Content+Technology ASIA September-October 2202

04 NEWS+PEOPLE Tamil Coming of Age Film Shot with Blackmagic; Manila Summit Highlights Content Theft; Ideal Systems Builds New TV Studio for Malaysia’s SUKE TV; ASTRO Personalises the TV Experience; Airtel Partners with Qwilt to Provide CDN Services in India; Hong Kong Film Test Explores On-Set Virtual Production; People on the Move.

09 CAMERAS & LIGHTING Japanese Film xxxHOLiC Captured with Blackmagic; Pixotope Democratises Extended Reality; Cartoni Encoded Heads for VFX; RED DSMC3 with V-RAPTOR XL 8K VV; Orbiter LiOS2 Software Update from ARRI; Densitron Integration with BirdDog PTZs; ATOMOS Cloud Studio; and more.

13 SPORTSCASTING AsiaSat, ABU and Telstra Deliver Commonwealth Games; Indonesia’s Usee Sports Scores with Futsal and TVU; Football Assoc of Singapore Boosts Broadcasts with In-House Production; Vislink Unveils 5G Production Solution, Updates IQ Sports Producer; Viaccess-Orca and Harmonic Optimise Content Protection for Live Sports.

17 NEWS OPERATIONS Mediacorp Takes News Editing to the Cloud with Qvest; Detecting Fake News in Videos; Stringr Updates Remote Video Sourcing and Production Platform; AFP Digital Reporting Courses; nxtedition Puts Storytelling Front and Centre; Intinor Debuts New Direkt Link Compact.

20 POST-PRODUCTION DaVinci Resolve

Studio Used for Data Management on Shin Ultraman; ‘Phase 2’ for Animal Logic USD Package; Amazon and Avid Team Up for Editorial in AWS; Surface Imperfections Added to Maxon Capsules; Flanders Scientific MediaLight Pro2; CuttingRoom Launches Cloud-native Pro Video Editor; Maxon One Enhanced.

23 MEDIA IN THE CLOUD BRT Vietnam

Expands EditShare Storage with Danmon Asia; Thailand’s TV5 Manages Media with eMAM and Intraware; Avid NEXIS F-Series Raises Bar on Media Storage; EditShare Joins AWS ISV Accelerate Program; AI-Based Localisation and Translation; Object Matrix Expands Partner Network; Qumulo Security Enhancements.

26 AUDIO, RADIO, PODCASTING DiGiCo

Delivers High-End Audio for Shanghai’s Yun Hall Cultural Centre; ABC Radio Australia to Carry SBS Samoan Programming; RADIO NAURU Upgrades Studio with AEQ; New Nugen Audio Plug-Ins; Evertz and Studer Take Audio Into The IP Domain; Neumann DSP-Powered Studio Monitors; AETA Launches Scoop6 Codec; Nixer Pro Audio Monitoring.

29 CONTENT DELIVERY ETV Thailand

Upgrades with PlayBox Neo; Tencent Cloud Powers Up Japanese Streaming; LG U+ Picks Media Links for 4K Delivery Across Korea; Ross Redefines the Ultrix Router; LYNX Technik Server Module; Hitomi MatchBox with Latency Option; KILOVIEW 12G-SDI to NDI Converter; Blackmagic DeckLink Mini Monitor HD and Mini Recorder HD; Vbrick VPaaS for Developers.

Sift Through the Shifts, the Drifts, and the Rifts

By Phil Sandberg

EVER SINCE CAPEX started playing second fiddle to OPEX, the consultancy sector across all industries has continued to blossom, and a central part of a big consultancy firm’s toolkit is market analysis. After all, it’s a stretch to come up with the answers if you don’t know what questions to ask in the first place.

Sticking to ‘just the facts’, Devoncroft Partners has, over the last 13 years, emerged as a premium, independent source of mediatech market intelligence. Through the ‘Big Broadcast Survey’, Joe Zaller, Josh Stinehour and the team have built a detailed picture of media technology trends as they stand today, and into the future.

Yes, We’re Up Shift Creek

As in previous years, the 2022 Big Broadcast Survey asked media technology professionals what they considered to be the most important trends affecting the future commercial success of their businesses. Far and away was IP networking & content delivery, followed some way back by multi-platform content delivery, 4K/UHD and remote production (REMI).

This was in stark contrast to those trends at bottom of mind - (ascending from last) blockchain, outsourced operations, reduction in carbon emissions, and next generation broadcasting (ATSC 3.0, DVB-T2, etc.).

While it could be argued that the full impact of blockchain on the media industry is yet to play out beyond Non-Fungible Tokens (NFTs), and solutions to carbon emissions can involve multi-faceted partnerships, the position of outsourced operations and next generation broadcasting reflect not only the mature nature of these trends, but also the dominance of

streaming services. CAPEX started playing second fiddle to OPEX a long time ago now and most terrestrial TV broadcasters have already converted to DTT and are now trying to compete over IP with Netflix, Disney, Paramount+, etc.

