED has announced an agreement with MEDIAPRO to deliver live 4K top tier soccer matches on AsiaSat 9, AsiaSat’s satellite serving the Asia-Pacific.

Ina Lui, Senior Vice President of Commercial, Business Development and

After a successful year of partnership with MEDIAPRO, AsiaSat 9 was selected for broadcasting matches from top football division in 4K format. This new agreement with MEDIAPRO on AsiaSat 9 via 122°E reinforces AsiaSat as the right partner to help MEDIAPRO’s clients reach their target audience within the Asia-Pacific region.

satellite AsiaSat 9 which is the next location for all live feeds and premium

Strategy of AsiaSat, said, “AsiaSat is an early champion of 4K technology via satellite. We are delighted to support our partners to broadcast on our new content in addition to our hotbirds AsiaSat 5 at 100.5°E and AsiaSat 7 at 105.5°E.” Visit www.asiasat.com and www.mediapro.tv

SPORTSCASTING

Alibaba Cloud and OBS Unveil Cloud Solutions for Olympics OLYMPIC BROADCASTING SERVICES (OBS) AND ALIBABA CLOUD recently announced the launch of OBS Cloud, an innovative broadcasting solution that operates entirely on the cloud, to help transform the media industry for the digital era. Set to be in place for Tokyo 2020, the OBS Cloud aims to offer all the necessary cloud components, in specialised configurations, that can support the extremely demanding content production and delivery workflows of the broadcasting of the Olympic Games.

an Olympic TOP Partner, will collaborate with Alibaba and OBS to explore

Tokyo 2020 will be a game-changer for broadcasters as it showcases new possibilities for the industry by presenting solutions on the cloud. The use of cloud technologies has been gradually adopted for content creation and distribution purposes in broadcasting. However, the extremely demanding requirements for volume, speed and latency that are inherent in live sports broadcasting of major events have kept the use of the cloud at a very low level, despite its multiple advantages. Apart from providing inherent flexibility and scalability, the use of the cloud may also help with the limited time frame that broadcasters have to set up, test and commission their on-premises systems. Traditionally, broadcasters of the Olympics have only been able to implement and test their equipment upon arrival at the International Broadcast Centre in the host city, and the physical space dedicated to broadcasters on site has always been in high demand.

during the Games.

As the host broadcaster, OBS can now provide most of the visual and audio assets of the Olympic Games to all Rights Holding Broadcasters (RHBs) through the new cloud platform efficiently, effectively and securely. Broadcasters can also set up their own content creation, management and distribution systems on OBS Cloud, a solution that has been optimised to address the particular needs of the most demanding live multi-sport workflows. The OBS Cloud leverages Alibaba Cloud’s services featuring best-inclass technology infrastructure to create an optimal media broadcasting environment for all RHBs of the Olympics. The OBS Cloud, which will run on the most advanced Intel Xeon scalable processors, offers a suite of solutions including super computing capabilities, high-speed connectivity directly from the IBC, easily accessible cloud storage considering the demanding Olympic requirements, real-time monitoring, live video and audio broadcasting services and media processing. Also announced was a partnership aimed at advancing the digital transformation of the Olympics and delivering volumetric content over the OBS Cloud for the first time at the Olympic Games Tokyo 2020. Intel, also

a more efficient and reliable delivery pipeline of immersive media to RHBs worldwide that will improve the fan experience and bring them closer to the action via Intel’s volumetric and virtual reality technologies. Additionally, the live media service on OBS Cloud allows RHBs to experiment with new program ideas in a secure sandbox environment or conduct interactive event broadcasts, accelerating the digitisation of the coverage “We are very pleased that Alibaba Cloud has come up with this innovative and powerful approach to Olympic broadcasting. As the host broadcaster of the Olympic Games, we at OBS see ourselves as a leader in transforming the media industry,” said Yiannis Exarchos, CEO of OBS. “Tokyo 2020 will be an opportunity for the International Olympic Committee to champion digital transformation in the media industry, as well as empowering broadcasters around the world with a cloud platform that delivers new possibilities for how the Games are enjoyed by fans around the world.” Joey Tan, General Manager of Global Strategic Accounts and Sports Business Unit, Alibaba Cloud said, “The future of the Olympic Games is in cloud technology and Alibaba Cloud is fully committed to contribute to the digital transformation of the Olympic Games through innovation. This partnership with OBS is an exciting initiative to expand the reach and accessibility of the Olympic Games content and ultimately stimulate a rethink on how the media industry operates in a digital era. We are excited to create a new standard in broadcasting and a more enjoyable experience for audiences around the world during Tokyo 2020.” Jay Sankar, CTO and Head of Product of Intel Sports, commented, saying, “Sports fans today are seeking more immersive and engaging experiences. Intel’s partnership with Alibaba Cloud and OBS is aimed at delivering these ground-breaking experiences to Rights Holding Broadcasters and fans in a seamless, efficient manner over the OBS Cloud, powered by the most advanced Intel Xeon processors.” The partnership began in January 2017 when the two parties signed a long-term strategic agreement that will help transform the Olympic Games for the digital era. Alibaba is now serving as the official ‘Cloud Services’ and ‘E-Commerce Platform Services’ partner. Visit www.alibabacloud.com

Reddentes Launches with Carabao Cup and Sky Bet EFL Championship

The agency was started by Mark Chew, previously Head of Media Sales (APAC) at MP and Silva. The company offers services that include media rights consulting, commercial development, events management and marketing, organisational advisory, as well as athlete management. The LIVE coverage of the Carabao Cup will commence broadcast in Singapore following an agreement to showcase the 2018-2019 season, while the Sky Bet EFL Championship will start airing this weekend with Matchday 10.

Said Mark Chew, Managing Director of Reddentes Sports: “We are delighted to see the competition being showcased in Singapore where English football continues to have a passionate following. It is encouraging to have secured partnerships with Singtel and StarHub to serve sports fans in Singapore, which ultimately benefits football viewers after missing out on last season’s competition.” The broadcast agreement was finalised with official global distributor, Pitch International. The matches will be shown for the first time across the respective pay-TV, mobile and OTT platforms since 2016. Visit http://reddentessports.com

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SPORTSCASTING

NEW SINGAPORE-BASED SPORTS AGENCY Reddentes Sports marked its launch with its first successful deal to showcase the Carabao Cup and English Football League’s (EFL) with local pay-TV broadcasters Singtel and StarHub.

SPORTSCASTING

Quick Kicks BEIN SPORTS HAS GIVEN FOOTBALL (soccer) coverage a boost in Hong Kong with the launch of three new channels on PCCW Media’s Now TV and i-cable Communications’ CABLE TV. The new channels will carry selected matches from the UEFA Champions League and the UEFA Europa league. Now TV customers can also access live matches on-the-go via the Now Player app, or relive their favourite matches using Now TV’s Video-onDemand service. CABLE TV, MEANWHILE, will continue to provide in-house produced Cantonese programmes offering live broadcasting service of

UCL, UEL, Ligue 1 and Serie A games on its i-CABLE Sports channels, and with the extension to the free-toair Fantastic TV (Channel 77) and Hong Kong International Business Channel (Channel 76). All matches will be delivered in Cantonese by the renowned soccer commentary team of i-CABLE Sports, narrated with professional analysis. SINGAPORE’S SINGTEL TV also recently announced had reached an agreement with beIN SPORTS to air the live matches of the UEFA Champions League and UEFA Europa League. The two leagues are available on Singtel TV as part of the World

Sports+ add-on pack, as well as the

attracts top international football

Action Trio, Variety and Value packs.

talent from around the globe to compete in the annual competition.

They join the Premier League, FA Cup, EFL, Dutch Eredivisie and Chinese Super League CHINESE SUPER LEAGUE FOOTBALL is finally coming to Australia, courtesy of an exclusive digital broadcast partnership with OVO Mobile. OVO’s three-year deal with the 16team Ping An Chinese Super League (CSL) covers all digital and mobile channels and will see all matches aired live on OVOPlay and other OVO channels each season. In addition to the best in local football players, CSL

All content, which will also include a weekly 30-minute magazine show and highlight clips, will be broadcast with commentary available in English and Mandarin. OVO is building on its rapidly escalating audience in Australia and overseas for unique sport content including drag racing, rugby, badminton, water polo, gymnastics and esports. A full program of live matches, highlights and analysis will be available on OVOPlay from the start of the 2019 season.

Lawo IP Core Routing & Processing Used at Asian Games HELD CONCURRENTLY IN JAKARTA AND PALEMBANG, the recent 18th Asian Games was broadcast throughout Asia and beyond, and watched by 112 million spectators. The Indonesia Asian Games Organizing Committee (INASGOC) appointed International Games Broadcast Services (IGBS) as host broadcaster. A joint venture between IMG (London) and HBS (Switzerland), IGBS was responsible for the Games’ live broadcast production and distribution. The event’s International Broadcast Center (IBC) in Jakarta hosted a number of international broadcasters, including NHK and TBS (Japan), KBS, MBC and SBS (Korea), CCTV (China), TV5 (Philippines) Astro (Malaysia), SCTV (Indonesia) and BEIN and AlKass (Qatar). During the live production, Lawo equipment was used for signal processing and distribution, as well as for central control. Central routing in the Lawo setup was handled by a V__matrix unit, Lawo’s software-defined IP core routing and processing platform. Two V__ remote4 units provided the PTP synchronisation, and a VSM (Virtual Studio Manager) system provided the overarching control. For the live broadcasts, the 27 major stadiums involved in the event were continually connected to the IBC, while the feeds for sports coverage at “smaller” venues were recorded by ENG cameras and the material fed to the IBC. The broadcast setup included production kits in the stadiums with commentator units, as well as permanently installed equipment in the IBC for multilateral reporting. The signals produced at the venues were transmitted to the IBC, where they were distributed to broadcasters after technical and content checks.

SPORTSCASTING

The event calendar also determined the signal volume: In addition to live feeds from the 27 stadiums and the ENG material, signals from six beauty-shot cameras distributed throughout Indonesia for scenic and cultural impressions were recorded and distributed. With the daily feed of the press conference and the highlights of the day’s events to be produced and distributed, a router able to accommodate the large number of feeds was required. For this, HBS chose a V__matrix, Lawo’s software-defined IP core routing and processing platform – also with a view to future IP-based broadcast production.

Configured with 400 inputs and 400 outputs, the matrix – 64 C-100 boards in eight frames – offered 21 multiviewer ports, controlled by Lawo’s Virtual Studio Manager running on two VSM servers. The VSM system was operated via 16 VSM soft panels on six 23-inch displays available in the CDT (Contribution, Distribution and Transmission Room), as well as on tablet screens used in other rooms. Head of Engineering for International Games Broadcast Services, Harry Petry, said, “We chose the V__matrix for this task in order to be able to set up a decentralised IP infrastructure for our future projects. With its product

portfolio, Lawo offers state-of-the-art IP-based technology and, with the V__matrix, is the market leader. “Due to the Asian Games’ proximity to the World Cup in Russia, there was no time for us to configure and test the entire system as usual, but our cooperation with Lawo over many major sporting events in recent years gave such confidence that we nevertheless decided in favor of this solution. So, we put the system into operation at the beginning of August, and despite the time pressure, everything went according to plan.” The V__matrix provides a fully virtualised real-time production infrastructure supporting many cores connected to a powerful standard switch with redundant 10GE and 40GE connectivity. This allows a distributed IP routing and processing matrix to be built with frame-accurate clean switching as with traditional baseband routers. Where dark fibre venue connections were available, Lawo Commentary Systems were used to receive the commentary signals from the indoor swimming pool, the main stadium and the three venues in the IBC building. The LCU (Lawo Commentary Unit) was developed in close cooperation with Host Broadcast Services (HBS); the system uses IP broadcast infrastructures and allows direct connection to Lawo mc² audio consoles and Nova routers for stand-alone operation. The extensive development work invested by Lawo’s R&D team has resulted in a fully digital commentary system based on RAVENNA real-time transmission of audio data via IP (Audio-over-IP). This makes it possible to network both premises and equipment over standard IP networks, reducing cabling and increasing system flexibility. Visit www.lawo.com

SPORTSCASTING

Kicking Goals with Augmented Reality and Remote Production MORE REMOTE PRODUCTION. MORE AUGMENTED REALITY. MORE ESPORTS. That’s the word from Ross Munro, Head of Sports in Asia with Vizrt, the developer of realtime 3D graphics, studio automation, sports analysis and asset management tools for the media and entertainment industry. Describing the growth of eSports as “crazy”, Munro says, “I’ve been with Vizrt for two years and the revenue has gone up. It’s just the money that’s being invested into there – both the linear coverage and the digital coverage – is just astronomical.” One of the challenges, says Munro, is that many of the production staff that come from eSport companies don’t necessarily have a broadcast background. Despite this, Vizrt recently signed a major deal with South Korea’s Riot Games. “The home of eSports in Asia is South Korea,” he says. “You think about soccer in the UK. South Korea is where eSports nucleus is. It’s the tech culture. Definitely conducive to eSports.” When it comes to sportscasting technology, much of the hype in recent years has centred around augmented reality (AR), particularly at the 2018 FIFA World Cup. “We actually release a lot of our cutting-edge feature with the World Cup in mind,” says Ross Munro. “We’re always doing bulk fixes and trying to improve the bedrock of all of our software, but in terms of real eye-catching ‘X factor features’, we will release them around the World Cup because the noise and the attention that the World Cup creates just gives everything a massive boost. We’ve got this new feature at the moment, Libero AR, so Libero Augmented Reality which is basically combining our AR with our analysis and has proved very popular. Most of our sports broadcasters have snapped it up. “Normally, it takes a couple to get on board and then there’s a bit of a snowball effect. In this case, it has been embraced almost immediately and it was a no-brainer for most people.” Another trend in evidence at this year’s FIFA World Cup was that of remote production. “We see that as the future,” says the Vizrt Head of Sports in Asia. “It’s huge, and we are investing the time and resources into our software to make that

more cost-effective and easier. We’re trying to develop the technology which allows for better remote productions.” According to Munro, one of the challenges for remote production involving graphics and augmented reality is the traditional reliance on hardwarebased tracking systems. “If you’re delivering remote production, how would you do that? It’s impossible if you’ve got all your directors, all your operators 500 miles away,” he says. “So, what we’re trying to do is we’re investing in a lot of time and money into the image-based products. Being able to do the tracking, just using the camera footage – you don’t need any hardware. Broadcasters want augmented reality, but they don’t want to have to ship and transfer manpower and hardware, tracking devices on site. “They want to do it all remotely, and that’s only possible if you’re working off a software-based solution, which is what we’re invested in. We do it already. We do a version of that already. The tracking and the keying is not as stable and as robust as the mechanical tracking. Image-based is, I would say, 80% of what mechanical can do. “But, we’ve still got a number of customers using it. Channel 9 (Australia) use it, Tencent (China) are starting to use it, RTM (Malaysia) use it. We’ve got a number of customers, but I think we’re going to see a real explosion in that area.” And, as sportscasters throughout the region adopt such cutting-edge technology, they also become part of the feedback loop for improvements and new products. “I’m the middle man, or the conduit doing research and development in Zurich and our Asia broadcasters and all that involves,” says Munro. “That means if the Asia broadcasters have got a fantastic idea or feature they might see incorporated into our products, I will then try to create a business case for it and then relay that to our R&D team. More often, someone gives us a good idea, I go back to our R&D and they say, ‘Funny you just mentioned that because someone in America also wants to see that’. Then they develop that.” Visit www.vizrt.com

World Cyber Games Esports Finals for Xi’an, China WCG INC. (WORLD CYBER GAMES) has signed a Memorandum of Understanding with Qujiang New District of Xi’an, China, to hold the WCG 2019 finals from Thursday, July 18 to Sunday, July 21, 2019.

ancient Chinese civilisation with an amazing historical heritage, for deciding to

According to the MOU, WCG Inc. selected Xi’an as its venue for WCG 2019 finals and the city of Xi’an will provide full support for the successful operation of the event.

WCG, which started its first event in 2000, has been recognised as one of the

“We are preparing a wide array of entertainment programs in addition to its game tournaments to regain and solidify the glory of WCG as the leading global esports festival.” Chairman of WCG Committee Kwon, Hyuk Bin said, “I extend my sincere gratitude to the Qujiang New District of Xi’an, the birthplace of the

audiences from all over the world.” world’s largest esports competition for 14 years and its last event was held in Kunshan, China in 2013. In March 2017, Smilegate Holdings, Inc. acquired brand and operation rights of WCG with the aim of revitalising the global esports festival. WCG has decided to add global regional qualifying rounds to expand the participation of the games to amateur gamers. Players will need to qualify domestic preliminary matches in each country for their tickets to China. Now that it has fixed the venue and date of the event, WCG Inc. will announce details including the official titles and related events. Visit www.wcg.com

SPORTSCASTING

“I am very pleased to announce that Xi’an will partner with WCG to host one of the most successful global esports festivals next year. Xi’an will spare no effort for the success of WCG 2019 finals,” an official of the Qujiang New District of the Xi’an Municipal People’s Government said.

support WCG’s plan to showcase various aspects of the future digital culture to

NEWS OPERATIONS www.content-technology.com/newsoperations

Talking Politics and Sport with Vizrt SPORT AND POLITICS. Sometimes it’s hard to pick which is more important to society, but one thing is certain – they both make for great television. The next two years will see plenty of both across the Asia-Pacific with national elections scheduled for Afghanistan, Australia, India, Indonesia, and the Philippines in 2019. Sports fans, meanwhile, will be treated to the Asian Football Cup, Australian Open Tennis, Special Olympics, the Arafura Games, the Pacific Games, World Aquatics Championships, Rugby World Cup, and the South-East Asian Games, among others. Then, in 2020, it’s the big one – the Tokyo Olympics. All of which will no doubt keep graphics vendors busy as they strive to innovate and meet client requests for even more leading-edge capabilities. According to Manish Aggarwal, Managing Director of VizRT India, “2019 is a big trigger year for us, it’s the elections, general elections, and people have already used augmented reality, virtual reality in the past elections so that’s a big driver for a new challenge to be set up as well. So, as you know, news is politically motivated, so it’s a propaganda tool and we see a lot of sport in the growth of news channels as well, so that’s very much on the horizon.” When it comes to sport in India, naturally the big driver is cricket which, in terms of production and broadcast, has changed radically since the introduction of the Indian Premier League (IPL).