According to Devoncroft’s Josh Stinehour, “More notable than ‘IP networking & content delivery’ ranking first for 2022 is the considerable margin recorded versus the second ranked trend of ‘multi-platform content delivery’ (the largest margin observed since 2017). This is noteworthy since ‘IP networking & content delivery’ was not simply ‘most important’ to a small set of respondents or ‘also important’ to a large set of respondents, it was all levels of important to all manner of respondents.”

It is a trend that cuts across a broad swathe of the media production and delivery chain.

“This is not particularly surprising given how fundamentally connectivity and networking are to the media value chain,” says Stinehour. “Ubiquitous, reliable, and cost-effective connectivity is reshaping the technology-side of the media industry. Technology disruption has led the business impact, and the observed value shift is the consequence. And yes, massive is an appropriate designation of the scale.”

For more, email info@devoncroft.com

Vale - Des Sandberg

I’d like to end this column on a personal note by paying tribute and thanks to my father, who passed away at the end of July. Desmond James Sandberg was a good man, a gentleman and a gentle man. He was the best of husbands, the best of fathers, the best of friends.

He always encouraged me, even if he didn’t fully understand what the hell it was that I was doing, and he kept every copy of C+T he could get his hands on - keeping them in better condition than we do here at the office.

We shall all miss him.

Rest in Peace, Dad.

Keep safe, thanks for reading, and look after each other,

Phil Sandberg – Editor/Publisher papers@broadcastpapers.com

+61(0)414671811

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Tamil Coming of Age Film Shot with Blackmagic

BLACKMAGIC DESIGN has announced that the Tamil film Mudhal Nee Mudivum Nee was shot entirely with the Blackmagic URSA Mini Pro 4.6K G2 digital film camera. The independent film, which has won awards in India, New York City, and Macedonia, was shot by DP Sujith Sarang using the URSA Mini Pro 4.6K G2 to capture the nostalgia of high school life in the 1990s as well as pub life in 2022.

Mudhal Nee Mudivum Nee tells the story of a group of high school kids growing up in Chennai, Tamil Nadu and attending a strict Catholic school. The first half of the film takes place in the late 1990s and then moves into the present day where we see the same group reminiscing in a pub one night. The 2022 coming of age film was written and directed by Darbuka Siva and produced by Sameer Bharat Ram.

“With Mudhal Nee Mudivum

Nee I wanted to get a very organic look. I wanted the experience to feel as though someone is observing from close by and not to feel like watching a film. We also wanted to give the feeling of a sunny flashback to the 90s while being able to use the darkness of a group of friends at a pub for the second half. That required a camera that could let me work in both scenarios, but also be affordable since this was an independent film. The URSA Mini Pro fit perfectly,” Sarang said. Sarang chose the URSA Mini Pro 4.6K G2 for its high dynamic range, internal ND filters, convenient user interface, ability to use a number of different lens types and the ability to shoot in Blackmagic

Manila Summit Highlights Content Theft

THE ASIA VIDEO INDUSTRY ASSOCIATION (AVIA) and the Coalition Against Piracy (CAP) recently hosted a seminar in Manila to promote the protection of online content in a country that continues to have some of the highest levels of online piracy in Asia Pacific, levels that impede economic growth and pose serious risks to consumers. AVIA, and local industry partners involved in the seminar such as Globe and Kroma, held the event to highlight the need for the revised IP Code recently presented to the House to address rampant online piracy via the implementation of efficient and effective site blocking procedures.

The seminar brought together some of the leading content industry and government players in the Philippines, including the Intellectual Property Office of the Philippines’ (IPOPHL) Deputy Director General, Teodoro C. Pascua, Congressman Joey Sarte Salceda, the Film Development Council of the Philippines and representatives from Globe Telecom, Disney, NBA and

Kroma. Speakers at the seminar discussed the revised IP Code, the impact of online piracy in the Philippines, including the harm posed by piracy such as malware infections, as well as looking at best practices to combat online piracy, including reviewing what measures other countries in the region have taken to address online piracy.

Matthew Cheetham, CAP’s General Manager, noted. “We know from a recent YouGov survey that the Philippines has some of the highest online piracy rates in the Asia Pacific, with more than 60% of consumers admitting they watch pirate content online.”

The same survey shows that site blocking is the preferred method of reducing piracy. Added Cheetham, “More than 49% of consumers believe a government or court order for ISPs to block pirate sites would be the most effective measure to reduce piracy in the Philippines.”

However, the good news is that consumers are also being educated about piracy with more than 40% being aware of the

RAW. Sarang also relied on the camera’s lightweight design and ability to shoot handheld or on a tripod.