“The whole market has just taken a 360-degree turn,” says Aggarwal. “It’s branding and all kinds of opportunities and other businesses have emerged because of the IPL. That’s really great. And, India has now finally understood the franchise model which is so successful in the West and other markets. “Now with IPL taking the lead, other sports like kabaddi, soccer and badminton and golf – so there are a lot of league sports that are being played, teams, ownerships, so the franchise model has really taken off. That’s really good. I think this is on the cusp of that because we have some great tools not only to help the broadcaster make a good ROI on their investment but also for pre-game, post-game. “So, like, in the UK you have several channels that are showing the live game and that’s the premium channels, but there are also subsidiary channels that are talking about the game without the live feed, so that kind of a market is emerging in India as well. So, enabling the broadcasters to differentiate and generate more revenue as well. “Also, on the content production side, a lot of people want to use artificial intelligence, AR, VR, all the buzz words people are talking about, every industry’s talking about them. And, from the broadcasting perspective, this is something that’s inherent in the Viz suite of products.” Visit www.vizrt.com

Etere Powers News in Indonesia and the Philippines GRAPHICS, MAM AND PLAYOUT PROVIDER ETERE has seen its systems recently installed at CNBC Indonesia and the Philippines’ ABS-CBN network. Launched in February 2018 and affiliated with CNBC International, CNBC Indonesia turned to Etere to power its automation and graphics. Available via traditional TV and the web, CNBC Indonesia leverages the technology of Etere ETX to manage its channel automation. The system gives the news channel intuitive master control complete with touch screen features. CNBC Indonesia also leverages the Etere Media Enterprise Resource Planning (MERP) framework to power its automation and playout. Etere MERP is capable of connecting and integrating all data in a company workflow, including internal and external information across distributed departments. The result is an integrated workflow with updates in real-time, enabling CNBC to leverage the benefits of faster content delivery which, in turn, allows it to respond and adapt quickly to market demands.

NEWS OPERATIONS

CNBC Indonesia also uses Etere software to insert tickers showing breaking news and financial market updates. Information is delivered seamlessly across every step of the workflow even when the involvement of multiple departments and stakeholders is needed. The platform manages rights management, graphics insertion and approvals with a single interface.

crawlers, preset and preview bars for fast switching, unlimited number of input channels, crawl, CG effects, video switching including transitions effects as well as support for multiple PC installations. Meanwhile, one of the Philippines’ leading media companies, ABS-CBN, has implemented Etere’s Closed Caption Software. Etere Subtitling and Closed Caption Software provides a fully digital platform for the creation, management, burning, playout and conversion of subtitles, including live captions, open captions and closed captions. It gives the ability to edit captions even seconds before going on-air. Real-time preview capabilities allow more than 300 ABS-CBN employees to preview captions in real-time at any stage of the workflow. The integration of Etere ETX time delay allows a delayed playback to be configured according to the dynamic requirements of the program while ensuring a reliable performance at the same time with subtitles that are always in sync with the video. Not only that, operators are able to manage voice-to-text commands, real-time streaming as well as process voice commands and transcriptions in multiple languages from call centres. It is also able to process pre-recorded audio using Google’s machine learning technology.

Etere ETX is a channel-in-a-box system designed for video management and playout. It features full IP in and out capabilities as well as support for multiple frame rates, and comes equipped with an ingest and playout engine that produces professional 4K video quality. Additionally, it supports all major essences and wrappers in the broadcast industry and is capable of a fully compliant DVB (Digital Video Broadcasting) stream as well as multiple layers of 3D and 2D graphics.

ABS-CBN is also equipped with newsroom integration that supports Google speech-to-text technology for real-time captioning. Etere Subtitling and Closed Caption Software supports up to 120 languages and variants with its Google Cloud Speech-to-Text integration which allows operators to convert audio to closed caption text instantly, supporting live broadcast to an international audience. With Etere, a single but highly redundant Etere Closed Captions inserter is able to deliver to both analog and digital broadcasting platforms.

Etere ETX Master Control, meanwhile, enhances the video and graphics capabilities of CNBC Indonesia’s IT-based playout. It features a digital screen with touch-screen capabilities, customised transition effects, tickers and

Visit www.etere.com

Etere supports a wide range of formats including DVB and ARIB subtitling, CEA 608 and 708 closed captioning.

NEWS OPERATIONS

ChyronHego Launches Vidigo News CHYRONHEGO RECENTLY LAUNCHED VIDIGO NEWS, a newsroom production solution designed specifically for OTT content creation and publishing. Vidigo News packages ChyronHego’s Vidigo Live Compositor, an intuitive software solution for live multicamera production, with the awardwinning LyricX graphics creation and playout solution, Live Assist playout automation system, and a custom GUI based on the Live Assist Panels user interface and control panel creation tool. Vidigo News combines a scalable switcher, an audio mixer, a powerful video effects engine, a LyricX graphics channel, clip players, and even robotic camera control into an easy-to-use solution that can be controlled by a single operator. Through a bridge to CAMIO, ChyronHego’s industry-leading MOS gateway and graphic asset management server, Vidigo News is the newest component of the CAMIO Universe for News Production – an ecosystem that empowers producers and journalists to create compelling news stories and deliver them rapidly to air. The CAMIO Universe drives template-based, producer-driven news and weather workflows using the most advanced ITbased technologies. “We conceived Vidigo News based on the feedback of our installed base of more than 400 CAMIO users. Like broadcasters everywhere, our customers are challenged to create tremendous volumes of content and deliver it not only to linear channels but to all types of OTT outlets including social media,” said Boromy Ung, chief product officer, ChyronHego. “At the same time, many broadcasters simply don’t have the budget to add a second, full-blown infrastructure to produce broadcast-quality OTT content. Vidigo News offers the perfect solution, enabling them to expand their presence with newmedia audiences and deliver high-impact content faster and easier than ever before.”

Vidigo News allows producers to focus on storytelling and creativity by stripping away complex layers of technology. Through the producer-centric workflow of CAMIO Universe, Vidigo News users are able to create stories for OTT channels in the same manner as they would for a linear broadcast – by working in their familiar, MOS-based NRCS environment. With softwarebased switching enabled by Vidigo Live Compositor, producers and editorial staff create rundowns of cameras moves, clips, MEs, audio mixes, and graphics by fulfilling CAMIO Universe templates directly from their NRCS interface. After processing by an external encoder, content can be livestreamed in broadcast quality to any OTT channel including Facebook Live, YouTube, and other social media outlets. Vidigo News ships standard with the LyricX production graphics solution, enabling users to share graphics templates across both linear and OTT productions – resulting not only in greater efficiencies and reduced duplication of effort, but also consistent branding across both operations. In addition, Vidigo News comes with preconfigured HTML 5 Live Assist panels, which enable multiple users to control the switcher and manage content feeds from a standard web browser. Vidigo News is available in two versions, with both offering users the choice of 4, 8, or 12 SDI inputs: Vidigo News Basic, including one preconfigured Live Assist panel, two H.264 IP outputs, two full clip players, and basic Lyric authoring tools. Vidigo News Advanced, with two preconfigured Live Assist panels plus the ability to create custom panels, two SDI outputs in addition to the two H.264 IP outputs, four full clip players, and extended Lyric authoring tools. Visit https://chyronhego.com

Reliable and secure connectivity on the road GateWay Dejero GateWay blends cellular connections from multiple mobile network carriers—creating more bandwidth and reliability over a secure connection. With access to reliable Internet connectivity on location, your staff will be able to perform many more tasks in the field.

Discover why the world’s top broadcasters rely on Dejero’s network blending technology to transport video and provide Internet connectivity while mobile or in remote locations. To learn more about Dejero GateWay, visit dejero.com/gateway

NEWS OPERATIONS

With reliable, high-throughput mobile connectivity, unlock additional efficiencies for your remote production workflows. Access newsroom and MAM systems, transfer large files, view return video, enable VoIP communication, and more.

NEWS OPERATIONS

Parrot Turns any Mobile Phone into a Teleprompter PADCASTER’S PARROT TELEPROMPTER turns a standard smartphone into a fully functional, compact and affordable prompting system for nearly any DSLR, video camera, smartphone or iPad. Parrot allows the talent to speak naturally while looking into the lens and interacting directly with the audience. With the rise of mobile production, more shoots are produced by minimal crews or even one person alone. Conventional prompting systems are often out of the question due to size, weight, and cost. Padcaster’s solution provides interviewers and talent alike with an easyto-read script in a simple, lightweight, affordable package that uses any smartphone. Versatile Parrot mounts to most DSLR and video cameras, as well as the Padcaster system for iPads and Verse for mobile phones. Parrot mounts on the lens barrel of the shooting camera in a matter of seconds. This positions a half-silvered mirror at a 45°angle so the camera shoots through it, while a mobile phone with a free app for the script is mounted below. The talent looks into the lens to read the script text reflected in the mirror. Included with the Parrot kit is a range of popular size lens adapters (49mm82mm) that thread onto the camera’s lens barrel. The teleprompter assembly, complete with mirror, slides over the selected adapter to lock it in front of the lens. A spring-loaded phone clasp secures virtually any model smartphone below the mirror.

Octopus Newsroom Partners with STRYME OCTOPUS NEWSROOM RECENTLY ANNOUNCED a partnership agreement with Vienna based STRYME, which produces broadcast ingest solutions for the global broadcast market. The agreement centres on the integration of STRYME’s GENESIX VideoServer V9 and the Octopus NRCS via the industry standard MOS software protocol. “STRYME has gained an excellent reputation for the security, versatility and compactness of its server systems,” commented Octopus Newsroom CEO, Petr Stokuč. “As a result of this cooperation between the two companies, Octopus operators will gain the ability to control the STRYME’s GENESIX VideoServer V9 directly from the newsroom system, allowing fast and efficient ingest from every content source they are likely to encounter. In practical terms that includes SDI, IP, compressed video, cellular feeds from mobile devices, and the rising tide of social media.” MOS is an evolving protocol for communications between newsroom

Parrot’s wireless remote controls scrolling speed, pause, and fast forward/ reverse throughout the text. The Parrot app, (available free at the Apple App Store or Google Play Store) provides for adjusting text size and width. The Parrot Teleprompter is made of rugged components to withstand even the most challenging environment. Its high-end mirror is easy to read text from, while ensuring that the video remains crystal clear. Visit https://padcaster.com

Captioning with Multi-Lingual Support ENCO’S ENCAPTION4 SOLUTION for automated closed-captioning is deployable on-premises or in the cloud. It now features a speech-to-text engine, NDI compatibility, and captioning for live and on-demand streams. The latest improvements in accuracy include a dictionary database that has been expanded to 29 languages. Leveraging breakthroughs in machinelearning technology, ENCO’s patented, Artificial Intelligence-driven solution allows new languages to be added on short notice. Furthermore, integration with popular newsroom computer systems from ENPS and Octopus among others takes advantage of news scripts and rundowns to learn and validate the spelling of local names and terminology. EnCaption4’s higher speed benchmark closes the gap between live speech and the corresponding caption display for an overall improved viewer experience, with accuracy rates now regularly exceeding 90 percent. enCaption’s NDI compatibility simplifies the captioning workflow by eliminating the need for specialised encoding hardware. enCaption4 can now automatically generate captions through its NDI input stream, and output an NDI signal with captions keyed directly on top of the video stream. This interoperability also offers a strong and reliable solution for accurate closed captioning within live web and social media streams, such as Facebook Live.

producers and broadcasters.

“While online video distribution is not subject to the same stringent closed captioning regulations as broadcast TV, the use of captions ensures a larger audience for any online video,” said Ken Frommert, president, ENCO. “Advocacy groups for the hard of hearing are also actively pushing for online video programs to contain captions. And many watching video on portable devices in public places prefer to keep their volume down and turn on captions instead.”

Visit www.octopus-news.com and www.stryme.com

Visit www.enco.com

computer systems and devices such as video servers, audio servers, still stores, and character generators. It is supported and developed through cooperative collaboration between equipment vendors, software

QScript.app for On-Air Mobility

NEWS OPERATIONS

AQ BROADCAST LIMITED HAS ANNOUNCED the launch of QScript.app, a mobile version of its QScript which provides script and rundown information to on-air presenters.

Currently, on-air presenters rely on printed sheets, which have to be reprinted after every change and which are difficult to use if a presenter is standing rather than sitting at a desk. QScript.app enables them to quickly and easily view the current version of any script on a tablet instead of referring to paper. QScript.app marks the first time aQ has produced an application designed to run natively within a web browser using standard HTML5, JavaScript and AJAX technologies. Previously its software has been intended to run primarily on a PC under Windows. This new portable approach means that the app can run on any platform (PC, Mac, iOS, Android, Linux, etc.) and within any web-browser. The various

underlying elements (interface to newsroom system, aQ’s QSIA database and aQ’s native webserver) are portable and can be configured in different ways, from a completely local system using an on-site server, to a completely hosted solution which operates entirely remotely. Once opened, the rundown and script information is updated dynamically – any change in the underlying NRCS is reflected immediately within QScript.app. The appearance of QScript.app is completely flexible too, as it uses standard .css style sheets to define the properties of each individual element. The QScript.app can be integrated with any newsroom computer system which provides a suitable gateway, e.g. via MOS or FTP. Plus, it has a direct native interface to aQ’s own QNews product. Visit www.aq-broadcast.com

NEWS OPERATIONS

Dejero Boosts the Bitrate for News DEJERO HAS INTRODUCED WHAT IT SAYS is the most powerful version of the EnGo mobile transmitter yet. The company says the latest EnGo is designed to give a picture quality advantage to broadcasters, especially when capturing highmotion news and sports content. The EnGo is a compact mobile transmitter that encodes high-quality video and transmits over multiple IP networks. It can be mounted on a camera or in a vehicle and worn in a backpack. The EnGo transmitter now features increased processing power and enhanced implementation of the HEVC compression standard, along with Dejero’s autotransport and adaptive bitrate encoding technology. The additional processing power has paved the way for a new dynamic content adaptation feature that intelligently adjusts the encoding process based on the amount of motion detected within content that is being captured. This allows broadcasters to automatically and seamlessly transition from a talking-head shot with limited motion to high-motion content without any softening of the picture or introduction of compression artefacts. The new Dejero EnGo can encode up to 20Mb/s and now supports 1080p 50/60. Meanwhile, Dejero has partnered with FileCatalyst to enable broadcasters to move large amounts of data quickly, securely, and reliably back to base while in the field. A combination of the Dejero GateWay mobile Internet connectivity solution and FileCatalyst Direct enables remote reporting teams to access their station’s media asset management (MAM) systems – to source b-roll or background

video – to create fully packaged reports, news clips, and to upload complete stories faster. FileCatalyst Direct allows broadcasters to send media content and digital assets globally at very high speed, ingest media from outside colleagues and production teams, and manage production, post-production, and editing locations. In addition, Dejero GateWay can offer FileCatalyst users the benefits of fast, reliable, and secure connectivity to the Internet, private networks, and cloud services while in the field by blending cellular connections from multiple mobile network providers with other available wired and wireless IP connections. Dejero says its algorithms intelligently manage the fluctuating bandwidth of individual connections to provide the reliability and speed that broadcasters depend on, when and where they need it. Visit www.dejero.com and https://filecatalyst.com

Ross Video XPression Version 8.5

Wisycom ENG Receiver

ROSS VIDEO’S XPRESSION VERSION 8.5 has been

WISYCOM’S MPR52-ENG DUALCHANNEL DIVERSITY RECEIVER

designed as an intuitive and cost-effective product which is used in workflows from simple character generator tasks all the way up to complex virtual environments. New features of XPression version 8.5 include a global search engine within the active XPression project, NLE plug-in support for Adobe Premiere Pro for Windows, an HTML5 version of the XPression MOS plug-in, enhancements to XPression’s revolutionary DataLinq tools, including new additional data source types, ADODB Source file browsing, DataLinq source sorting, and new filtering tools for Dashboard DataLinq sources. Ross Video will also be demoing XPression render engines in a 64-bit edition, which extends XPression’s unrivaled cache management, allowing for even larger XPression projects. As part of the 64-bit edition of XPression, users will also find support for importing Cinema4D models and scenes. Ross Video has also extended the capability of Tessera, XPression’s multiengine synchronisation option. Expanding on the existing toolset of Tessera to populate large monitor arrays, Ross Video has developed the MOS tools to create and schedule in-studio multi-monitor content creation using templated workflows. This has transferred the task of monitor fill from the technical team to the content creation level of the newsroom users. Visit www.rossvideo.com

comes with two built-in diversity receivers with both analogue and digital outputs and has up to 790MHz bandwidth in the 470/1260MHz range, as well as multiband front-end filtering. Country specific Surface Acoustic Wave (SAW) filters are also available (USA: 935-960 MHz and Japan: 12401260 MHz). This feature, combined with software selectable wideband and narrowband DSP-FM operation, gives users options to suit the needs of any production. The receiver also boasts an extreme low-noise voltage-controlled oscillator (VCO) with automatic and ultrafast spectrum scanning, which works via infrared technology and can be controlled via USB with the Wisycom Manager Software. The MPR52-ENG is also DSP-based for extreme flexibility and multi-companding operations. Matching the MPR30-ENG receiver offered by Wisycom, the MPR52-ENG features a dual diversity configuration with two whip antennas, along with convenient function buttons, such as a dedicated frequency scan option. Battery management is flexible and conducted via standard alkaline batteries or lithium battery packs that can be charged with the dedicated charger or through the micro USB connector. Visit https://wisycom.com

AUTOSCRIPT’S IEVO is an application that allows one or more iPads to be connected directly to WinPlus-IP prompting software and used as teleprompter monitors, additional reference monitors, or operator preview monitors in any location on the network. By purchasing a WP-i licence for WinPlus-IP, users can connect and display a prompted script on an iPad to provide a reliable, portable monitor for operators and talent. When connected to WinPlus-IP, Autoscript’s fully IP-enabled prompting solution, an iPad with the iEVO app will show as a standard device within the WinPlus-IP device manager. Once selected in a licenced version of

the software, an iPad equipped with iEVO receives the prompting data from WinPlus-IP over Wi-Fi or wired ethernet adapter, enabling the script to be rendered so that the iPad becomes an additional monitor. The iEVO app is available for all current iPad models running iOS 10 or higher and supported by Autscript’s WinPlus-IP, WinPlus-IPN, and WinPlus-IPS software version 1.3 or higher. Users may download the iEVO app free of charge from the Apple App Store and purchase WP-i licences to match the number of iPads required. Visit www.autoscript.tv/intelligent-prompting

NEWS OPERATIONS

Studio Prompting on an iPad

MEDIA IN THE CLOUD, STORAGE & MAM Thailand’s JKN Global Media PCL Transforms Media Management with Dalet DALET HAS ANNOUNCED THAT JKN GLOBAL MEDIA PCL Thailand (JKN) has invested in the Dalet Galaxy five Media Asset Management (MAM) and Workflow Orchestration platform to optimise content production and delivery across traditional, OTT and social media distribution outlets. The installation enables a comprehensive workflow transformation, taking the Thai-based media organisation from manually managing assets to automated processes that optimise production and delivery efficiencies across the entire media operation. Headquartered in Nakhon Pathom, JKN Global Media, together with its subsidiaries, is a leading content distributor and licensing management business in Thailand. It is involved in the distribution of movies, TV series and documentaries for digital TV, cable satellite, home entertainment and OTT platforms. In addition to importing content from all over the world, JKN also produces original Thai-centric programming content for Discovery, History Channel and National Geographic. A large volume of JKN’s business is in the distribution of foreign language content to broadcasters, repackaging and dubbing this content into multiple languages in-house. It also plays out content to traditional and social platforms. With legacy workflows based on files and folders manually managed and exchanged from one group to the next, there was no integration, processes were time-consuming, and assets were left unenriched. “JKN Global Media had the core goal to increase overall productivity, in terms of content, and boost distribution efficiency by adopting facility-wide migration policies, automated transcoding, and expansive metadata tagging and tracking,” states Cesar Camacho, General Manager, Dalet Asia Pacific. “With Dalet, they have succeeded in doing this. They now have a platform, with which they can better serve content to viewers on any platform and evolve their business in reselling content. The agility of Dalet Galaxy five allows JKN to expand its capabilities without implementing an entirely new system. For example, they can easily add orchestration to take advantage of emerging technologies such as AI.” With the goal of becoming more systematic and detail-accurate with regards to content management, JKN invested in Dalet Galaxy five. Moving from a legacy infrastructure that was characterised by pockets of content and asset

management siloed across the facility, JKN has unified all of its systems and content repositories under one single platform with the flexibility to scale as business requires. Dalet Galaxy five provides browser-based access to content and assigns migration policies so content flows through a consistent process. All assets are centralised and detailed metadata tracking allows JKN to optimise the content use. Enriched metadata also means that it can pinpoint assets for production and delivery to all distribution outlets with far more efficiency. The full implementation of Dalet Galaxy five at JKN Global Media includes: Dalet Webspace for browser-based search and retrieval, Dalet AmberFin for orchestrated high-quality transcoding, and Dalet Xtend for workflow collaboration between Dalet Galaxy five, Adobe Premiere Pro and Avid ProTools. There are further integrations with Aspera for accelerated file transfer and Vidchecker for QC. The Dalet platform integrates fluently with JKN’s business management and content management systems, with the organisation’s playout system, and with all major social media platforms for frictionless online publishing. Camacho added, “Dalet’s entry into the Thai market comes hot on the heels of several key APAC customer expansions including ABS-CBN’s addition of Dalet at its Cebu news site in the Philippines and the enterprise rollout of the Dalet media asset management and workflow platform at Australia’s Special Broadcasting Service. These diverse and large-scale implementations are a testament to Dalet’s ability to support broadcast networks transformation to faster, agile multiplatform content supply chains.” Visit www.dalet.com

DAMsmart Expands Archival Film Scanning Capabilities

MEDIA IN THE CLOUD, STORAGE & MAM

AS PART OF ITS CONTINUED EXPANSION and commitment to the specialist needs of film archives within Australia and the Asia Pacific region, DAMsmart, one of Australia’s leading media digitisation companies, has purchased and installed a new Muller HDS+ 2K/4K capable archival film scanner.

DAMsmart GM Joe Kelly explained the decision behind the major new investment saying, “This excellent scanner supports all 8mm, 9.5mm and 16mm film gauges – standard and super formats – and offers very high quality outputs for owners or custodians of archival film collections. The system has all the features expected of a dedicated archival scanner such as sprocket-less capstan transport, cool adjustable LED light source, laser registration and stabilisation, frame by frame scanning and support for magnetic and optical soundtracks.” Having the Muller HDS+ in their inventory now also enables DAMsmart to offer customers wetgate scanning for high value films and restoration projects – a first for 8mm and 9.5mm collections. The scanner Muller HDS+ has also been commissioned and its worth proven and recognised by many renowned film archives, film studios and media service providers all around the world. Kelly continued, “By having our new Muller scanner at their disposal

DAMsmart clients are now able to order full preservation packages for their 8mm, 9.5mm and 16mm film collections in any resolution and file format up to 4K. They can also order restoration packages that utilise wetgate scanning, image stabilisation, dust and grain management and colour correction to enable the best image outcomes for preservation, exhibitions, websites, stock footage sales or even UHD/4K production using archival source material.” DAMsmart has digitised millions of feet of archival film for collection owners since the company launched eleven years ago and the company is renowned for the care and attention to detail they place on ensuring correct film handling, preparation and repair of even the most fragile and damaged films. Joe Kelly concluded, “This new scanner and the new services we can offer as a result of acquiring it ensure that archival film collections can also be digitised and repurposed for consumption on multiple distribution platforms from the traditional to the latest 4K streaming platforms. It’s taking digitisation and archiving in Australia and Asia Pac to the next level.” Visit https://damsmart.com.au and https://silvertrak.com.au

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET POSTMANAGEMENT PRODUCTION

POST MEDIAPRODUCTION IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

BROADCAST ASIA

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MEDIA IN THE CLOUD, STORAGE & MAM

Masstech Innovations Solving Modern Content Storage Challenges MASSTECH INNOVATIONS HAS ANNOUNCED that its presence at IBC2018 will focus on showcasing a number initiatives designed to help video-centric organisations to create optimised storage solutions, utilising the latest cloud and hybrid technologies. Using the industry’s flagship storage and workflow management solutions, FlashNet and MassStore, these initiatives emphasise Masstech’s position as the only truly agnostic M+E storage vendor, offering independent and unbiased solution advice that addresses customer requirements.

cloud, or in a hybrid configuration. The system’s flexibility allows M&E organisations to implement storage environments that remain secure and optimised for all asset types. Also on display will be MassStore, Masstech’s media services framework for advanced applications. MassStore features a collection of services that together provides powerful media management functions and workflow automation. Built-in integration management also simplifies accommodation of disparate systems from multiple vendors.

Demonstrations on stand 7.C55 will centre on FlashNet, Masstech’s muchtrusted media object storage application that adapts readily to growing and changing organisational and business requirements. A highly scalable and secure cross-platform content management system, FlashNet integrates seamlessly with leading MAM, PAM, NRCS, automation, video server, and library systems to improve the efficiency of media organisations’ storage. FlashNet optimises content management, using programmable, rulesbased movement workflows that ensure that content is always stored in the most cost-effective and operationally efficient location.

The MassStore media services framework allows for rapid deployment of customisable workflows. Integrated transcoding capabilities and support for major wrappers and codecs allow for flexible generation and management of proxies, metadata, and thumbnails.

FlashNet is an agnostic solution that can be deployed on-premise, in the

Visit https://masstech.com

The flexibility and power of MassStore can be seen in the Masstech News workflow. By integrating with common NRCS and PAM systems, MassStore automates the archive process, attaches rich metadata to news assets, and enables users to search and view their video archives directly from their NRCS user interface.

EditShare Accelerates Workflows EDITSHARE IS PROMOTING SEVERAL KEY THEMES including important media and entertainment initiatives around content security and compliance, highly sought performance capabilities that improve production and post-production workflows, and content repurposing at the recently held IBC2018 exhibition. Secure, Real-time 4K, 8K, and Beyond Enterprise Storage Video Playback In addition to new XStream EFS File Auditing technology, advanced content security capabilities that mitigate cyber attacks and content theft, EditShare will be showing in-demand real-time 4K, 8K and beyond EFS scale out storage video playback. A unique capability for enterprise storage performance, XStream EFS delivers the best of both worlds in terms of IT and media performance. The XStream EFS scale-out shared storage solution product family includes the single-node EFS 200 and EFS 300 solutions for small to mid-size facilities, multi-node XStream EFS 450 solutions for enterprise workflows and the SSDbased EFS storage node options for clients requiring ultimate high-resolution real-time playback. For those facilities who have online storage space as a premium, the EFS 40NL parking storage nodes are designed to optimise content use by allowing them to park content whilst not in use. Automated QC for IMF Testing EditShare exhibited its support for IMF in its new QScan Automated Quality Control (AQC) products, powered by QUALES QC engine. The Interoperable

Mastering Format, known as IMF, aims to solve the pain points of mass international file delivery, allowing facilities to meet the growing demand for content all over the world. Key to the initiative, and especially important for OTT content providers, is that packages are properly run through QC prior to delivery. QScan detects the existence of the corresponding XML files (CPL, PKL, OPL, AssetMap, Volume Index) reading the contents and providing information about the structure of the entire IMF package (IMPs), identifying any errors that may be present. The timeline view of the CPL, where all essence files are described, helps users better understand the structure of IMP. Smarter Storage with Flow – Now in Public Beta The new software-defined Flow, which is now in public beta, has been reengineered for non-EditShare storage environments such as Avid NEXIS, StorageDNA and Amazon S3. Bringing critical search, browse, and retrieve capabilities as well as tools to assemble media to static media storage, the new software-defined MAM platform maximises the value of customers’ existing storage infrastructure by adding an intelligent media management layer that can manage millions of assets across multiple storage tiers in different locations. Visit www.editshare.com

MEDIA IN THE CLOUD, STORAGE & MAM

Object Matrix Launches Updates to MatrixStore Vision

2018 MARKS THE 15TH YEAR ANNIVERSARY for Object Matrix and it will be celebrating this milestone during IBC. The founders of Object Matrix are amongst the original pioneers of Object storage technology and have seen the market change dramatically. The team will also be honouring people who have helped with the company’s progression over the years. IBC2018 will see Object Matrix demonstrating its technology and solutions throughout the show – sharing updates to the Vision interface. Vision from Object Matrix is a web-based media management application that gives users instant and easy access to files contained within the MatrixStore object storage platform. The latest version includes a number of enhancements requested by the Object Matrix customer community, including Process-in-Place IMF integration. This enables users to ingest files in IMF (Interoperable Master Format) and automatically extract the associated IMF metadata. This makes IMF files as discoverable within Vision as other file types, whilst keeping them

housed within the archive. Vision has also been integrated with move2, an HSM application from Object Matrix. move2 provides policy driven data management from MatrixStore object storage to deep archive storage or public cloud storage platforms. Full integration with Vision means users have the option to control that easily, with a simple right click from within the tool. Object Matrix will be demonstrating on booth C.628 throughout IBC2018. Visit http://object-matrix.com

MEDIA IN THE CLOUD, STORAGE & MAM

Sonnet Technologies eGFX Breakaway Box 650 AT IBC2018 SONNET WILL SHOWCASE ITS NEW eGFX Breakaway Box 650, a Thunderbolt 3 to GPU card expansion system designed and qualified specifically for large, power-hungry graphics cards, including the AMD Radeon RX Vega 64, Radeon Pro WX 9100, 9100 SSG and overclocked NVIDIA GeForce GTX 10 series-based cards. The 650 model enables the use of all GPU cards that support connecting to a computer over Thunderbolt such as AMD Radeon R9, RX, RX Vega, and Pro WX models, and NVIDIA GeForce GTX 9 and 10 series, Titan X and Xp, and Quadro models – with Thunderbolt 3-equipped computers. Mac and Windows compatible, the new Sonnet system is the coolest and quietest eGFX box on the market, with a built-in, variable-speed, temperature-controlled fan. Sonnet will also display two new external graphics solutions, the eGFX Breakaway Puck Radeon RX 560 and eGFX Breakaway Puck Radeon RX 570. These integrated Thunderbolt 3 external graphics processing unit (eGPU) systems are portable and offer users improved graphics performance when used with laptops Solo10G 10 Gigabit Ethernet Adapters Sonnet will showcase its new Solo10G Thunderbolt 3 Edition adapter and Solo10G PCIe Card, the latest products in the company’s line of 10 gigabit ethernet (10GbE) solutions. The Solo10G Thunderbolt 3 Edition adds 10GbE network connectivity to any Mac or Windows computer with a Thunderbolt 3 port, enabling users to connect their computers via copper cables to high-speed network infrastructure and storage systems. Its performance, diminutive size, simple setup, and silent operation make this Sonnet adapter suited for use in a variety of workflows and environments. The Solo10G PCIe Card adds 10GbE network connectivity to any Mac, Windows, or Linux computer with PCIe slots. Thunderbolt 3 Editions in Echo Express Family Sonnet will showcase new Thunderbolt 3 editions of its Echo Express Thunderbolt-to-PCIe card expansion systems. Sonnet’s Echo Express III-D (desktop) and Echo Express III-R (2RU) systems support the installation of up to three full-length, full-height PCIe cards, and connect them to the computer via a single cable. Both systems enable users of Mac and Windows computers equipped with 40Gbps Thunderbolt 3 (USB-C) ports to take advantage of Thunderbolt 3’s 2,750 MB/s of PCIe bandwidth. Both systems feature a built-in, universal 300W power supply with a 75W auxiliary power connector for installed cards, plus two large, quiet, temperature-controlled cooling fans. 1TB and 2TB Fusion Thunderbolt 3 PCIe Flash Drives Complementing its 1TB model, Sonnet will showcase the new 2TB Fusion Thunderbolt 3 PCIe Flash Drive. The pocket-sized SSD device features NVMe flash storage and leverages the 40Gbps bandwidth of its Thunderbolt 3

interface to deliver data transfer speeds up to 2,600 MB/s. The Fusion Flash Drive is bus-powered and features a rugged aluminium enclosure that cools the SSD and eliminates the need for a fan. The Fusion Thunderbolt 3 PCIe Flash Drive connects to any compatible Mac or Windows computer with its 0.5-meter Thunderbolt 3 cable. SF3 Series Pro Card Readers Sonnet will show its line of SF3 Series dual-slot Thunderbolt 3 media readers. Each SF3 Series reader features a compact, rugged aluminium enclosure designed for stacking multiple readers. The SF3 Series CFast 2.0 Pro Card Reader is bus-powered with no power adapter required, and can ingest files from two cards at concurrent data transfer speeds up to 1,000 MB/s. The SF3 Series SxS Pro Card Reader features dual Thunderbolt 3 ports, can support a bus-powered device (such as the CFast 2.0 reader), and can simultaneously ingest files from two SxS cards at their maximum supported data transfer speeds. Sonnet will also preview the newest member of the family, the SF3 Series – Sonnet RED MINI-MAG Card Reader. Featuring dual Thunderbolt 3 ports, the reader can support a bus-powered device (such as the CFast 2.0 reader), and can simultaneously ingest files from two RED MINI-MAG cards at their maximum supported data transfer speeds. Visit www.sonnettech.com

All Aboard at Cinegy Platform One

Cinegy Platform One with XenData marks the company’s first appliance product offering. Cinegy software is pre-installed on the server platform and ready for configuration with the assistance of Cinegy Professional Solutions. As Cinegy Head of Product Management, Lewis Kirkaldie explains: “For many organisations the sheer volume of video files creates considerable challenges associated with storing, organising, finding, and reusing their media assets. The conventional approach is to install shared disk storage, a MAM server, and an archive server, all of which bring their own challenges when it comes to getting these components to work harmoniously. Cinegy Platform One integrates all these of elements on a single server.” The Cinegy Platform One is managed with Cinegy MAM software, which includes the scalable and open architecture Cinegy Archive solution for digitising tape-based archives and metadata collection for each step of a production workflow.

Production is looked after with Cinegy Desktop, a universal production tool that provides real-time access to media in Cinegy Archive. Cinegy Desktop also includes a powerful suite of tools for logging and editing, and an almost limitless ability to import and export media to third-party non-linear editing and automation systems. Transcoding is effortless with Cinegy Convert, the transcoding and batch processing service, which functions like a network-based print server that can be used to perform repetitive export and conversion tasks by ‘printing’ material to predefined formats and destinations. The Cinegy Platform One system will be available with either 24, 34, or 44 disks. Two disks are configured as hot spares and the remaining disks are configured in RAID60 for reliability and ultra-high performance optimised for video streaming and 4K-plus workflows. Cinegy Platform One and other Cinegy products and services can be explored at IBC2018 on stand 7.AO1. Visit www.cinegy.com

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MEDIA IN THE CLOUD, STORAGE & MAM

CINEGY RECENTLY ANNOUNCED THE INTRODUCTION OF Cinegy Platform One, a 2RU integrated MAM and storage server optimised for video applications.