For Mudhal Nee Mudivum Nee, Sarang and Siva decided to give the flashback portions of the film a less saturated and glossy look to help capture a feeling of nostalgia. Most of these scenes were shot in daylight to get consistency in the

pale visual feel they were looking to achieve and were done with minimal artificial lighting. For the current day scenes in a dark pub, which took up the entire second half of the film, Sarang mostly used low lighting setups and used the URSA Mini Pro 4.6K G2’s high dynamic range to get the most out of the darkness.

Visit www.blackmagicdesign.com

negative impacts of piracy on the local creative industry, as well as the risks of malware infections from accessing pirate sites. Cheetham illustrated the stark reality of the consumer risks from pirate sites highlighted in their “Time to Compromise” report from earlier in the year with a video presentation showing a user being infected with fake ransomware within 30 seconds of searching for pirate Philippine movie content. There is some hope that the revised IP Code bill, HB0799, filed in early July, will address the rampant online piracy. However, while the bill does provide the potential for the government to block sites due to copyright infringement, the procedures for doing so are not clear. Cheetham noted that “Malaysia has some of the best site blocking measures in the region and it’s no surprise that Malaysia’s online piracy rates have plummeted by 60% since the Malaysian government implemented its rolling site blocking measures in early 2020.”

Ideal Systems Builds New TV Studio for Malaysia’s SUKE TV

IDEAL SYSTEMS HAS ANNOUNCED it has designed and built a new TV studio in Kuala Lumpur for SUKE TV. Launched in April 2022 SUKE TV is a free-toair home shopping and general entertainment channel in Kuala Lumpur, Malaysia. The new channel airs 24 hours, seven days a week on MYTV, the Malaysian national Digital Terrestrial Television (DTT) platform as well as streaming to mobile devices throughout Malaysia. The new state of the art SUKE TV studio and media production facility was designed to create and produce local programming and entertainment content in its new Kuala Lumpur studio and present a unique opportunity for local celebrities, public figures, social influencers, entrepreneurs as well as micro sellers to showcase their products on SUKE

TV in variety of new shows. Viewers will be able to watch the programming via digital, and online platforms and make instant purchases via QR code.

SUKE TV awarded the project to Ideal Systems because Ideal could provide a one-stopshop for the design and build of the TV studio including all TV Network’s broadcast and transmission systems as a single turn-key project. The SUKE TV studio uses the latest NDI infrastructure and NDI cameras feeding back to a Tricaster TC1 from NewTek for switching, recording and running the virtual studio and the latest Kslim LED video wall from Unilumin which is 4mX2.5m. Ideal have deployed Xplayout for playout, Xingest for Ingest and YouPlay for studio playout all from Axel Technology and also uses Aximmetry virtual

ASTRO Personalises the TV Experience

MALAYSIAN PAY OPERATOR Astro has introduced new updates for its Ultra and Ulti Boxes and Astro GO including Multi-User Profile, thumbnail viewing, search enhancements and the ability to launch directly into Netflix shows on Astro’s Home Screen.

Astro now allows up to five distinct profiles under a single household, allowing for personalised content recommendations based on each user’s unique taste, preferences and viewing habits. Rather than contents of the entire household, every individual can now have their own ‘continue watching’ list, create personal watchlists, mark their favourite

studio and 3D graphics that has an option to run unreal engine which is also NDI enabled. For the transmission, encoding and decoding for contribution and

streaming the system will use Kiloview SRT and NDI encoding systems.

Visit http://suketv.com and www.idealsys.com

channels, and pick an avatar of their liking of characters from their favourite shows.

For an even more enhanced viewing experience, Astro has also introduced other updates which include:

• Thumbnail Viewing – Viewers can now find On Demand playback locations easier by previewing through scenes via thumbnails over the progress bar before deciding to start video playback on an exact scene.

• Search Enhancements – Search results are refreshed instantly upon each keyword entry in the search bar and users are

now able to browse through the results immediately without moving to a new screen. Additionally, popular On Demand content are recommended prior to any keyword entry and users can even user voice search on Astro GO if they wish.

• Launch Netflix shows on Astro’s Home Screen – Customers can launch directly into a particular Netflix show after clicking on their corresponding posters at the Home Screen, thus enabling a more seamless viewing experience.

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

Airtel Partners with Qwilt to Provide CDN Services in India

CLOUD SOLUTIONS PROVIDER Qwilt has announced that Bharti Airtel Limited (Airtel), one of India’s leading provider of telecommunications services, has joined its global ecosystem of service providers to improve the quality of live streaming, videoon-demand (VoD) and all other media delivery to its over 400 million subscribers throughout India. The partnership sees Airtel launch its own content delivery service, Airtel Cloud’s Edge CDN, across India based on Qwilt’s technology and become the largest service provider to date to deploy Qwilt’s Open Edge Cloud solution.