POST PRODUCTION www.content-technology.com/postproduction

Baselight Takes Famous Colourist ‘Sky High’ SWAPNIL PATOLE IS SENIOR COLOURIST and DI Head of Department (HOD) at Famous Studios in Mumbai. Since starting his career 14 years ago, he has graded a plethora of commercials in all genres and for brands such as L’Oreal, Garnier, McDonalds, Honda and Nivea, to name a few. He has more recently worked on feature films, festival short films and music videos, including a project for SONY Music India. Prior to Famous Studio, he held positions with Prime Focus and Pixion postproduction studio. Famous Studios was set up in 1946 and has evolved to become one of the leading postproduction houses in India for TV commercials, international broadcast channels, film makers and advertising agencies all around the world. “It is a creative, innovative and experienced studio, which also possesses all the necessary tools and workflows for execution/processing of all types of audiovisual content,” says Patole. “With more than seven decades of experience in the industry, trust and flexibility is a given. “With this vast experience and global reputation comes a lot of hardship and responsibility for me as Senior Colourist and DI HOD. I am driven to maintain and build a respectful colour grading (DI) business and workflow platform with a set of clients around the globe. You switched grading systems in 2016, to Filmlight’s Baselight. What advantages have you discovered? “Up until 2015 I had been grading on all kinds of grading hardware and software systems. Then I switched over to Baselight, and since then my experience of grading has become sky high. “For example, with multiple format camera timelines from ALEXA, RED and Canon to Sony A7s or DJI, Baselight handles it beautifully with colour spaces and real-time playback. This gives me spectacular speed and flexibility to grade and finish jobs in time. And, this is all mostly because it is so customisable. “I use a Blackboard panel because of its design and interface and, with Baselight, it allows me to work for long hours without being exhausted. Let’s say a colourist can usually work eight hours a day – Baselight lets me work 12. Clients in India adore Baselight as it is better than any other grading system and it can handle bigger jobs in just a click of the fingers.

As one of the roles of a colourist is to meet daily deadlines, reliable technology is a must. Baselight has definitely made the process of colour grading more accessible,

POST PRODUCTION

“Having said that, as an artist I love all genres of film to grade because each has its own character and it is very satisfying and pleasurable to see my colour grade on prestigious films.” How would you describe your ‘look’? “Personally, as a colourist, visual stunning images are more addictive than technical aspects of colour grading. I always try to grade in an eccentric way, as I have always believed that your work as an artist is more recognised when you approach it differently, which has also brought me visibility and appreciation from industry technicians and film makers.” How important is the technology you use and how has this changed in the last 14 years?

nature of its

“In my opinion, colour grading methods haven’t changed from the celluloid world to the digital world of colour. It is the power of grading systems that have made a giant leap from limited layers, shapes and keyers to unlimited layers, 3D tracking, multiple operations in the timeline along with render speeds. This is remarkable. As one of the roles of a colourist is to meet daily deadlines, reliable technology is a must. Baselight has definitely made the process of colour grading more accessible, flexible and faster, with the instantaneous nature of its technology.”

technology.

How do you like to work with cinematographers?

flexible and faster, with the instantaneous

“It has many advantages, and to mention just a few is not fair of me as a colourist. Having said that, what I love most about Baselight is the colour science behind it and how smoothly it operates with the colourist’s vision and the control of the Blackboard to achieve a look for a film. On top of this, there are constant Baselight updates and upgrades for its colour spaces, the plugins and the keying and shape tracking tools, which somehow make everything seamless. There is no option for me but to grade all my jobs on Baselight.”

constant contrast levels, but can have multiple colour tones. And when it comes to music videos, it’s absolute fun and you can go a little mad with grade options.

You work on a variety of projects – commercial, narrative and music videos. How do they differ? “As a colourist I have raised my bar by grading a couple of feature films. This trained me to create and visualise colour palettes in a different technical and visual way to how I would on a commercial grade. “When it comes to grading a commercial, there is more scope to experiment with colours and it can be really creative. Feature films require more or less

“My working culture is staggeringly varied when it comes to the cinematographers I am associated with, and the new ones too. If they need my involvement from pre-production with regards to colour reference or making LUTS for projects, I always deliver my services to them. If the cinematographer involves me directly in post, I still deliver them what they are expecting me to do. I don’t prefer or follow any specific method to work with DOPs, I just blend with their requirements and provide them with a comfort zone. What advice would you give to a junior colourist starting his/her career today? “Follow your heart, learn your surroundings with nature and implement those in your work. Learning grading systems, hardware and software won’t make you a colourist, but learning the skills of colour grading with time, passion, dedication and patience will make you become a respectful colourist. It’s not always necessary to please everyone with your work, so learn to let it go when it happens.” Visit www.filmlight.ltd.uk and http://famousstudios.com

POST PRODUCTION

‘Retro HDR’ Look for Oscar Qualifying Singapore Film FINISHED IN HDR, AND BEATING 10,000 SUBMISSIONS from 130 countries, Singapore film Benjamin’s Last Day at Katong Swimming Complex recently took out the Geroge Lucas Award at The Short Shorts Film Festival & Asia and, in doing so, qualified for nomination in the live action short film category of the Oscars. Colour graded with Blackmagic Design’s DaVinci Resolve, the film is a visual ode to a simpler past. “Feel was central to showing and not telling the story. Shots in the past had a vintage aged film quality to rewind the audience back to a time before everything became so digital,” says Chai Yee Wei, Director of Benjamin’s Last Day at Katong Swimming Complex. “Muted pastels with a pronounced coral colour lift was a familiar frame in 1970s pictures of Singapore. This turquoise and cotton candy palette set the mood for the film and was responsible for the beautiful even stitch of shots from various days and even from separate locations.” Chen Jun Bin, colourist for the film, drew inspiration from art and photography from the 50s and 60s, including “… David Hockney’s paintings, and the photography of Slim Aarons, which I felt fit the mood that was discussed with the DOP and Director. Grading the footage was an interesting challenge. I had to somehow sell the overcast scenes as a bright, happy pastel childhood memory, and a combination of an army of keyers, curves and primaries in DaVinci Resolve helped to not only sell the idealised weather, but also in terms of shot matching.

“Resolve’s OFX grain tool was also key to demarcate how deep into the memory we went – I varied the intensity of the grain depending on the scenes. The echoes in the soundtrack inspired me to also give the poolside scene a particular glisten and bloom to the highlights to evoke a sense of reminiscence. I achieved this with a combination of the keyer and the Resolve OFX Glow tool.” “We wanted the highest quality to future-proof this film, so we shot in 8K,” said Chai Yee Wei, Director of Mocha Chai Laboratories. “We colour-graded the 8K footage on the Mac Pro, dual 1080ti machine first for P3 output for cinema. Then we colour managed and graded a 709 ProRes version for television. We then shifted the DaVinci Resolve project file onto an iMac Pro and regraded the material for HDR output when our facility, Mocha Chai Laboratories, became Dolby certified and our staff was trained to deliver to Dolby Vision HDR standards. “DaVinci Resolve’s colour management system allowed for seamless workflow across the colour spaces and we were able to process 8K raw footages with great ease. Mocha Chai Lab will continue to use DaVinci Resolve for our future Dolby Vision HDR projects. Being at the forefront of technology allows us to expand the scale of visual products we can offer channel owners.” Visit www.blackmagicdesign.com and http://mochachailab.com

PHYSICAL

Where would you prefer your content to live?

DIGITAL

We will help you to cost-effectively transform your content sitting on physical videotape, moving image film or audiotape into a usable digital archive. With professional and scalable audiovisual digitisation services, we deliver you high-quality digital files ready for the modern production or distribution environment.

C A L L U S O N 0 2 6 2 4 2 6 4 5 6 O R V I S I T W W W . DA M S M A R T . C O M . A U TO F I N D O U T M O R E .

POST PRODUCTION

Physical or digital archive.

POST PRODUCTION

VEGAS Pro 16 – More Creative Freedom VEGAS CREATIVE SOFTWARE has delivered its nextgeneration video editing platform with the release of VEGAS Pro 16. New features include: • Motion Tracking – A native motion tracking tool enables the user to track the movement of an object through the video frame and edit it with a range of options. This allows VEGAS users to apply spot colour grading, pixelisation, or isolated colour grading and correction to moving objects. Also, it is possible to ‘pin’ titles to the tracked object so that text automatically follows movement. The new motion tracking opens a variety of new possibilities for projects, especially in combination with the Bézier Masking tools, filters, and effects. • Video Stabilisation – Faster, more efficient, and more accurate stabilisation then in previous versions of VEGAS, even with 4K media. The redesigned video stabilisation is an essential tool for modern handheld production techniques and offers speed, simplicity, and a nondestructive workflow with flexible settings to achieve precise results. It’s also been designed to take advantage of newer multicore processors, so owners of high-powered, modern PCs can enjoy speed and precision. • Dynamic Storyboarding – Can be used to easily assemble rough cuts and alternate sequences so multiple ideas can be compared quickly. Thanks to the interconnected storyboard and timeline, any edits made on the main storyboard are directly reflected in the project timeline, while multiple additional storyboards allow for experimental edits and cuts.

software. The workflow allows you to render 360º video files including Scene Rotation or the Tiny Planet effect. • Comprehensive file backup options – VEGAS Pro 16 offers the flexibility of multiple options when it comes to backing up projects, so if a user is working on a complex project, or one that is pushing the very limits of their PC, they can enjoy complete peace of mind. Users can back their work up after a set time which can be determined in minutes and hours, as well as daily backups. Projects can be saved and backed up automatically after every edit. All backups can be saved to the same folder as the project file, a temporary location, or any user-defined location. VEGAS Pro 16 is available in four versions:

• Additional Workflow Enhancements – A further improved Hover Scrub feature makes it easy to locate specific video frames using a mouse with a thumbnail of the project in the Media Window. Project Media thumbnails can now be adjusted in size, enabling finer Hover Scrubbing and more accurate location of specific video frames. Users can now drag a bin to the timeline, including all of the media in storyboard bins, in order to add video events into the project timeline simultaneously rather than having to add files individually.

• VEGAS Pro 16 Edit is the base option, but still offers the complete VEGAS Pro feature set including all the new features such as motion tracking, video stabilisation, and HDR Support.

• Full HDR Support – All aspects of the HDR workflow are covered including import, real-time HDR preview, HDR-aware video scopes, render to HDR with metadata, and even integrated, one-click HDR publishing directly to YouTube.

• VEGAS Pro 16 Suite includes the FXhome HitFilm Ignite Pro bundle’s 180 plug-ins, the proDAD VitaScene V3 PRO package of around 700 effects, and the Boris FX Sapphire Lighting Unit set of natural and synthetic lighting effects.

• Complete 360° Compatibility – VEGAS Pro 16 includes support to meet the growing demands of the 360º video market. It includes templates for many of the most popular cameras such as the Samsung Gear 360, LG 360° cam, and Ricoh Theta. Users have the option to match their project properties to their 360º footage. VEGAS Pro 16 can stitch together dual-fisheye video and import 360 video stitched by cameras or other

• VEGAS Pro 16 is the standard version with additional software including Boris FX Continuum Lights Unit plug-in for lighting effects, proDAD VitaScene V3 LE with 100 video effects, and VEGAS DVD Architect for professional DVD and Blu-ray authoring.

• VEGAS Pro 365 users get all the functionality of the regular VEGAS Pro 16, but enjoy future updates immediately upon release, full support, plus the VEGAS Pro 365 exclusive plug-in FXhome HitFilm Ignite 360 Toolkit, all for a monthly fee. Visit www.vegascreativesoftware.com

Bluefish444 Demonstrating KRONOS, IngeSTore Server 3G

POST PRODUCTION

BLUEFISH444 RECENTLY DEMONSTRATED KRONOS SDI and SMPTE 2110 playout from Adobe Premiere Pro CC including Edit-While-Record, remote multi-channel capture with IngeSTore Server 3G, SDI to NDI conversion with IngeSTream, and 12-bit 4K quality control with Marquise Technologies ICE during IBC2018.

Also demonstrated was be the upcoming KRONOS Optikos video card, outputting SDI from Adobe Premiere Pro CC, with a simultaneous SMPTE 2110 uncompressed IP stream via 10Gb ethernet to a second KRONOS integrated broadcast graphics system. This workflow during live events and broadcast allows for channel branding, statistics, or other graphic overlays to be applied to live a video feed. Media from IngeSTore server 3G, recorded to the SNS Network Shared Storage, will be accessed by Adobe Premiere Pro while recording continues for a live Edit-While-Record workflow made possible via the growing file support of Bluefish444 IngeSTore software and Adobe Premiere Pro.

Bluefish444 has been working with industry partners on remote control functionality of IngeSTore software, software, and demonstrated this for the first time. The IngeSTore Server 3G will be controlled from another manufacturer’s system via a newly developed IngeSTore RESTful API. This integration shows how easily a third-party can create their own user interface, or custom integration of IngeSTore software and its multi channel ingest functionality into their ecosystem. With support for NewTek’s NDI protocol, RTP, and SMPTE 2022/2110 streaming protocols, Bluefish444 also demonstrated the forthcoming IngeSTream multi-channel streaming solution. IngeSTream provides multichannel SDI to IP-based protocols, and will be demonstrated streaming from a live 4K SDI camera to the NewTek TriCaster Mini via 1Gb ethernet and the NDI protocol. Visit www.bluefish444.com

POST PRODUCTION

Frame.io Showcases High-Speed Real-Time Video Collaboration FRAME.IO RECENTLY SHOWCASED THE ALL NEW FramFrame.io at IBC2018, on the heels of an influx of new features and advancements made to the review and collaboration platform since April. Now, Frame.io offers enterprisegrade security features, having recently received SOC2 Type 1 and GDPR compliance, support for new formats and high-resolution images via Image Review tool, and up to 100X faster uploading speeds thanks to Watch Folders for macOS, among other new features and capabilities. Security Features for Enterprise Video Teams This past July, Frame.io received SOC2 TYPE 1 compliance, after an audit process that evaluated Frame.io against service controls derived from three key trust principles of SOC2: security, availability, and confidentiality. That means all customers can rest assured their valuable media assets are protected from security threats today and well into the future. In addition, Frame.io now includes two new security features: Visual Watermarking and Asset Lifecycle Management, which expand security management to front-line workflows. Thanks to Visual Watermarking, admins and team managers can customise watermarks and have them automatically embedded onto any media their users upload to Frame.io, helping deter unauthorised sharing of their team’s content.

uploading overnight, on a flight, at a cafe, or on location, enabling creatives to work under the toughest deadlines and security. The companion app supports multi-gigabit upload speeds, allowing users to upload 100GB of media in 13.3 minutes – folder structure intact. Upload any file type and preview over 150 formats.

With Asset Lifecycle Management, Frame.io will automatically delete old assets on a defined cadence. Admins and team managers can set a limit on the number of days a given asset will remain in Frame.io. Developed in coordination with Turner Broadcasting, this tool was built for the enterprise admin who finds themselves removing assets from Frame.io constantly, whether for security, for better organisation, or for increased storage capacity.

Frame.io sets a new standard with a never-before-seen set of collaboration tools for content creators. Used by all types of creatives – from freelancers working with individual clients to small internal teams and massive distributed organisations – the latest enhancements to Frame.io offers both professional and enterprise solutions to meet the needs of anyone creating video. New features to shown at IBC included:

GDPR Compliant Frame.io is committed to helping video professionals collaborate and build content. To support growth, and ensure Frame.io and its customers remain compliant with changes to the EU data protection law (General Data Protection Regulation, or ‘GDPR’), a number of updates and improvements to privacy practices, policies, and agreements have been made. Watch Folders – A New Way to Move Media Frame.io’s new Watch Folders for macOS delivers indestructible uploading, enabling creatives to send raw assets, dailies, and in-progress edits to Frame.io for feedback and approval while preserving folder structure. The macOS menu bar app allows users to pair a local folder with a Frame.io destination folder, then render files from Apple Final Cut Pro X, Adobe Premiere Pro, Adobe After Effects, Adobe Media Encoder, DaVinci Resolve, Avid Media Composer, On-Set Dailies and Assimilate Scratch. Frame.io Watch Folders ensure assets are securely uploaded, whether you’re

Plus, Image Review, Presence, View History, and Asset Search

Image Review – Frame.io’s advanced Image Review tool super-charges creative workflows by bringing all of the platform’s powerful review and collaboration capabilities to more types of visual media. The new Image Review tool supports high-res images rendering up to 8K resolution previews with the ability to pan, zoom, loupe, and annotate. Asset Search – The Frame.io search bar now supports project and asset search. Find recent files you’ve been working on or dig up older projects. View History – Now users don’t have to wonder whether their team has seen the latest upload. See who’s viewed an asset and when. Get more details about an asset’s view history by clicking into the team member profile images. Presence – Frame.io users can have a real-time indication of when a teammate is viewing the same asset – another step towards a more collaborative and connected feedback experience. Visit https://frame.io

FilmLight Boosts Collaboration for Editing, VFX and Compositing use the same architecture, each of the plugins can watch a live Baselight scene or a branch as required. The Baselight Editions plugins ensure operators always see the latest colour grade without waiting for images to be rendered, and can make non-destructive and trackable changes to the grade. And now with BLG for Flame, Flame artists can also utilise a metadata-only workflow, allowing fast application of the latest grade and avoiding complex version management. Baselight Editions v5 provides tools to boost productivity, including Gamut Compression, Boost Contrast, Texture Equaliser and filters for Denoise and Deflicker. It also includes improved Layer View for stack visualisation and selection.

FilmLight demonstrated how creatives can work simultaneously on the same scene. Rather than requiring individual shots to be locked, operators can work on parallel branches that can be merged together to obtain the final result. As BLG for Flame, Baselight for Avid, and Baselight for NUKE all

v5 of Baselight for NUKE includes multiple platform-specific enhancements, such as new and improved format handling, which allows the v5 BLG file to store format and mapping information so Baselight for NUKE can combine elements using exactly the same grades and transforms, regardless of source. v5 also enables Baselight to act as a multi-input node in NUKE so BLG files can refer to multiple input images and OpenEXR channels. Visit www.filmlight.ltd.uk

POST PRODUCTION

IBC2018 SAW FILMLIGHT EXHIBITING the new features of Baselight v5 for Avid and NUKE, along with BLG for Flame, the latest product in the Baselight Editions range. The plugins bring sophisticated colour control and creativity to Avid editors, NUKE compositors and Flame artists.

Baselight for Avid v5 offers additional features designed to enhance the Avid experience, including sophisticated copy and paste, real-time client monitoring, and streamlined access to shots and metadata, giving editors visualisation of all Baselight effects within the Avid track.

AUDIO Digital soundwaves

www.content-technology.com/audio

SMPTE Standards for Binding IDs to Assets – Audio Watermarking SMPTE HAS PUBLISHED STANDARDS for binding Ad-IDs to commercials and Entertainment ID Registry (EIDR) codes to programming content. The standards specify use of Kantar Media’s audio watermarking technology, an open solution available for licensing.

In addition to enhanced tracking of assets and improved workflow efficiency, an open standard for ID-to-asset binding can deliver a wide array of capabilities, including:

The SMPTE 24TB Open Binding of IDs Drafting Group created and published two new sets of standards and recommended practices: ST 2112-10 and RP 2112-11 for the Open Binding of Content Identifiers (OBID), and ST 2112-20 and RP 2112-21 for the Open Binding of Distribution Channel IDs and timestamps. The availability of these standards for persistent binding of identifiers into advertising and programming content establishes a fundamental building block for the advancement of full cross-platform measurement and content integration.

• Better second-screen integration and improved multiscreen content discovery.

“This standard has been called the media industry’s equivalent of the Universal Product Code (UPC) code,” said Jane Clarke, CEO and Managing Director of the Coalition for Innovative Media Measurement (CIMM). “Similar to the standardised ID that improved accuracy and efficiency for the retail consumer packaged-goods industry, Ad-ID and EIDR will enable advertising and content identifiers to remain embedded throughout the media distribution ecosystem.” Supporting real-time identification of a piece of content or an ad – whether on a TV set, in a set-top box, or outside of the set using a metering device or smartphone app, the standards will help mitigate numerous inefficiencies in the cross-platform video distribution and measurement workflow, including time-consuming, legacy processes for matching program and ad names back to the time of airing and the distributor. The ability to embed standardised identifiers throughout the media ecosystem will have a significant impact on the efficiency of cross-media workflows for ad agencies, media companies, and marketers. Television networks and digital content publishers will also be better equipped to create integrated multiscreen experiences. By facilitating faster reporting for ad verification and audience measurement, the use of standardised identifiers will eventually enable marketers to better optimise live and on-demand advertising much as they now optimise online advertising.

• Reduced barriers to deployment of cross-platform dynamic ad insertion.

• Enhanced automated content recognition and detection. • Accelerated digital content locker adoption and complete long-tail content monetisation. • An enhanced ability to trigger surveys, quizzes, or coupons on mobile devices. Kantar Media’s audio watermarking technology was recommended as the standard by a SMPTE Standards Drafting Group, supported by Ad-ID, a joint venture of the Association of National Advertisers (ANA) and the American Association of Advertising Agencies (4As); EIDR, an industry association operating a registry of over a million unique, global identifiers for digital entertainment assets, including motion pictures and television content; and CIMM, whose members represent leading content owners, large advertisers, and media buying agencies. This joint initiative, known as Trackable Asset Cross-Platform Identification (TAXI) Complete, was launched by CIMM in 2013 to standardise video asset identification. The effort is now being spearheaded by Kantar Media, whose audio watermarking technology enables tracking of advertising and programming content across platforms seamlessly and automatically, in effect making those solutions more complete. Kantar Media is a global leader in media intelligence and audience measurement. Deployed by hundreds of broadcast networks across the world, the company’s audio watermarking technology is an industry-leading solution for content detection. The new SMPTE standards are available for purchase from the SMPTE digital library. Visit www.smpte.or

Lawo Appoints Village Island Japan as Solution Partner BROADCAST TECHNOLOGY INNOVATOR LAWO has appointed Village Island as IP Broadcast Solution Partner in Japan. Village Island is a well-established and highly regarded distributor for IP based broadcast equipments and solutions in Japan and more generally in the Asia-Pacific “Village Island customers and business partners benefit from almost two decades of our experience, close cooperation to international suppliers and highly-defined technical consulting skills, carefully constructed planning and professional execution of all projects,” says Michael Van Dorpe, Representative Director & President of Village Island. “Village Island is very carefully selecting its portfolio,” Van Dorpe explains. “Also, this time, we went through many possible choices that would be complementary to our existing range. We are not only happy to cooperate with Lawo because of its proven and innovative products, but especially because of the advanced networking technology with IP broadcast core infrastructure solutions offered. Lawo has also an excellent reputation for

quality and reliability, with already proven capacity to deliver customers in efficient manner and with highest industry standards. “In the course of the next years, we will expand our market presence in the region, giving us closer proximity to customers, bringing faster and focused support services, and making products available more quickly where needed. Supporting this, Village Island will enhance training programs for our partners and own staff, to more effectively leverage products and modern technologies.” Gregor Erlitz, Lawo Head of Sales APAC says “Village Island’s experience and expertise in IP broadcast environments ensures that our mutual customers will achieve optimal results, from project specification through design and integration, to service and ongoing support. This is why Village Island is a natural choice for sales and project support across our product portfolio.” Visit www.village-island.com

AES Guidance on OTT and Online Audio

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THE AUDIO ENGINEERING SOCIETY has released AES71-2018: Recommended Practice Loudness Guidelines for Over-the-Top Television and Online Video Distribution.

This AES Recommended Practice (RP) describes the many issues related to online audio Loudness variations. It provides comprehensive recommendations documenting effective guidelines for managing audio loudness of soundtracks of television and video content available to consumers by over-the-top (OTT)

and by online video distributors (OVD). When followed, these guidelines will provide consistent loudness, appropriate playback loudness range, reduce audio quality degradation from excessive limiting, preserve the original artistic intent, and improve the listening experience. The document does not provide specific recommendations about target playback loudness or dynamic range. Visit www.aes.org

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Neumann at Ninety FOUNDED IN BERLIN IN 1928 BY GEORG NEUMANN, the Neumann brand, after nine decades, remains the gold standard in microphone technology. Neumann.Berlin recently released a 50th Anniversary Rhodium Edition of its legendary U 87 studio condenser microphone, as well as a reissue of its U 67 the tube microphone that “defined the sound of the sixties”. While Neumann became part of the Sennheiser Group in 1991, its development team has continued to build on its 90-year legacy, which has also included customised sound production units for radio studios, theatres and concert halls, as well as phonograph record-cutting machines and the technology for many of today’s rechargeable batteries. In recognition of this legacy, the Audio Engineering Society presented Neumann.Berlin with a 90th Anniversary ‘Service to Industry’ Award during the recent AES 145th Pro Audio Convention in New York City. As part of 90th Anniversary celebrations, Neumann President Wolfgang Fraissinet visited the APAC region and spoke to C+T. “We all know there’s a tendency going from the typical professional recording engineer, going to a professional recording studio and recording music there, towards very young people making recordings at home, putting them online without the whole process of this professional post-production process and everything we would call a professional recording chain,” says Wolfgang Fraissinet. How is that influencing product development?

“I wouldn’t see a hobbyist buying a microphone for USD$7000 to record in the sleeping room or living room at home with a laptop for $1500, you know? But, we have to increase the number of people who are trained to transfer practical processes from hardware into practical processes in the world of software.” What do you think of areas such as immersive audio or audio for virtual reality? “[Neumann and Sennheiser] see a lot of developments and needs in our labs where we stick our heads together and think about what can we as a whole, as the group, in order to support people who are having heavy needs for augmented reality, virtual reality sound. Sennheiser has a solution for that and gave a name to it which is AMBEO. “That’s a technology which is not one product. It is a satisfying concept defined by Sennheiser for anybody who needs audio and recording solutions for the purpose of having spatial sound connected to video or maybe in a theatre house, or a live performance. You would not just need Sennheiser products for this or Neumann products for this, but at the time being the combination of, for example, Neumann’s studio monitors, and Sennheiser algorithms and software. “Sennheiser just developed a VR microphone and it’s quite successfully finding its way into the VR world right now. A lot of people with 360 cameras are using it now, and Neumann is also thinking about audio solutions to serve that market for differently defined purposes of augmented reality.” Will there come a point when stereo is no more? “You could also ask me is there a point when mono becomes obsolete? The world today listens in more than 60% of all cases, to mono sources and nothing else. Stereo is the easiest way to have some kind of spatial image for music, just with two channels and with two microphones. “With the help of software, it may be easy to split one source of audio signal into four channels in future, or even more and make it spatial-something, but the question is how much does it have to do with reality? Do you still feel that this what you hear, that would sound spatial, could be reality or is it just mathematics and signals diverted into different directions? For a video game, this may be fine. For a radio drama, it may be not good enough quality, so it really depends on the purpose.

Neumann President Wolfgang Fraissinet.

“Maybe, in a few years from now, we see holographs of artists in our living room in three-dimensional video, and you can walk around and listen to the person as if the person will be in your room and you hear it differently wherever you stand in your room and that would be pure algorithms because that cannot be microphone channels. Welcome to the world of software.” How do you see the status of recorded media versus streaming, especially given that we’re in the middle of a vinyl revival? “This vinyl revival situation is a hardware question. The streaming versus other way of hearing a concert is a business model. The Boston Philharmonic, for example, are only providing seats for less than 2800 people with a centre stage and people sitting around it with non-facing walls everywhere so that you don’t have conflict or effects, and you have a nice hearing experience wherever you sit. But, it’s only for 2800 people so the idea was why don’t we use it online and stream the concerts to people at home. The people in the Philharmonic house pay, say, 50 euros for the ticket. The people online pay 10 euros per concert, but the people online are 60,000 people and the people in the concert hall are 2800. It’s a business model.” Looking back over 90 years, are there any technologies the company developed that maybe didn’t take off, were ahead of their time? “Yes. Digital microphones, for example. Neumann developed a so-called Solution D system in the early 2000’s, and these microphones have been far ahead of their time. They are still brilliant tools for the ones who are using them and there is a customer group who is using them like the philharmonic house at Paris, for example, or the Casino de Monte-Carlo, famous places. But, since the standard which should have been supported by this Solution D technology, AES42, never did make its way into the industry to the concert manufacturers and all the other gear manufacturers, there was no chance for the digital microphone system alone to conquer the world. So, that is something a company like Neumann must be able to digest because it’s on us to develop things like that and offer them to the professional audio market. A single sound engineer in quantities cannot build these things for themselves, so he or she needs a manufacturer who has the guts to try these things and bring them to the table even when we don’t know whether it will turn into a fruitful business or not.” Visit https://en-de.neumann.com

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“For example, it will increase our team of software engineers. We will need hardware as we are standing for it for 90 years, and we will, of course, keep our long-established customer base of professional people in the music industry happy with the products we are making and we are standing for. We are now reissuing the U 67 microphone, which is an old product, but it’s now brand new. It’s exactly the same technical specs as the old days, but that’s for professional recording engineers.

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Calrec Wants You to Act on Impulse IBC2018 SAW CALREC PREVIEWING its new Impulse core, its next generation audio processing platform. The Impulse core is an audio processing and routing engine with AES67 and SMPTE 2110 connectivity. The Impulse core is compatible with existing Apollo and Artemis control surfaces, providing a simple upgrade path for existing Calrec customers. “Impulse is a robust and scalable DSP platform that illustrates a clear direction for Calrec’s future development, giving our customers a fully defined upgrade path as they transfer to IP infrastructures,” said Dave Letson, Calrec’s VP of Sales. “In addition, future scalable expansion will allow up to three DSP mix engines and control systems to run independently on a single core at the same time, providing the ability to use multiple large-format mixers simultaneously in an extremely cost-effective and compact footprint.” Impulse provides 3D immersive path widths and panning for NGA (nextgeneration audio) applications, 5.1, 5.1.2, 5.1.4, 7.1, 7.1.2 and 7.1.4 input channels, busses, monitoring and metering are available. Height and 3D pan controls are provided, and paths of all widths can co-exist within a mix and be routed to/from each other with flexible panning and downmixing built in. “The signal processing capacity of the Impulse core is unlike anything else available and is the most powerful DSP engine on the planet,” continued Letson. “It utilises the next generation of Calrec’s award-winning Bluefin DSP technology – Blu3fin – with five user-upgradable DSP packs, all of which will be available from launch and range from 256 input channels in the XS Pack to 1,122 in the XL Pack. In fact, Impulse provides more than 400 independent busses; 192x mains/groups, 48x auxes, 96x tracks, with 3x AFL and 3x PFL immersive busses.” Impulse has an integral AoIP router, which supports NMOS discovery and connection management, as well as mDNS/Ravenna discovery. Up to four router cards can be fitted, each with a 4096 x 4096 audio routing matrix, and can operate at 1 or 10Gbps. Two 5RU Impulse cores can be combined to provide full redundancy and can be physically remote from each other for disaster recovery. Visit www.calrec.com

Audinate Releases New Dante Domain Manager DEMONSTRATING ITS COMMITMENT to providing systems integrators and end-users with the strongest network technologies for secure, interoperable, high-performing AV systems, Audinate has introduced an update to Dante Domain Manager. This version provides advances in diagnostics and usability, extended auto discovery for legacy devices, and increased support for larger networks. Commenting on the update, Joshua Rush, Senior Vice President of Marketing and Products, Audinate stated: “Since its introduction to the market earlier this year, Dante Domain Manager has been extremely well received by OEMs, integrators, and end customers. These new enhancements make Dante Domain Manager that much more valuable by providing additional features that enhance the scalability and ease of use of the platform.” Dante Domain Manager now supports over 1000 devices. For larger Dante installations, customers can purchase expansion packs for the Platinum Edition to support up to 1050 devices per instance. DDM now features automatic discovery for legacy devices. The automatic device discovery service has now been extended to legacy (pre-v4.0) devices. This makes it easier to for products with and without the 4.0 firmware to co-exist in Dante Domain Manager. A Network Diagnostics Report, designed to accelerate setup, configuration and troubleshooting, provides instant visibility of basic network configuration via connectivity, DHCP, DNS and Internet reachability tests. Available in the Network and Security settings, it is now just a single click to quickly establish if there are any fundamental configuration errors on the network. And, with Editable Domain Names, users can now rename Dante domains without having to delete and recreate them. Visit www.audinate.com

Dante/AES67 Routing with Sample Rate Conversion AD/DA/DD CONVERTER AND AUDIO-ROUTING DEVICES BY NTP come with support for 64 channels of Dante IP Audio out of the box, but in an effort to meet demand for a higher channel count, the company has introduced an optional expansion card that adds another 128 channels to the digital audiorouting matrix. With eight slots available for expansion cards, users could ultimately have up to 1088 Dante/AES67 channels, including the 64 channels that comes as standard, at 48kHz. The new expansion card also offers sample rate conversion on all channels as well as dual redundancy network ports in order to maximise reliability. The card also introduces per-channel sample-rate conversion, which by using more cards allows several independent audio networks that run on individual clocks and sample-rates to be connected to and unified in a single DAD AX32 or Penta 720 unit.This unleashes a wealth of possibilities for distributing audio across sources and destinations on highly complex setups that involve, for example, sending a feed to an OB truck while recording at

a different sample rate and sending another feed to a FOH console or an in-ear monitoring system. “Simply adding more Dante channels may sound trivial, but once you start to think about the actual problems that this amount of channels, in combination with independent sample-rate conversion is capable of solving. It’s a significant improvement of the overall system,” said Mikael Vest, Sales Director of DAD’s mother company, NTP Technology. “For instance, the new Dante card will be able to solve real-world challenges in regard to high channel counts when working with Dolby Atmos Mastering Suite, as well as in recording studios where Dante based monitoring systems are used. But there is a need to record at a different sample-rate or in live applications where there Dante networks have to be kept physically separated when operating on different clocks.” The internal sample rate converters on the new Dante cards have been developed by NTP Technology/DAD. Visit www.ntp.dk or www.digitalaudio.dk

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DPA Microphones Emphasises Superior Sound Quality MICROPHONE SOLUTIONS ALLOWING BROADCASTERS to capture studio quality live sound were on show at DPA Microphones’ IBC2018 booth. In conjunction with its Dutch distributor, Amptec, DPA demonstrated a range of microphones that reflect the company’s core values of clarity, durability and consistency. With these tools, broadcast engineers can confidently capture sound across the entire dynamic range. A highlight of the show was DPA’s recently launched CORE by DPA amplifier technology that powers its d:screet miniature microphones. Apart from being used as lavallière mics, these are also suited to applications where microphones need to be hidden so that they are not visible to audiences. Visitors to the booth can enjoy demonstrations from DPA experts showing how to conceal these microphones without detrimental effect on sound quality. Since its introduction, CORE by DPA has been eagerly embraced by users in the broadcast, film, music, pro audio and theatre, because it lowers overall distortion and expands dynamic range, ensuring an even clearer sound.