Qwilt’s Open Edge Cloud solution for service providers includes Qwilt software, cloud services and open APIs, providing Qualityas-a-service content delivery and caching at the very edge of the carrier’s network. Qwilt’s

solution is deeply embedded within Airtel’s network, and therefore closer to Airtel’s subscribers than any other commercial or private CDN. This edge architecture reduces the cost of building network capacity and substantially improves delivery quality.

Ajay Chitkara, Director and CEO, Airtel Business, said: “Airtel is India’s leading provider of telecommunications services. As we get ready to launch 5G services we anticipate a significant increase in data consumption across major cities. Airtel Cloud’s Edge CDN, based on Qwilt’s technology, will substantially increase our ability to reliably deliver high-quality live and VoD streaming throughout India. We already have relationships with 16+ content providers across Indian states and we look forward to working with others looking to serve in this

region so they can also enjoy the benefits of Airtel’s unique service offering across India.” Qwilt’s Open Edge Cloud enables Airtel to establish a massively distributed layer of content caching resources that deliver streaming media and applications from the closest possible location to subscribers. Each low-cost edge server can be utilised by other virtual network function (VNF)-based services making it cost-effective enough to distribute throughout the service provider’s access network. The partnership allows Airtel to scale up very rapidly as viewer demand increases.

Hong Kong Film Test Explores On-Set Virtual Production

WHEN HE READ ABOUT how On-Set Virtual Production (OSVP) was used to create “The Mandalorian” for Disney+ in 2019, Tony Ngai immediately saw that it would become a vital tool for cinematographers everywhere. He also knew that he could contribute and play an active role in education and training so as to enhance the professionalism of Hong Kong’s filmmaker community regarding the latest motion imaging technology, a mission Ngai has strived for since he became chair of SMPTE-Hong Kong Section in 2002. As the founder-director of the Society of Motion Imaging (SMI), an honorary advisor to the Hong Kong Society of Cinematographers (HKSC), associate member of the American Society of Cinematographers (ASC), and SMPTE’s Asia Pacific governor, as well as a contributor to the Society’s OSVP RIS (Rapid Industry Solution), Ngai has organized motion imaging technologyfocused workshops, seminars, and other related educational events for decades. He proposed Hong Kong’s first full OSVP film test to the chair of HKSC, Mr. Keung Kwok Man, and the project would include not only cinematographers, but also a full range of equipment vendors, engineers, and creative professionals working within the filmmaking ecosystem, from scriptwriting to postproduction.

Ngai leveraged his involvement with SMPTE’s OSVP RIS initiative to seek knowledge, connections, and resources to “gap finance” those critical elements he could not find in Hong Kong and were essential to the film test. The SMPTE OSVP RIS initiative was formed in August 2021 to create a portfolio of essential tools, including the development and curation of knowledge resources, to help the media industry tackle the complexities of OSVP.

“Both the economic downturn and adverse circumstances under COVID pandemic have taken a toll on the film industry in Hong Kong and around the world,” says Ngai. “I feel that if we can bring together different stakeholders to explore the potential of OSVP and to learn from hands-on testing in the studio environment, we can seize the opportunity afforded by this incredible new technology.”

HKSC supported Ngai’s plan, and more than 18 organizations and 100 crew members volunteered their time, expertise, facilities, and

products to make the film test at Shaw Studios Stage 2 a reality in September 2021.

Putting OSVP Workflows to the Test

The HKSC’s OSVP Film Test 2021 used LED walls provided by Hiller Pharma Co., Ltd. They included P2.38, a 16-metre by 5-metre curved wall as the main background; P3.91 ceiling LED wall hanging overhead; and four movable LED walls on each side. The film test team applied 6,000 reflective stickers on the studio floor to create X, Y, and Z coordinates for a Mo-Sys camera position tracking system, enabling accurate positioning, focus, and zoom points. ARRI Alexa LF series cameras and Signature lens system were employed for the shooting. Tracking data was fed to disguise VX and RX servers, which processed Unreal scenes with the game engine powered by Epic Games.

Unreal scenes of a Cybercity and a forest, both provided by ICVR.io, served as the primary environments for the test, while a living room scene supplied by TVB Publications was used, along with various foreground props, to illustrate sample set dressing in this film test. When experimenting with the Cybercity and forest scenes, the production team was able to tackle challenges and trade-offs in coordinating the LED walls and the virtual scenes. Key considerations included the processing power required for various amounts of modelling and texturing contingent upon different image resolutions.

Engineers and the creative team tested strategies for making camera panning and tracking smoother and for ensuring proper perspective in relation to actual physical conditions. Filming and projection of images on the LED wall were modified to reduce the hardware processing burden, address final pixel latency issues, and eliminate unwanted visual glitches, the first encounter of such experiences by the filmmakers on set. This was a valuable learning curve for all involved.