To satisfy content makers such as live and mobile journalists, DPA was also showing its pocket-sized MMA-A Digital Audio Interface, a two-channel

3D Audio Mixing with Stage Tec’s AURUS Platinum STAGE TEC RECENTLY PRESENTED the world premiere of its new 5.1.4 multichannel format with Z-plane in AURUS platinum. 3D audio is becoming increasingly important in the professional audio arena. The three-dimensional soundscapes that 3D audio creates evoke a more emotional response for consumers not only in music and TV productions or cinemas, but also at live events and in theatres. AURUS, the flagship of Berlin-based manufacturer Stage Tec, has been offering true multichannel format capability for parallel mixes in 5.1 and stereo or mixes in 7.1 for many years. Following Software Release 4.7, the new multichannel format 5.1.4 is available in AURUS platinum and enables 3D audio mixing with four overhead speakers. The pan-pot in the channel strip and the joystick in the AURUS platinum centre section have been given Z parameters for the new feature. In operation the user can choose between X-Y and Z-Y. Project configuration has been expanded and ten-channel monitoring integrated. AURUS was launched in 2003 and is currently being delivered in its fourth product generation. From extensive control functions and intelligent audio processing features for highly efficient operation to the integration of thirdparty products – in numerous software releases, new functions have been added to AURUS to satisfy the ever-increasing requirements in broadcast, theatre, recording and live environments. Software release 4.7 is available now. Visit http://www.stagetec.com

preamp and A/D converter that offers unprecedented audio quality across mono, dual, and stereo applications. The MMA-A works with any iOS device, Mac or PC computer, making it easy to broadcast directly or record sound anywhere. The MMA-A comes with interchangeable Lightning and USB cables for connectivity and MicroDot inputs that allow it to be connected to all DPA capsules, including the d:screet Miniature, d:fine Headset, d:vote Instrument. It can also be connected to d:dicate Recording microphones, including shotgun microphones, via an optional MMP-G preamp. The MMA-A Digital Audio Interface was also be demonstrated at IBC. Visit www.dpamicrophones.com

Calrec Consoles Prove Good Sports in India CALREC AUDIO HAS INCREASED ITS FOOTPRINT in Asia with the sale of three Brio36 audio consoles in the Indian broadcast market. Sun Broadcast Equipments New Delhi installed the consoles with a major international sports broadcaster for use across a variety of live sports events. “In a country like India, where the broadcast market is rapidly evolving but cost is often a primary factor in purchasing decisions, it’s important for us to offer economic solutions that allow media organisations to evolve their infrastructure. This is why we really like the Brio from Calrec. It delivers high-end audio processing and networking capabilities in a compact desk at an attainable price point. Having sold Brios into the market here now, it’s setting a trend of low-cost, high-quality consoles here, and we think other comparable territories will take note of this,” commented Vinit Govil, CEO Sun Broadcast Equipments. Calrec recently gave the Brio36 a boost in channel count. New expansion packs are available that increase its capacity from 64 to 96 input channels. “We know our customers want to exceed expectations in terms of quality audio output without going over their budget, and we’re so pleased that our Brio console is giving them the chance to do just that. This project illustrates how the broadcast market in India is on the rapid upswing and how Calrec products are helping to carve a niche in that region to make high quality audio accessible,” said Anthony Harrison, International Sales Manager for Calrec. Visit https://calrec.com

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DPA customers are extolling the benefits of DPA’s CORE d:screet 4061 Miniature Microphones, citing their ability to deliver an open and organic sound. Producer, songwriter, musician and audio engineer, Mat Mitchell, said: “I like using a lot of room mics when I mix drums and the d:screet CORE 4061 mics sound so open and natural, and add a nice clarity to the drum mix. In addition, I tend to listen to tracks loud and the CORE technology gives me lower distortion and maintains the mics’ warmth and clarity even at high SPLs. If I want the sound of a room, I use my d:screet CORE 4061’s. Their flat response makes me feel like I’m in the room.” The most recent addition to the CORE by DPA range is the d:vote CORE 4099 Instrument Microphone, which is designed for use with woodwind and acoustical instruments such as guitar, violin, cello and trumpet/ saxophone. Known for its discreet size and versatile mounting/clip options, the d:vote 4099 mic is ideal for a variety of applications ranging from the studio and theatre to live performances during primetime broadcasts.”

RADIO The original broadcast media

www.content-technology.com/radio

Australia's NOVA Looks to the Future with LAWO, ARISTA and PAT “WE THINK WHAT WE’LL END UP IMPLEMENTING is very much industry leading in terms of the way it all comes together and the way it will all be designed.” That’s the word from Matt Steadman, NOVA Entertainment’s Head of Technology, on the audio, video and IP-based strategy the radio network has dubbed, the ‘Future Studios Project’. It is a project that will take the broadcaster to a new level of production and delivery flexibility. According to Steadman, “The project originally started as ‘how do we replace the existing on-air equipment and keep us still on air?’, that built up to what the company needs to do in the next 10 years, and it got even broader than that, so that’s when we engaged all of our internal stakeholders to start having a think about what the future should look like for a radio network.”

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That future not only features traditional radio broadcasting, but audio and video across a variety of platforms produced by collaborative teams situated anywhere in the country.

key and party line assignments, drawing down pooled video and KVM resources, changing branding logo screens and the lighting profile to reflect the associated brand, and also connect remote talent affiliated with the show from anywhere else in the country. “Our on-air audio routing will be handled by the Lawo systems now,” says Matt Steadman. “The advantage of that, and I’m not here to sell Lawo products, but one of the many things that we will be able to do is we can have a fully redundant audio network, so we can literally have two simultaneous audioover-IP networks running side by side, which obviously gives us a large degree of fault tolerance because we can take one of them down for maintenance or we can have a fault on one, and we have a completely identical audio network sitting next to it, which is something I don’t think any other radio network is doing, certainly in this country. So, Lawo is absolutely the key to it all in terms of getting our audio to air.” The system is using AES67 as the primary audio connection medium including 256 channels of hitless protection on each LAWO Power Core. LAWO Virtual Patch Bay (LAWO VPB) is also used for all virtual sound card applications as well as on board virtual mixers within the LAWO VPB instances. Connecting all the frames together are up to 4 x ARISTA 7050TX2-128 switches per site with full IGMP and PTPv2 support built in. Each site is expected to have upwards of 8000 multicast audio streams.

“For radio nowadays, radio is becoming audio and audio is becoming video,” says Steadman, “so we knew we wanted to have out of the box some really useful video production tools, which isn’t traditionally what you’d expect to find in a radio studio. And, the other NOVA Entertainment Head of Technology, Matt Steadman. key feature that we were trying From a control perspective, the system to design into it was the ability to achieves such a dynamic workflow by dividing it into three logical core layers. delineate between where people physically are and where they broadcast to, The base level utilises LAWO’s Power Core frames with their internal logic so we came up with this concept called Any Studio Anywhere, which means our engines and audio mixing capabilities, paired with LAWO Vistool instances for talent really should be able to walk into any Nova network facility and with one touchscreen control interfaces to perform all day to day site operations such as swipe of their security pass, the whole facility should customise around their putting a show on air. needs and get them to air wherever they want to be. From a video routing point of view, NOVA is employing Riedel’s MediorNet “Previously that sort of stuff was really a manual process, so our technologists video routing product which will be responsible for all video routing, both within would have to go in and plug this line into that studio and get the interstate and between each radio station. lines all hooked up and email someone to sort out some video feeds and those “If we have a breakfast host who is travelling,” explains Matt Steadman,” and sorts of things. We really just wanted to automate all of that.” we want to broadcast one of our Melbourne talent who’s based in Adelaide for To enable this vision of the future, NOVA turned to Professional Audio & the day. The ability for those guys to see each other and actually have full video Television. PAT will supply the FM network with LAWO radio technologies to capability between them is really becoming critical for us now. We’ll certainly replace and improve the ageing studio and MCR infrastructure for all of NOVA’s be looking at the Riedel platform to make all of that automated and a whole lot capital city radio stations, as well as On-Air audio infrastructure, AoIP Network better than it currently is in a manual setup. Switches, and System Control and Scheduling. “As we move down a video path, we want more configurable displays around Leveraging the arsenal of tools available, including LAWO Power Cores, LAWO the studios, so the screens that the operators look at to play the music, for Vistool, LAWO Virtual Studio Manager and DSA Volgmann Line Scheduler, example, at the moment that’s limited just to one screen in the studio. That’s Professional Audio & Television, LAWO and NOVA Entertainment have the screen that you look at and away you go. Whereas, down the track, we designed the new national Nova Network allowing for unprecedented levels of want that to be completely flexible, so each of our on-air teams could have software-defined control and redundancy. The system has been designed in their own screen layout and they can show on each screen what they want to such a way to allow 100% control for operational staff by presenting them with show. simple user interfaces driving a dynamic national platform. For operators, it can “There’ll be a pile of screens around the perimeter of the studio that we use be as simple as swiping an RFID card when they enter a studio, triggering the both for internal use, so if we have interstate shows we can put video images recall of personal pre-sets into the LAWO Ruby, changing Riedel Artist talkback Continues p40 >>

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WorldDAB Launches New International DAB+ Logo WORLDDAB, THE ASSOCIATION WHICH PROMOTES DAB DIGITAL RADIO around the world, has announced the roll-out of a new DAB+ logo and marketing toolkit for international markets.

Lawo’s R3LAY 4.0 Debuts SMPTE 2022-7 Network Redundancy LAWO’S VIRTUAL RADIO SOFTWARE SUITE, R3LAY, has received a major upgrade, adding many new features in Version 4.0, including compliance with the SMPTE 2022-7 standard, sometimes referred to as Seamless Protection Switching or 'hitless merge'. ST2022-7 is an AoIP standard for simultaneous transmission of dual, identical audio streams via independent network paths. Products with this capability allow instant, undetectable switching to a backup network link should the primary be interrupted.

The logo and corporate design was originally developed by ARD in Germany and is now available to all DAB stakeholders. Free for use in promoting DAB+ to listeners, the new logo will for the first time ensure consistent marketing of DAB+ internationally. Available via the WorldDAB website, the logo is designed to improve consumer recognition of DAB+ across borders. The logo replaces the black and white DAB logo, which had been in use for more than a decade.

R3LAY v4.0 also includes a number of enhancements designed to make the premium R3LAY VRX8 Virtual Radio Mixer even more intuitive and flexible. New capabilities include:

Germany, France, The Netherlands, Belgium and Austria are the first countries to use the logo in marketing and point of sale material, with others set to follow later this year. It is already being used by home and in-car receiver manufacturers, public and commercial broadcasters and automotive OEMs.

• Support for GPIO control of VRX8 functions via open-source Ember+ protocol.

The new marketing toolkit includes design elements and strategies for on-air radio spots, online distribution, social media, point of sale material and consumer advertising. It can be fully aligned to the needs of each market, including the tagline which varies by country. Countries have the option to use “more radio” or to develop a country specific message. The logo works hand-in-hand with the Digital Tick Mark and other technical logos.

R3LAY users can download the v4.0 software directly from the Lawo Downloadcenter at lawo.com/support/lawo-support/downloads.html . To obtain demonstration versions of any R3LAY 4.0 software, visit www. R3LAY.com

The new logo and toolkit can be downloaded via www.worlddab.org/technology-rollout/logo

• Multiple independent headphone controls for multi-mic talk shows. • Preview of external audio sources from AES67 / RAVENNA network prior to fader assignment. • Selectable audio processing with user-definable presets on PGM and REC busses.

• Enhanced facility integration with remote switching of output streams now possible via Lawo VSM and Matrix Server software, as well as Ember+.

Lawo’s line of physical and virtual radio solutions include ruby, sapphire, sapphire compact and crystal mixing surfaces, crystal CLEAR and R3LAY Virtual Radio Mixers, and advanced VisTool GUI-builder software. Visit www.lawo.com

Oz Radio Continues with Ad Sales Automation AUSTRALIA’S COMMERCIAL RADIO INDUSTRY has announced it is moving forward to Phase 2 of an industry-wide project to automate and simplify the buying of radio advertising. Phase 1 has resulted in the roll out of the AudioNET automated holding software RadioMATRIX. The industry wide system, live since October 2017 and paperless since July 2018, is now used by 131 advertising agencies and 380 radio stations.

large direct clients to build on the RadioMATRIX platform and further streamline the radio buying process. AudioNET chief executive officer, Dave Cox said, “Feedback on Phase 1 has been positive highlighting improved security for station, advertiser and agency data

and a significant reduction in double handling for agency staff.”

The software allows agencies to interact with a radio stations’ traffic management system electronically and without the burden of a previously excessive paper trail. Driving take up within the industry is the double confirmation security strategy that ensures advertisers are correctly and securely linked to agencies.

“Over the next 12 months, Phase 2 will introduce an electronic bookings module for agencies and large direct clients. At the completion of Phase 2 the industry will be ready for the development, and testing with agencies, of a live e-trading platform.”

AudioNET will continue to work collaboratively with radio stations, agencies and

Visit www.commercialradio.com.au

Lawo Crystal Top of the World for HITS FM 91.2

Broadcast equipment you can rely on Audio codecs, video codecs, Lawo delivered a 12-fader split version crystal with countersunk kit and analogue extension guest interview solutions and more. IO, and pre-configured settings. After phone calls between HITS FM’s independent Technical Consultant and Lawo Sales Director for Southeast Asia, Tan Boon Siong, to understand the basic setup, the team was able

to modify and fine-tune the system – a clear indication that the crystal with the powerful VisTool is easy to set up and adapt to the requirements and to provide full functionality for different operational needs. Crystal is available with RAVENNA/AES67 compatibility. The latest generation of crystal mixing consoles comes with VisTool, powerful touchscreen-optimised PC software for extended visualisation and control of crystal installations. In its basic version, VisTool is designed for clear visualisation, while the unlimited version of VisTool can be customised to meet any requirements, displaying all parameters or only those essential to operators’ needs. Visit www.lawo.com

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REPLACING AN OUTDATED CONSOLE that no longer met the requirements of its programming, Nepalese radio station HITS FM 91.2 has installed a Lawo crystal radio broadcast console – the first placement of a Lawo system in Nepal. Chosen to serve lively programming and modern workflows using advanced efficiency and flexibility, the updated studio was unveiled in a recent inauguration ceremony overseen by HITS FM’s independent Technical Consultant, Ram Saran Karki.

RADIO >> Continued from p38

of interstate talent on the screens, we can put the station logos and advertise things up there. There’s a lot of new functionality that we really wanted to design into the whole thing. “The other technology platforms we’ll be deploying, as well as the pure videos, the SDI video, we’re also implementing a whole pile of computer KVM routers, so if we want to put the output of any of our specific studio computers on any screen anywhere in the country, we need to be able to route that HDMI signal or SDI signal around the group. There’s an IHSE series of routers that are being installed specifically for computer signals. And the intent will be, so regardless of whether the image originates from a computer, or whether it originates as a video camera or a video source, it’s all just completely routable in the flat matrix. So, ultimately it will be fairly format independent to the operator. “The last piece of the puzzle is VSM, Virtual Studio Manager, to effectively pull all that together. We’ve got two or three large routers that operate in their own domain and then we’ll be using the VSM software to control all of that and make it appear to the operators, and even to the first layer of technology, one complete system rather than three separate systems that we need to route around. That’s obviously both within the facility and also across the country. When it’s all said and done, hopefully if we have a video camera sitting in Adelaide pointed at someone, it will be available pretty much anywhere around the group to display on any screen we might need or record anywhere.” A LAWO Virtual Studio Manager cluster will be deployed at each site allowing deep integration between site level third-party devices including, but not limited to, the Riedel Artist Intercom System, Riedel MediorNet video routing platform, IHSE Draco KVM matrix router, ELC DMX lighting interfaces, Bright Sign digital signage players and even SIP VoIP routers. The role of the VSM is to interface these third-party devices into the LAWO Vistool interface allowing these devices to be both controlled in real time as well as captured as a part of snapshots taken for each show. Further, while saving snapshots specific to a single room is nothing new, LAWO Vistool, in combination with LAWO Virtual Studio Manager, can save a snapshot in any room and then go and recall that in any other room nationally – regardless of the room type or features available in the room. This is a feature which in the past has been available within LAWO’s Virtual Studio Manager for Television applications known as ‘Boxing’ and is now also available for Radio facilities.

RADIO

Sitting above all national sites is the final layer of the system being DSA’s Line Scheduler acting as the national control and scheduling system. Line Scheduler can schedule events anywhere across the network, can manage permanent inter-site audio tielines as well as control all APT and Tieline audio codecs for external connections. The system nationally controls not only the audio infrastructure but every component allowing for extremely powerful templates to be captured for automating operations. Dynamic connections can also be instantaneously established using 2 linked templates and the swipe of RFID cards; particularly powerful in linking remote talent and producers to shows panelled from a remote site without prior configuration. Due to the deep integration, these dynamic connections create pathways for not only audio, but for video, comms and control as well, anywhere across the NOVA Entertainment network.

The overall design of the system was developed in close cooperation between DSA Volgmann (LAWO’s Radio R&D company), LAWO AG, NOVA Entertainment

Lawo’s newest radio console, Ruby, is the industry’s first to incorporate SMPTE 2022-7.

and Professional Audio & Television. As the head contractor, PAT will be responsible for configuring, commissioning and delivering each national site over the next three years. According to PAT’s Managing Director Patrick Salloch, “It is a tremendous honour to be involved with this project, having been selected as one of the key solutions providers. Our manufacturers, my team and I are looking forward to delivering what is without a doubt the most sophisticated national radio system in the country! The cooperation between all key stakeholders has been unsurpassed and the common goal of delivering something truly game changing has inspired everyone involved.” LAWO CEO & President, Philipp Lawo, congratulated NOVA on their technology decision, “I would like to thank NOVA Entertainment for their continued support and belief in LAWO technology. After having delivered the Brisbane DAB+ and Streaming router for Coles Radio in 2014, it is great to see that we continue our strong relationship to deliver the most technologically advanced national radio system in Australia.” “I guess, in some ways, this is fairly adventurous for the radio network,” says Matt Steadman, “because when we looked at what our programming teams wanted to try and achieve in the future, it was quite a challenge to look and see how we wanted to design it. What started as an equipment update and lifecycle project really turned into something a whole lot bigger as we explored what a radio network should look like in 2018 and beyond.” PAT, LAWO and DSA are currently configuring the Sydney system, which will be followed by Melbourne, Perth, Adelaide and Brisbane. The completion of the overall rollout is scheduled for 2020. Visit www.novaentertainment.com.au www.lawo.com and www.proaudiotv.com.au

RADIO

Remote Broadcast for Automated Radio Workflows PART OF ENCO’S ENCLOUD FAMILY, WEBDAD cloud platform provides users with a fully virtualised platform to remotely access and control their studiobased ENCO DAD radio automation systems. WebDAD’s user interface has been fully redesigned and optimised through an HTML5 architecture. The open, flexible nature of HTML5 programming ensures that broadcasters are no longer limited to specific web browsers, enabling complete native-level control from any workstation or mobile device. “WebDAD’s second-generation platform transforms the possibilities of webbased remote control across automated radio broadcast workflows,” said Ken Frommert, President, ENCO. “Once limited to simple production tasks, we have broadened to include remote control opportunities across on-air presentation, playlist manipulation, voice tracking, and other critical tasks. Our HTML5-based re-design positions WebDAD as the most powerful and comprehensive browserbased interface on the market.” WebDAD gives broadcasters and production teams a direct line to DAD and complete control of the one-air interface over IP via any standard web browser.