The team used a DMX system to adjust lighting (Pixel Mapping) according to the camera position during filming and to simulate the reflections of neon lights in the Cybercity scenes. To further

enhance a sense of authenticity of the virtual setting, the team extended the virtual scene across both the top and both sides of the main LED wall, creating reflections onto cars, people, and other objects. By manipulating LED walls, lighting, and reflections, the production team enjoyed the convenience of shooting inside a fully controlled and safe environment, and they could continue shooting in that environment as long as it was required.

The results of the test far exceeded expectations; it would inspire a larger-scale OSVP training project for the Hong Kong filmmaking community and spark collaboration and innovation between key stakeholders across the technical and creative aspects of production. Since the HKSC Film test on OSVP in 2021, Tony continues researching and planning for HKSC OSVP Film Test number 2!

Driving Ongoing Development

A screening and experience sharing session of the film test was arranged by courtesy of Hong Kong Design Institute for stakeholders including directors, scriptwriters, cinematographers, producers, set designers, members of shooting crew, vfx producers, Unreal scene creators, post production experts, etc. It also demonstrated an integrated workflow encompassing steps from planning through shooting, as well as the simple post production process employed in this project.

This first film test aimed to inspire the filmmaking community in Hong Kong and beyond and continue collaboration between stakeholders

and development of effective OSVP workflows. A subsequent screening and sharing session, which drew 150 industry professionals and 200 students in digital media, has helped HKSC raise awareness of and seek support for OSVP.

Ngai and key stakeholders anticipate that greater awareness will contribute to even stronger support — from the government and from within the filmmaking community itself — for educational resources and training programs. While further research, collaboration, and exploration will be necessary to refine OSVP workflows and best practices, stakeholders have shown significant interest in driving this project forward.

As this training takes place and the pool of talent continues to grow, OSVP will become a possibility not just for major studios, but also for other local companies and productions, in delivering richer, more engaging content to viewers. While the film industry may have the most demanding requirements of OSVP workflows, the best practices and training as a result of technological developments will no doubt benefit a much broader array of professionals working in the media sector.

SMPTE continues to work through the OSVP RIS to support the expanding virtual production ecosystem. Learn more about this work at www.smpte.org/rapidindustry-solutions/on-set-virtualproduction and consider joining in the effort to make OSVP simpler and more accessible across the media industry.

AE Live Appoints Simar Ghangas as APAC Head of Commercial

AE LIVE, A LEADING GLOBAL PROVIDER of graphics and data solutions, has appointed Simar Ghangas as Head of Commercial for APAC, in which he will be responsible for growing AE Live’s position in the region.

Simar brings over 10 years of experience in sales and business development management roles, specialising on the strategic growth of companies. His career started at Haymarket Media Group where he spent over three years

in various sales roles, in both London and Singapore.

He joins AE Live from Stats Perform, where as VP for South East Asia, he was largely responsible for the growth of the business in the region, overseeing, developing and executing effective business strategies.

Simar joins AE Live at a very exciting time for the company and his new role cements the company’s growth plans for the region.

NewTek Appoints New Managers in Southeast Asia

NEWTEK HAS ANNOUNCED the appointment of new managers Wanlop Wattanadussadee and Elango Ramachandran in the APAC region.

NewTek has seen growth of nearly 50% in the India/SAARC region from 2020 to 2021, as a result of building partnerships in India, Sri Lanka and Bangladesh. Contributing to regional success are innovations from the company – from the TriCaster 1 Pro to the PTZ3 camera, the versatility of the products drives the high demand in the broadcast and ProAV markets.

Wanlop Wattanadussadee is the recently appointed Regional Manager for Southeast Asia to further build up NewTek’s business in the region. Wanlop has a strong heritage in the sector having spent the previous four years as Technical Sales

Manager covering the entire APAC region for NewTek.

Prior to joining NewTek he owned and ran his own business and held a number of positions, including supporting NewTek partners in Thailand. As NewTek is an indirect business globally, his primary focus will be to enhance existing partner relationships and further grow the partner footprint in the region.

“At NewTek, we use innovation and technology to fundamentally change the way video is created and used, allowing more people to share their stories, experiences, and ideas with the world. As the new Regional Manager, my goals are to further develop existing partner relationships whilst looking to strengthen NewTek’s presence in the market, better serve our existing customers, and gain new ones,” remarks Wanlop

Fastly Names Vaughan Woods to Spearhead ASEAN Growth

EDGE CLOUD PLATFORM Fastly, Inc. has announced the appointment of Vaughan Woods as Area Vice President – ASEAN. Based in Singapore, Woods will be responsible for charting Fastly’s overall growth strategy and presence in the ASEAN region. An industry veteran with more than 20 years of sales management and leadership experience in the IT industry, Woods has previously worked at 3PAR and IBM supporting hundreds of customers throughout the ASEAN region on expanding their digital adoption and presence.

AE Live is a global graphics supplier and technology partner with a special focus on the fields of remote or centralised production, augmented reality and virtual studios.

In the APAC region, AE Live works with clients including Nine, Fox Sports, Seven, NRL, Optus Sport, Sky Racing, Ten, Swimming Australia, Star Sports India, Astro, Sky New Zealand, Spark Sport, Sony India, CCTV and Mediacorp. Visit https://ae.live/

Wattanadussadee, Regional Manager.

NewTek also hired Elango Ramachandran as an APAC Pre-Sales Manager to further build up NewTek’ s business in the region. Elango has a strong heritage in ProAV markets, having spent four years in pre-sales and product management roles within distribution partners in India.

Working with NewTek’s global business presence, his focus will be to support the existing partner relationships, drive more NewTek business, and train and enable new partners across APAC.

Visit www.newtek.com

Net Insight’s Andersson Returns to APAC

VIDEO TRANSPORT AND MEDIA cloud technology provider

Net Insight’s former Vice President Sales and Head of APAC, Kenth Andersson, has returned to the Asia-Pacific to once again head up the company’s regional operations from Singapore. Andersson has moved back to the Lion City to take up the role of Head of APAC. Since late 2020, Andersson has been serving as Net Insight’s Head of Strategic Alliances – M&E Business Development, based in Stockholm, Sweden.

According to Andersson, “The company is driving the transformation to IP, virtualisation and cloud workflows and has built the market’s most open and cloud-ready media delivery platform for contribution, distribution, live production, high accuracy synchronisation 5G and distributed orchestration.”

Earlier this year, Net Insight announced it had been working with Meinberg, a global leader in time synchronisation, to enhance the company’s synchronisation solution, Precision TimeNet, with a tighter integration of the standard IEEE1588v2 Precision Time Protocol (PTP) technology and full PTP interoperability and seamless failover from Global Navigation Satellite Systems (GNSS). Net Insight selected Meinberg’s PTP software stack to implement full PTP functionality in all its platforms. The Precision TimeNet solution offers a GNSS-independent delivery of high accuracy timing across any IP vendor network, which can significantly reduce the cost and rollout times of 5G and other mission-critical networks.

CAMERAS & LIGHTING CAMERAS & LIGHTING

Japanese Film xxxHOLiC Captured with Blackmagic

BLACKMAGIC DESIGN has announced that its Pocket Cinema Camera 6K digital film camera was used to shoot Japanese director Mika Ninagawa’s new live action film “xxxHOLiC”.

Based on the popular manga of the same name created by CLAMP, an all female Japanese manga artist group, the film was also graded with DaVinci Resolve Studio editing, colour grading, visual effects (VFX) and audio post production software.

“xxxHOLiC” revolves around Kimihiro Watanuki, a high school student who is disturbed by his ability to see the supernatural, and Yūko Ichihara, a powerful witch who owns a wish granting shop.

Ninagawa, the director of the film, is a big fan of the original comic and had planned to make this film for ten years until finally releasing it in 2022. Ninagawa worked with DoP Daisuke to shoot the film, which included rich, colourful scenes and gorgeous wardrobes and set designs.

Soma had worked with Ninagawa many times before shooting “xxxHOLiC.”

“Filming began just as the quarantine period in 2020 ended.

At the beginning of the film, there is a scene in which the main character runs away from an unknown black shadow. We shot this scene in Shibuya and Harajuku, where not many people were walking around at the time, using the Pocket Cinema Camera 6K,” said Soma.

“I wanted to create a sense of dynamism in this scene, so the Blackmagic Pocket Cinema 6K was my first choice. I mounted the camera on a pipe and shot the scene running while holding the pipe with my assistant. I also used the camera mounted on a tyre dolly,” he added.

Soma continued: “The Blackmagic Pocket Camera has great mobility, so it was perfect for shooting quickly in many places in a town. I shot in Blackmagic RAW, and it was easy to match with other camera’s footage.”

The film was graded with DaVinci Resolve Studio. Anyone who knows Ninagawa’s work expects vivid and beautiful cinematography. However, the intro of the film starts with a totally different look, defying expectations.

Soma explained: “I requested to boost colours and contrast for the scenes of another world where the mysterious character, Yuko, appears. It is like an explosion of colours, representing Ninagawa’s world. On the other hand, the intro scene is very desaturated, giving the feel of seeing black and white manga. The original manga has a very contrasty black and white look, so I aimed to create a similar look. With DaVinci Resolve, it

worked well to distinguish the look between the real world and another world.”

“By inserting some scenes that do not have many colours, we refresh the audience’s eyes so that they don’t get used to the intensity of the colours. It helps the colours pop when they move onto the new scene,” Soma concluded.