DAB Digital Radio Sales Reach 70 Million Worldwide WORLDDAB’S LATEST MARKET REPORT HAS REVEALED that, by the end of Q2 2018, over 71 million consumer and automotive DAB/DAB+ receivers had been sold in Europe and Asia Pacific – up from 58 million in Q2 2017. The new data published by WorldDAB draws on multiple sources to give a comprehensive overview of the latest statistics on DAB receiver sales, road and population coverage, household penetration and the number of national stations on DAB/DAB+ compared to FM. The report covers Australia, Belgium, Denmark, France, Germany, Italy, the Netherlands, Norway, Switzerland and the UK. DAB is seeing significant activity across Europe, Asia, Middle East and Africa and the infographic also details the rollout status in 21 emerging markets including information on trials and population coverage. Key findings from the report include: • Almost 12 million receivers have been sold in Germany (11.8 million) and 17% of German households now own at least one DAB receiver • In the UK, 64% of households have at least one DAB radio and digital listening has been in excess of 50% for three successive quarters • Nearly 6 million receivers have been sold in Norway (5,600,000) • In Switzerland, 63% of all radio listening is via digital platforms – with 34% via DAB+ • In Australia, 60% of new cars are now sold with DAB+, up from 47% in 2017 • Italy, France, Netherlands and Belgium have all shown positive signs of growth in the last year According to Patrick Hannon, President of WorldDAB, “DAB digital radio continues to make significant progress in multiple markets. Cumulative global sales of DAB receivers now exceed 70 million units. It is clear that DAB is established as the core future platform for radio in Europe and Australia. Our next goal is to see similar developments in Africa, the Middle East and Asia Pacific regions.” Visit www.worlddab.org

This means that board operators no longer need to be physically at the radio station to control and playout a live radio show. WebDAD also introduces new operational efficiencies for full-time station personnel, and also allows part-time, contract, and remote staff to access the playout system from a laptop, tablet, smartphone or other connected device. WebDAD expands the enCloud product line, which includes tools for mobile journalism and remote voice tracking. Visit www.enco.com

DVR for Streaming Radio SAAS-BASED STREAMING SOLUTIONS PROVIDER StreamGuys has unveiled SGrewind network DVR-like (nDVR) functionality for live streams. SGrewind technology lets broadcasters automatically retain a rolling window of content from their live stream, giving their audience the ability to rewind, pause, or restart a stream from the beginning of a program. SGrewind is a feature of StreamGuys’ enterprise-class, cloud-based SGrecast live stream repurposing and workflow management system, which offers broadcasters a comprehensive platform for recording live streams and transforming them into revenue-expanding side channels and podcasts. The new feature gives listeners and viewers more control of their live streaming experiences by letting them pause and resume streams without missing any content; rewinding for a fixed time period; or starting the stream at a specific segment, similar to a television electronic program guide (EPG). SGrewind technology supports a wide range of audience-empowering use cases. A listener could pause a live stream in the radio station’s mobile app because of poor connectivity when getting onto a subway or elevator, then resume the stream from that point when subsequently re-opening the app. A viewer could access a broadcaster’s live stream and jump back to the beginning of the most recent news, traffic or weather segment, providing quick access to what interests him or her most. In another example, someone listening to a news segment but only partially paying attention could rewind 15 or 20 seconds to focus on something they missed. SGrewind-enabled live stream control will be available through StreamGuys’ media players as well as third-party players and apps. SGrewind will be supported in StreamGuys’ managed, embeddable SGplayer, while compatible players with rewind controls can be also generated from within SGrecast. An SGrewind API and URL-based control strings also allow customers to integrate SGrewind support into their own players and custom mobile apps. Broadcasters with fixed schedules will be able to bring them into SGrewind to generate EPG-like controls. Rewindable streams will be available in both HLS and MPEG-DASH formats. Audio stream support will be available in the initial SGrewind release – currently slated for Q4 – with video support to follow. Visit www.streamguys.com

Low Power FM transmitter Small in dimensions, only 2U rack and less than 15kg, features include 3500W General Electric power supply strong, reliable and easily extractable from the front panel, easily replaceable fan from the outside, no-dust filter that can be easily removed and cleaned. The DS2000 also offers a high-quality transmission, with low consumption and very low operating temperatures, and RF efficiency of over 85 percent.

The DS2000 also includes the Maximized Efficiency System (MES) – an intelligent system of automatic regulation of power devices working point that allows to obtain efficiencies RF/AC up to 85 percent, the Ultimate Audio Quality (UAQ) system that allows users to obtain audio quality levels higher than industry norm and an Intelligent Cooling System (ICS) which regulates the amount of cooling air according to the environmental conditions and the transmitter needs, with reduction of energy spent on cooling by up to 40 percent. Visit http://rfebroadcast.com

RADIO

THE RFE BROADCAST DS2000 is a new generation of low power 2kW FM transmitter.

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

Viaccess-Orca Partners with RedSo to Simplify OTT Delivery VIACCESS-ORCA HAS ANNOUNCED it is partnering with RedSo, a leading Asian mobile app development company, on an OTT solution for pay-TV operators and service providers. Integration between RedSo’s Android-based user interface and VO’s TV platform will provide operators with a readymade solution for managing and delivering OTT services. With over 10 years’ experience, Red Soldier, also known as RedSo, is a technology solution company based in Hong Kong, with expertise in custommade mobile app, website, cloud-based backend solutions. “The demand for OTT content on Android STBs is booming in Asia and will continue to do so for the foreseeable future,” said Rem Suen, Director at RedSo. “To help companies respond to these rapid changes, we began providing public and private blockchain application development and consultation services, and we look forward to bringing that same blockchain technology to the OTT environment. Partnering with VO, we have created a scalable and reliable OTT solution that will change the way operators distribute content to Android STBs.” Through RedSo’s UI, operators can support a wide range of advanced functionalities, including 4K content, and deliver a consistent user experience across low-end and premium Android STBs. The UI has been integrated with VO’s TV platform to streamline the delivery of TV services to Android STBs. Using VO’s TV platform, which can be deployed on-premise or in the cloud, operators can manage, deliver, and monetise multiscreen content. The TV platform includes functionalities for content, service delivery, customer, and device management, content discovery and personalisation, content protection, and advanced TV analytics.

“OTT is not just a trend, it’s a phenomenon that has opened up new revenue opportunities for operators. The challenge is managing the OTT delivery process and ensuring a superior user experience,” said Chem Assayag, Executive Vice President of Marketing and Sales at Viaccess-Orca. “By collaborating with RedSo, we make OTT delivery faster, easier and more cost-effective for Asian operators. RedSo’s expertise in UI design and OTT multiscreen apps, combined with our solid experience in TV platforms, enables operators to better focus on personalising the television experience and monetisation.” Visit www.viaccess-orca.com and www.redso.com.hk

CJ Hello Korea Uses ATEME to Virtualise Video Headend ATEME HAS ANNOUNCED THAT CJ HELLO, cable operator and one of the leading companies in Korea’s media industry, has successfully deployed its TITAN LIVE solution for an innovative HD project. This deployment enables CJ Hello to virtualise its video headend and service HD channels using terrestrial modulation without a STB, and reach subscribers in 23 South Korean regions. Based on the bandwidth efficiency of MPEG-2 in conjunction with ATEME’s TITAN Live, CJ Hello is able to save bandwidth and add additional HD channels. In addition, the solution provides the company with the following benefits: • Simple migration to the virtual video headend: TITAN is a pure softwarebased encoder that can run on any COTS or virtualised server leveraging the support of inputs/output formats enabling customers to quickly deploy high quality live channels. • Flexible architecture: ATEME’s TITAN can run on private/public and on-/ off- premises cloud infrastructure with the same benefits and value proposition.

• Easy operations: TITAN pure software solution simplifies integration and operations thanks to hardware abstraction and operational simplicity. “CJ Hello is committed to driving innovation, bringing the latest technology and cutting-edge services to its customers,” said CTO, Kim HongIk from CJ Hello. “We have selected ATEME’s solution for our HD project taking into consideration its expertise in virtualisation as it provides simple migration from hardware to software and enables fast migration to cloud-based technology.” “The virtual headend platform deployed by CJ Hello is redefining the future of cable operators technology – the transition from legacy broadcasting appliances to software-based infrastructure. We are very proud to contribute to that first in Korea and to be part of this project,” said Eunsook Wi, Sales Director. Visit www.ateme.com

Telkom Indonesia Selects Brightcove

CONTENT DELIVERY

BRIGHTCOVE HAS ANNOUNCED THAT ITS VIDEO PLATFORM has been selected by Metranet, a subsidiary of Telkom Indonesia, to launch OONA, a mobile app designed to deliver both live linear and VOD experiences to audiences on the go. OONA is an AVOD OTT service designed to revolutionise the TV distribution and viewing experience for 135 million Telkom Indonesia’s subscribers.

With the OONA app, Metranet provides the country’s mobile subscribers with the next generation OTT service, streaming TV entertainment with free access to current-season shows from local TV stations, as well as the largest US and European broadcast networks. The OONA app brings innovative user experiences with built-in features like chat bots, chat with other viewers, offline caching, parental controls, screen capture with drawing and sticker editing, virtual wallet, and a 360-video player. The Brightcove video platform will underpin the live and on-demand video experience on the OONA app, streaming 60 live channels, as well as serving video adverts with server-side ad insertion technology (SSAI) for a broadcast-

like seamless ad experience. “Metranet is excited to be the first to launch OONA for Indonesian market as part of our goal to bring first-class entertainment to Telkom Indonesia’s mobile customer base. With 135 million potential viewers, we understand the pressure is intense to ensure that even with free content, the streaming experience for the user needs to be exceptional and the advertising experience should be seamless. This is why we selected Brightcove for their robust and scalable OTT video streaming architecture, industry-leading server-side ad insertion technology, proven track record of working with some of the world’s top OTT service providers, and established in-region technical support team,” said Widi Nugroho, CEO of Metranet. “OONA is the future of OTT and a game-changer for Telkom Indonesia and viewers in Indonesia, where great content, delivered on mobile, and monetised via an ad-funded model has hit the sweet spot. We are excited to be powering an OTT platform to 135 million subscribers that combines. Visit www.oonatv.com and www.metranet.co.id and www.brightcove.com

CONTENT DELIVERY

AJA’s FS-HDR Helps Guangdong Radio and TV Broadcast in 4K GUANGDONG RADIO AND TELEVISION (GRT) is one of the largest Cantonese television networks in the world and one of China’s oldest media organisations. Owned by the Guangdong provincial government and headquartered in Guangzhou, the network provides a variety of content including news, sports, public affairs, children’s programming and more. This year, GRT began a networkwide upgrade to deliver broadcasts in 4K HDR 50p, adopting two AJA FS-HDR frame sync and HDR/WCG converters for a smooth transition. “Prior to upgrading we compared different HDR converter options, and quickly realized that AJA’s HDR conversion technology is the most advanced on the market. Not only is AJA the industry leader in HDR conversion, but the priceto-performance ratio of the FS-HDR is also impressive,” said Zhai, Production Department Technical Maintenance Division Manager, Guangdong Radio and Television. FS-HDR is a 1RU, rack-mount universal converter/frame synchroniser for real time HDR transforms and 4K/HD up/down/cross conversions. Its versatility allows GRT to use FS-HDR in a variety of workflows, from live production in the studio or the OB van, to post-production. Working with a range of inputs from recorders, switchers, files and multiple camera signals, GRT has found that FS-HDR can readily handle any workflow need. Using FS-HDR’s singlechannel mode enables up, down and cross-conversion, including real time down conversion of 4K/UltraHD HDR to HD HDR or SDR; while its four-channel mode allows users to simultaneously apply up to four HDR and SDR transforms to an incoming 2K/HD signal for output, or apply transforms to four separate 2K/HD incoming signals for simultaneous output. “We appreciate that FS-HDR is easy to configure; set up and software updates are simple,” said Zhai. “In addition, the front control panel is user friendly. We don’t have to connect to an additional laptop for setup or adjust the menu, which is a nice benefit when we’re on the go. We’ve also been impressed with AJA’s level of customer support; they give us a lot of feedback, try to understand our needs and respond accordingly rather than provide a blanket approach.” AJA Video Systems announced v2.6 firmware/software for the FS-HDR real time HDR/WCG Converter with Colorfront Engine video processing. The free update includes new colour transformation enhancements that give broadcast,

production, post and ProAV professionals more flexibility to accomplish new workflows and achieve a consistent, final look when working with a range of 4K/ UltraHD/2K/HD, SDR and HDR formats. FS-HDR v2.6 includes: • Colorfront Engine support for new HDR output transforms: • S-Log3/BT.2020 Output Dynamic Range and Gamut • ARRI Log C Output Dynamic Range and Gamut It also features updated BBC v1.2 HLG LUTs, including: • SDR Scene Referred (SR) to HLG • SDR Display Referred (DR) to HLG • PQ 1000 nit to HLG • S-Log3 100 percent to HLG • S-Log3 200 percent (SR-Live) to HLG • HLG to SDR Display Referred (DR) • HLG to PQ 1000 nit New BBC v1.2 HLG LUTs included are: • SDR SR up-conversion to HLG • SDR DR up-conversion to HLG • PQ 4000 nit to HLG • HLG to SDR SR Users can also upload and store multiple custom 3D CUBE LUTs to FS-HDR using the web GUI, and use presets to recall, as well as use custom LUTs with the FSHDR toolset to provide consistent looks with real time workflows. Users can also employ the free FS-HDR Control Link application to gang multiple FS-HDRs on the same network, including four FS-HDRs for 8K workflows. Easily make Colorfront Engine adjustments by implementing parameter changes to one unit that simultaneously apply to all ganged units using FS-HDR’s applications GUI or a Tangent Element kB 12 knob panel. FS-HDR v2.6 firmware is available as a free download from AJA’s support page. Visit www.aja.com

VSN Launches Cloud-based Traffic and Scheduling Software

Toni Vilalta, Product Manager at VSN, said, “We are very excited to be able to showcase the first version of our new cloud-based traffic and scheduling software at IBC this year. VSNCrea has been completely redesigned to offer broadcasters a brand-new, modern and user-friendly web interface that allows them to make quick and accurate decisions about when to broadcast a certain piece of content, thanks to its unified functionalities and workflows with a single interface. It will also provides useful extra information such as analytical data about the actual profitability of the content.” In addition to a more intuitive interface, the new HTML5 version allows for greater customisation of the software, which can be adapted to meet the specific needs of each client through customised metadata and integration

with third-party products and services. Oriol Egea, Solutions Architect at VSN, said, “One of the direct user benefits, and, without a doubt, the major improvement compared to the previous VSNCreaTV, is that this new HTML5 version will be accessible anytime, anywhere, from any web browser and device by multiple users simultaneously. Also, the possibility of running this software in the cloud will enhance the ability of users and departments to work together on a more collaborative basis.” The system, that will become available to customers in 2019, can be used specifically within TV channels, radio stations, or web TV platforms for traffic and scheduling, programming planning, advertising management and control of third-party TV rights acquired for broadcast, among others. Other features will include the ability to change language within the user interface, the consolidation of the final broadcast and the analysis of the programming and content return on investment through analytical reports. Overall, VSNCrea is being designed to improve the efficiency and flexibility of broadcast professionals, allowing them to organise and control their channel’s programming at all times. Visit www.vsn-tv.com

CONTENT DELIVERY

IBC2018 SAW VSN INTRODUCE VSNCREA, an HTML5 and cloud-based version of its previous VSNCreaTV software. Visitors were be able to see a first version of the new VSN software for TV, radio, and second-screen traffic and scheduling throughout the event, and discover how it enables the management of a company’s content production catalog, either owned or acquired from third parties, as well as its advertising, production workflows, programming and broadcast planning – all from a unique user interface.

CONTENT DELIVERY

UHD 4K on Trial Throughout ANZ THE MOMENTUM FOR TERRESTRIAL 4K UHD TELEVISION is building throughout Australian and New Zealand with the completion of trial broadcasts on both sides of the Tasman. Broadcast Australia and Free TV, in partnership with ABC, SBS, have given the broadcast industry a taste of the future, transmitting Ultra High Definition 4K content live over the terrestrial platform. The demonstration took place at July’s Next Generation Television Industry Showcase event and marked the first ever live transmission of 4K content over the terrestrial platform in Australia. The live 4K content broadcast was a curation of local Australian stories and sport content from national and commercial broadcasters. The showcase was held to celebrate the successful completion of the next generation DVB-T2 trials that were conducted over the past six months. The trials were undertaken to assess the performance and potential of DVB-T2 technology as a possible replacement for the DVB-T standard for digital terrestrial television delivery. Attendees from across the political, broadcast and content communities, heard how the broadcast industry had come together to demonstrate what was possible on the television platform. “The digital terrestrial television platform was launched in 2001 for the delivery of multi-channel surround sound and highdefinition television content for Australian audiences,” said Free TV Director of Engineering, Roger Bunch. “Seventeen years on, technology has now transformed the way our audiences are consuming content with platforms like Netflix and Amazon offering more 4k content than ever before, which the existing terrestrial platform doesn't have the ability to deliver. “Over the last six months, the broadcast industry has been collaborating to trial next-generation television technologies in the Australian environment. “DVB-T2 has the potential to replace the current DVB-T standard for television is capable of delivering 4K television pictures and immersive sound, meaning four times the picture quality of what we have today and cinema quality sound, significantly enhancing the viewer experiences as well as allowing greater programming opportunities for free-to-air broadcasters.”

The demonstration is part of a wider initiative by the company to drive interest in 4K broadcasting. Kordia will feature a range of 4K content on its Kordia TV channel (Freeview channel 201), enabling industry players, interested parties and consumers with 4K capable TVs to enjoy premium quality content over the next three months. “Seeing is believing, so we hope that by giving people a taste of just how incredible the 4K viewing experience is, it will help move things along a bit faster,” said Brain. Content featured as part of the demo included a range of documentaries from Blue Ant Media (owners of Choice TV in New Zealand), as well as a range of other 4K lifestyle content.