Visit https://www. blackmagicdesign.com

Anton/Bauer DIONIC Series with B-Mount for ARRI Alexa 35 No Bull from Egripment’s

ANTON/BAUER has expanded its DIONIC 26V series of cinema batteries. A range of B-Mount batteries, chargers and camera plates have been developed in cooperation with ARRI, for cinematographers, rental houses, and content creators using cameras such as the recently launched ARRI Alexa 35. Just like Anton/ Bauer’s existing 26V GoldMount Plus solution, the native 26V B-Mount Li-ion batteries offer up to 240 watt-hours of reliable, safe, and efficient power.

The DIONIC native 26V range now includes 98-watt-hour and 240-watt-hour batteries and quad chargers in B-Mount or Gold-Mount Plus options, plus a range of mounting plates for connecting to industry-leading cameras and LED lighting fixtures.

The DIONIC 26V B-Mount series has been designed to drive high-power cine cameras such as the ARRI Alexa 35. With their lighter weight and more compact form factor, the DIONIC 26V batteries offer greater mobility for high power camera operators than tethered power sources such as AC or block-style batteries.

DIONIC 26V batteries can also be used as a hot-swappable backup power solution for gear running from large power sources, such as VCLX blockstyle batteries, eliminating the need to power down a camera to change the main power source.

The DIONIC 26V B-Mount Charger offers rapid charging for B-Mount 26V batteries –charging the 98Wh battery in around 1.5 hours and the 240Wh battery in around 3.5 hours – a sharp contrast to competing dual-voltage or ‘regulated’ 26V batteries that take up to three times longer to charge.

Like the other batteries in the Anton/Bauer DIONIC range, DIONIC 26V B-Mount batteries feature an ultra-highstrength polycarbonate blend construction. This protects the premium battery cells to ensure peak performance even in the most demanding conditions – including extreme heat, humidity, and cold.

Visit

Matador Dolly

THE MATADOR DOLLY is a lightweight dolly on which both a seat and Egripment’s new Telescopic MiniJib can be attached. The dolly is steerable on both sides and has a high stability. The Matador can be mounted with pneumatic tires, studio wheels as well as skateboard wheels.

This dolly is very useful for recordings in studios but also at outside locations. Whether it is nice and even, or an off-road location, this setup is perfect for beautiful dolly shots without having to use rails.

But also if you vary between ground and track shots a lot this dolly is ideal. The wheels are fixed with one allen-screw allowing you to change the pneumatic wheels to track wheels within a few seconds. Having high quality bearings in the track wheels, the Matador Dolly takes no effort to get it in motion, even while seated two people and a large camera package mounted on top.

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Pixotope Democratises Extended Reality

PIXOTOPE recently announced its XR Edition for extended reality productions. Developed in response to the growing trend of LED volume use in Virtual Production and the need for hardware optimisation, Pixotope’s XR Edition includes a range of tools to simplify set-up and operation by reducing the technical complexities and associated resource costs of XR workflows and environments.

“In the past, XR productions have been limited to select teams with highly specialised technical resources,” says Pixotope Chief Revenue Officer David Dowling. “With our XR Edition, Pixotope has developed an easyto-use solution that enables wider adoption with tools specifically designed to address pain points like colour matching, LED meshing and alignment, camera switching, hardware consolidation, and system resilience. As a result, XR is no longer limited to a small group of specialists, it’s a viable option for productions of all sizes.”

Key benefits and features in the XR Edition include:

• Streamlined, Simplified Set Up.

• Unique Colour Match Functionality for AR<->XR Workflows - This colour matching tool enables users to quickly and easily match the colours of in-camera visual effects (ICVFX) and those appearing through the LED volume for seamless AR/XR workflows and effects. This is particularly useful when augmented reality (AR) is used alongside XR for set extension or when adding virtual elements to a scene as colour reproduction is affected by both the camera and LED volume, making it difficult to accurately colour match.

• LED Mesh Import and Automatic Alignment - By combining procedural geometry creation tools and tracking technology, users will be provided with an automated method for converting CAD and geometry representations of LED volumes to virtual LED projection surfaces. These will be further refined using computer vision to ensure perfect registrations for XR and AR set extension, which will significantly reduce setup time.

• Reduced and Optimised Hardware Usage.

• Multi-Input Switching in Software for Changing Perspectives - When using more than one camera in an XR setup, the images on your LED volume and your AR rendering need to synchronously change perspective when switching between cameras in a single frame. With in-software switching, Pixotope ensures this operation is accurate and hassle-free without the need for additional hardware.

• Multi-Wall Support to Optimise Hardware Use - With multi-wall support, Pixotope can drive several LED walls from a single server/ workstation. This not only reduces the amount of hardware needed, and therefore cost, but also mitigates many common issues such as output synchronisation and sharing of assets over multiple machines.