Meanwhile, across the Tasman, transmission service provider Kordia has successfully carried out what it believes is New Zealand’s first 4K Ultra High Definition TV broadcast, beaming a range of 4K content in real-time to its Kordia TV channel (Freeview channel 201).

“4K broadcasting is already rolling out in the UK and US with great success, so we’re very pleased to see progress being made locally. New Zealanders are already embracing the enhanced viewing experience 4K content provides on streaming platforms. In 2018 over 75% of Samsung TV sales are UHD, the time is right for the next innovation in broadcast to happen in this country,” said Jens Anders, Director of Samsung New Zealand’s Consumer Electronics division.

According to Dean Brain, Head of Media at Kordia, the successful demonstration proves that 4K broadcasting is here and that it’s a viable option for broadcasters. “4K is already being enjoyed by a significant number of TV viewers via Netflix and Amazon. Our ultimate hope is that local broadcasters will get as excited as we

CONTENT DELIVERY

“Best of all, we’ve proven that we can do it right here, right now using existing Digital Terrestrial Technology (DTT), which we believe is the most reliable option when delivering 4K content,” Brain adds.

According to Broadcast Australia CTO, Stephen Farrugia, “In March and April, we conducted lab trials to test transmission system equipment and consumer equipment comparability. This was followed by on-air trials from three transmission sites across Sydney – Gore Hill, Kings Cross and North Head. The trial was established to assess if the technologies can perform in the Australian environment and we can achieve significant greater capacity and performance than our existing digital services. The trial has demonstrated the capability our industry has when we work together to achieve ambitious goals.”

The official launch broadcast was held in front of key industry players at the Media Pacific Conference, which took place in Auckland on Wednesday 1st of August, 2018.

are about 4K technology; and that they will move faster to bring 4K content to their viewers.

Kordia TV 4K content will be viewable by most homes in Auckland provided they have a Freeview UHF antenna and TV or set top box that can receive a DVB-T2 and a HEVC signal. Samsung New Zealand is just one of the companies supporting the initiative by Kordia.

“For anyone who loves watching live sport, the prospect of 4K broadcasting is really exciting – finally New Zealand consumers will be able to experience all the energy of a live match in incredible definition, even if they’re watching a large screen 4K TV,” concluded Anders. Visit www.broadcastaustralia.com, www.freetv.com.au and www.kordia.co.nz

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CONTENT DELIVERY

Appear TV Provides Optimal Experience for Any Device

Edgeware’s Glitch-Free Ad Insertion and Anti-Piracy Content Delivery

TODAY’S VIEWERS WATCH CONTENT ACROSS MYRIAD DEVICES. As part of Appear TV’s OTT software portfolio, the Adaptive Bitrate Linear Packager (ABR) provides different resolutions and video streams depending on the type of device being used, while maintaining quality video. It adapts video quality to changing network conditions dynamically, providing optimal user experience according to bandwidth.

EDGEWARE SHOWCASED demonstrations of several technology applications at this year’s IBC Show. These included its forensic watermarking anti-piracy solution and server-side OTT ad personalisation.

ABR is more than a packager. It is a video segmentation engine that provides high-performance storage with internal and external options, justin-time packager/DRM engine, origin server and optional offline encoding/ transcoding. The software complements an encoder to produce streamable content and can adapt to varying workflows without affecting the end-user. In a typical workflow, the ABR Packager is connected to a Digital Rights Management (DRM) system that provides security of the content, while working with content management systems and middleware systems for delivery to the end-user. The ABR Packager offers an unlimited ability to store recordings ranging in length from seven days to 100 days, and more. Scalable to the user’s requirements, the ABR Packager can fit into small installations while also managing upwards of 1,000 channels. In addition to programmatic television and VOD, the ABR Packager can also act as an efficient web publishing system for highlights and clips – live TV news, weather, and sports. When using Appear’s ABR, providers can make on-demand content viewable immediately, with no lag from when a program is broadcasted on traditional TV to its availability as a VOD. The software also has blackout functionality allowing users to filter out programs that are not ready for VOD or web. This ensures only approved content is available and viewable to the end-user.

Edgeware also presented its Ad Enabler solution which allows for the personalisation of ads during live OTT, live-to-VoD and timeshift TV services. It supports HLS, for delivery to Apple devices, and MPEGDASH for Android devices – making Edgeware one of the first to support live serverside, OTT ad insertion to the operating system. Ad Enabler uses frame-accurate segmentation to pinpoint exact moments within TV programming. Edgeware’s ad stitching solution detects these markers, and through an integration with Yospace and a VAST-compatible ad decision server, fetches the personalised ad and stitches it into the content stream. The TV programming and the ad is then streamed from Edgeware’s TV server to viewers. Edgeware’s TV Watermarker showed content distributors how to protect their TV programming. With internet-delivered services continuing to draw viewers away from traditional broadcasts, anti-piracy measures are becoming increasingly important. TV Watermarker uses a bitstream-based solution which can be used on-the-fly by Edgeware’s TV servers while streaming. Demonstrations exhibited how the solution encodes a visual code into the program’s image which is unique to each viewer and therefore much harder for pirates to identify and alter. If a stream is illegally redistributed by an unauthorised source, TV Watermarker can identify the pirate within 15 seconds.

Another feature of Appear’s ABR is its ability to save and promote ad markers, which can be used by a third-party system to replace ads in the program to target relevant user groups. This ad tagging opens the door for additional revenue streams within content.

Commenting on the technology presentations, Edgeware’s Richard Brandon said, “Demonstrations of our anti-piracy measures always gain a lot of attention throughout these industry events, and it’s easy to see why. We’re showing a powerful, real-world solution that lets content distributors identify pirates who are illegally redistributing expensive programming. And ad personalisation is a great additional opportunity for revenue for many of our customers. Now they can deliver it glitch-free to any device.”

The packager is easy to integrate into an overall service infrastructure with a complete set of REST-based APIs that allow full control over functionality. The goal of ABR is to simplify operational environments through great redundancy features.

With more people than ever choosing non-broadcast services for reasons of convenience or higher-quality, content owners and distributors need to deploy a distribution workflow that enables them to take advantage of internet-delivery to deliver an experience surpassing traditional broadcast.

Visit www.appeartv.com

Visit www.edgeware.tv

PEBBLE BEACH SYSTEMS EXHIBITED interoperability with a range of solutions across multiple IP standards in an ‘IP in Action’ feature during IBC2018. Pebble’s IP Playout Pod is the latest initiative from the automation, workflow and playout specialist. The company showcased SMPTE 20226/7, SMPTE 2110, NDI, and the NMOS suite of standards in a playout chain designed especially for IBC featuring vendors including Arista, Embrionix, AJA, Vizrt, Tektronix, Newtek, Matrox, Atos, and Suitcase TV. As part of the IP playout demonstration, Pebble Beach revealed a new open standard; ‘Event and Tally’ protocol for signalling events in real-time.

Under development as part of the AMWA initiative, this is a vendor-agnostic protocol which allows for the exchange of signals across a network, much as GPI triggers have traditionally been used. For the broadcaster this offers interoperability between systems built using COTS hardware in a softwarebased IP/NMOS environment, with tally indicators signalling when a state is changed or in response to user actions. In addition to the IP Playout Pod, Pebble Beach Technology was also on displayed in interoperability demos on the Cisco and Arista stands. Visit www.pebble.tv

CONTENT DELIVERY

Pebble Beach Showcases ‘IP in Action’

CONTENT DELIVERY

Omnitek Demonstrates Video Chipsets DESIGN CONSULTANCY AND TEST AND MEASUREMENT manufacturer Omnitek displayed its AV over IP, video Warp chipset solutions and FPGA IP-cores at IBC in Amsterdam, giving equipment manufacturers more access to the company’s expertise in 4K and higher resolution video designs. Omnitek’s silicon chipset solutions are alternatives to ASIC and other ASSP devices, using system-on-chip technology that delivers multi-function video processing features, currently only available using combinations of discrete devices. Alternatively, these off-the-shelf IP solutions are also customisable to manufacturers’ specific feature requirements, to create a bespoke device for the customer. ‘Javelin’ AV-over-Internet Protocol uses on-chip H.265 video compression for high quality transmission and reception of 4Kp60 video, targeted at ProAV and Broadcast products. Javelin can support both 12G-SDI and HDMI 2.0 inputs and outputs and is aimed at products requiring low bandwidth with lowest latency transfer of 4K resolution material. Omnitek’s implementation and enhancement FPGA IP at the heart of Javelin will be demonstrated as a live 4K encode to decode path over a 1Gb/s IP connection.

Omnitek’s ‘Flex’ 4K and HD Warp solutions provide live image warping aimed at the small projector and digital signage markets. These solutions provide all of the standard image adjustments such as keystone, barrel, pin cushion correction as well as the ability to perform arbitrary image distortions. Omnitek’s Warp IP underlying the Flex solutions was on show demonstrating live 4Kp60 image warping for high resolution applications. A Flex PCB for the reference design was also on display. The Warp FPGA IP-core is optimised to create arbitrary image warps on live video streams up to 4096 x 2160 at 60Hz. Maximum image quality is achieved via per-pixel filtering and bicubic interpolation on 4:4:4 video data at up to 12 bits per colour plane. Alternatively, a single warp processor can process multiple HD video images and stitch the resulting videos together to create a surround view from multiple cameras. Or images can be warped and blended to project a large image from multiple projectors onto tilted and non-linear surfaces. The IP core fits into a single mid-range FPGA with a single DDR3 SDRAM interface, providing a highly cost effective solution. Visit www.omnitek.tv

Media Links Expands MDP Series of IP Media Gateways AT IBC 2018 MEDIA LINKS SHOWCASED its new solutions for delivering and receiving video, audio and data quality to and from the network edge. The MDP Series addresses the real need in the marketplace for compact and portable, tightly integrated, affordable and easy to use platforms that enable the transport and delivery of real-time IP media services. The new MDP3040 IP Media Gateway made its debut at IBC. This multichannel device is a two channel 4K/UHD TICO lightweight compression encoder/decoder, supporting several configurations. Two 12G-SDI inputs can be TICO encoded and transmitted over dual 10GbE network trunk interfaces or two TICO encoded network streams can be simultaneously received and decoded as two 12G-SDI outputs. For delivering 4K/UHD signals over existing 3G-SDI infrastructures, the MDP3040 can function as a standalone two channel 12G-SDI input to two channel TICO compressed BNC output encoder, or as a two channel TICO compressed BNC input to two channel 12G-SDI output decoder. Dual 10GbE trunk interface along with hitless switching provide high levels of network redundancy and video/audio protection. In addition, 4K frame synchronisation, SMPTE 2022 conformance, source ID Generators and HDMI monitor output are all part of the basic package. Due to its combination of

high performance and versatility, broadcasters can use the MDP3040 for both remote venue transport as well as in-studio compression/decompression applications. The second generation MDP3020 also came to IBC with new features. These include support for both 3G/HD/SD uncompressed as well as J2K compressed video, two channels of bi-directional hitless data, and both 10GbE and 1GbE dual network trunk interfaces. The unit’s LLDP trunk diagnostic and keepalive mechanism now interoperates with Media Links’ MD8000 product family, MDX switches as well as other MDP3020 units. A new rack-mountable 1RU MDP Series Multi Unit Power Supply is also available, which powers up to any combination of eight MDP3020 or MDP3040 units with redundant power. Media Links’ IP technology supports video, audio and data distribution over an IP network, replacing traditional dedicated switchers and encoding devices. Both the MDP3040 and MDP3020 are integrated with Media Links’ ProMD EMS Enhanced Management System for device configuration, service activation, overall system element management, as well as real-time monitoring and troubleshooting of network elements. Visit http://aus.medialinks.com

Agama and THEO Technologies Announce Strategic Partnership AGAMA TECHNOLOGIES AND THEO TECHNOLOGIES, provider of the universal video player THEOplayer have announced that THEOplayer is fully integrated with the Agama OTT service assurance solution.

and workflows. The Agama solution empowers operations, product management, marketing and customer facing teams to drive customer satisfaction, lower operational costs and increase agility.

As a result of this partnership, OTT video service providers will be able to combine both technologies to enable services with the highest video quality across all browsers and devices, leverage unrivalled analytics capabilities and provide superior customer experience.

THEO Technologies is a technological front-runner in the online video playback space aiming at facilitating the perfect video experience on any platform or device. Its THEOplayer is a universal video player, HTML5 based, supporting every platform and device via a set of different SDKs. THEO Technologies delivers the most performant video playback technology: superior viewer experience in terms of latency, start-up time, seeking time, etc. and the most advanced feature set and functionalities.

CONTENT DELIVERY

Agama’s OTT solution offers transparency of service performance and customer experience, from service creation in the head-end, across delivery networks and all the way to the individual customer’s app or device. With unique analytics, visualisation and integration capabilities, Agama enables operators to implement a data-driven way of working across departments

Visit www.agama.tv and www.theoplayer.com

Join over 9,000 industry professionals who receive our weekly e-newsletter. Sign up at www.content-technology.com

Stay informed. Sign up today.

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ASIA

+ANZ

ASIA

As well as the features below, EVERY ISSUE of Content+Technology contains features on the following:  Image Acquisition  News Operations  Sportscasting  Post-Production & VFX

 Media in the Cloud  Digital Asset Management  Audio  Radio

+ANZ

 Content Transmission & Delivery  Signal Distribution  Command & Control – Automation, Monitoring, Systems Management.

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2019 ISSUE

EDITORIAL + AD DEADLINES

PUBLICATION DATE

PRODUCT ROUND-UP

SHOW COVERAGE

February

Editorial Submissions: 16-01-19 Ad Bookings: 23-01-19 Ad Artwork: 30 -01-19

2nd Week February

+ Broadband & HbbTV + Multi-screen Delivery + Social Media + Studio/Facilities Directory

+P review: Mobile World Congress +R eview: CES 2019

Mar-April

Editorial Submissions: 01-03-19 Ad Bookings: 04-03-19 Ad Artwork: 11-03-19

3rd Week March

+ Digital Asset Management Solutions + Content Delivery – RF, Fibre, Wireless and more.

+ Preview: NABshow19 April 06-11, Las Vegas

May-June

Editorial Submissions: 24-04-19 Ad Bookings: 02-05-19 Ad Artwork: 09-05-19

3rd Week May

+S ports Production Solutions +D rones & UAVs +O TT/IPTV/VOD Solutions

+P review: BroadcastAsia /ConnectAsia 2019 June 18-20, Singapore

July-Aug

Editorial Submissions: 17-06-19 Ad Bookings: 19-06-19 Ad Artwork: 24-06-19

1st Week July

+ 4K Acquisition & Delivery Solutions + IP-based Production + Content Security

+P review: (SMPTE Australia) Media+Entertainment Tech Expo July 18-20

Sept-Oct

Editorial Submissions: 09-08-19 Ad Bookings: 16-08-19 Ad Artwork: 23-08-19

1st Week September

+E NG/Newsroom Systems +C ompression, Encoding, Transcoding Solutions +R adio Technology

+P review: IBC Amsterdam Sept 12-18 +P review: National Radio Conference

Nov-Dec

Editorial Submissions: 17-10-19 Ad Bookings: 23-10-19 Ad Artwork: 01-11-19

2nd Week November

+ Channel-in-a-Box Solutions + Cable & Satellite Delivery + Production, Post & Locations round-up

+P review: Screen Forever Conference

C+T ASIA FEATURES + DEADLINES 2019 PUBLICATION DATE

ISSUE

EDITORIAL + AD DEADLINES

PRODUCT ROUND-UP

SHOW COVERAGE

Mar-April

Editorial Submissions: 11-02-19 Ad Bookings: 13-02-19 Ad Artwork: 13-02-19

3rd Week February

+ HDTV & Beyond + Broadband & HbbTV + Cloud Technologies + Digital Asset Management Solutions + Content Delivery – RF, Fibre, Wireless and mobile.

+ Preview: ABU Digital Broadcast Symposium March 4-7, Kuala Lumpur + Preview: NABshow19 April 06-11, Las Vegas

May-June

Editorial Submissions: 24-05-19 Ad Bookings: 31-05-19 Ad Artwork: 03-06-19

2nd Week June

+C hannel-in-a-Box Solutions +O TT/IPTV/VOD Solutions +S ports Production Solutions + Production, Post & Locations round-up

+P review: BroadcastAsia /ConnectAsia 2019 June 18-20, Singapore

Aug-Sept

Editorial Submissions: 24-07-19 Ad Bookings: 31-07-19 Ad Artwork: 14-08-19

3rd Week August

+ Loudness Solutions + Cloud Solutions + Content Security + Compression, Encoding, Transcoding Solutions

+P review: BIRTV (Beijing, China) +P review: IBC Amsterdam Sept 12-18

Oct-Nov

Editorial Submissions: 01-10-19 Ad Bookings: 08-10-19 Ad Artwork: 15-10-19

3rd Week October

+ Cable & Satellite Delivery + Digital Asset Management Solutions + OTT/IPTV/HbbTV Solutions

+P review: AVIA (CASBAA) Asia Video Summit + Preview: Broadcast Indonesia

PHIL SANDBERG

ADAM BUICK

LUCY SALMON

PUBLISHER/EDITOR

ADVERTISING SALES MANAGER

CO-FOUNDER

He has also produced the ABE2016, Sportscasting (2014-2016), and 3D-Day (2011) industry conferences.

Adam’s previous role as Manager of the SMPTE Australia Exhibition, along with strong family ties in Australia and SE Asia, has given him a unique perspective on the broadcast and content creation sector throughout the region.

Co-founder and Production co-ordinator Lucy Salmon has worked with Broadcastpapers.com since its inception. She also holds a PhD in the field of sports medicine.

Contact Phil via +61(0)414 671 811 or papers@broadcastpapers.com

You can contact Adam on +61(0)413 007 144 or adam@broadcastpapers.com

You can reach her via +61(0)412 479 662 or production@broadcastpapers.com

Phil Sandberg has spent 28 years reporting on technology issues across the Asia-Pacific. His credits include launching Content+Technology, Broadcastpapers.com, the SMPTE Australia Exhibition, Directory, and Cinema Technology Asia-Pacific.

BROADCAST ASIA