• Health and Diagnostics Monitoring for Failover and System Resilience.

XR Edition will be available to new and existing Pixotope users from September 2022.

Visit https://www.pixotope.com

Cartoni Encoded Heads for VFX

CARTONI CAMERA SUPPORTS recently announced that its professional fluid heads, including the Maxima, Master, and Magnum, will be encoded. By including the ability to track position, they will provide precise camera information for VFX, Virtual Production, and much more.

The e-Maxima, e-Master and e-Magnum encoded heads are the latest response Visual Effects needs. Strong and versatile, the e-series fluid head includes all the features of Cartoni’s premium heads for digital cinematography. In addition, the e-series features extremely high-resolution direct sensing encoders in both the pan and tilt axis. The encoders render absolute positioning without re-calibrating at start-up. The Cartoni e-series is compatible with most

RUSHWORKS PTX Model 3 PRO Pan/Tilt Head

RUSHWORKS recently announced the release of the PTX Model 3 PRO robotic pan/tilt head.

The PTX Model 3 PRO provides whisper-quiet operation with enough payload capacity to support most cameras and lenses.

It features natural start/ stop motion ramps for both presets and joystick manipulation and is controlled using VISCA over IP for compatibility with dozens of current hardware and software controllers.

At 19.5kg, the unit has the mass required to easily manage large payloads, with the torque generated by two large stepper motors to do the heavy lifting. The PTX Model 3 PRO easily accommodates Blackmagic’s entire camera line: the Studio Camera, the Pocket Cinema Camera and the URSA family of production and cinema cameras, as well as other large form factor cameras like the Canon C models, Lumix Box Cinema, Red, ARRI and Sony FX line.

According to RUSHWORKS founder Rush Beesley, “The PTX Model 3 PRO release will be followed closely by our next-gen BABYZOOMER, which also uses VISCA over IP commands to control zoom, iris or focus on a wide variety of manual zoom lenses. This combination will support naming, saving and recalling multiple presets for pan, tilt and zoom.”

Visit https://www.rushworks.tv

3D packages for real-time camera and scene movement in virtual sets and pre-visualisation. It is the ideal solution for sports 3D graphic insertions. Data is provided directly through dedicated connectors on the head or can be processed and gathered with other metadata through a VR box programmed on the major VFX industry protocols.

The addition of encoding ability complements the premium line of Maxima fluid heads. The e-Maxima fluid heads are designed for digital cinematography. In contrast, the e-Master and e-Magnum fluid heads are custom-built for broadcast and OB production needs.

Patented drag and balance systems provide a feel that has raised the industry standard of what is expected in a fluid head. User controls are located and designed for comfort and are reinforced by decades of muscle memory that allow operators to fine-tune head performance by feel quickly.

Visit https://www.cartoni.com

RED DSMC3 with V-RAPTOR XL 8K VV

RED DIGITAL CINEMA has announced the availability of the new V-RAPTOR XLTM 8K VV camera. The V-RAPTOR XL system expands on what the company says is the most advanced RED camera platform ever, leveraging the current flagship V-RAPTOR 8K VV + 6K S35 multi-format sensor inside of a large-scaleproduction ready XL camera body. The all-new unified XL body is designed to support high-end television and motion picture productions.

The V-RAPTOR XL features the same multiformat 8K sensor found inside the compact and modular V-RAPTOR body, allowing filmmakers to shoot 8K large format or 6K S35. Shooters have the ability to always capture at over 4K, even when paired with S35 lenses. The sensor boasts the highest recorded dynamic range and cleanest shadow performance of any RED camera. The V-RAPTOR sensor scan time is 2x faster than any previous RED camera and lets users capture up to 600fps at 2K.

The V-RAPTOR XL continues to feature RED’s proprietary REDCODE RAW codec, allowing cinematographers to capture 16-bit RAW, and leverage RED’s latest IPP2 workflow and colour management. As with the RED KOMODO 6K and standard V-RAPTOR system, V-RAPTOR XL will continue to use the updated and streamlined REDCODE RAW settings (HQ, MQ, and LQ) to enhance the user experience with simplified format choices optimised for various shooting scenarios and needs.

The new XL system features an internal electronic ND system of 2 to 7 stops with precision control of 1/3 or 1/4 stop increments. It has dual-power options with both 14V and 26V battery compatibility, an interchangeable lens mount, wireless timecode, genlock, and camera control for remote and virtual production readiness. The XL incorporates a fully robust and integrated professional I/O array with front-facing 3G-SDI, 2-Pin 12V and 3-Pin 24V auxiliary power outputs, and a GIG-E connector for camera control and PTP synchronisation. The unified XL system packs all of the above into a 7.5 x 6.5-inch body. The standalone camera system is available in both V-Lock and Gold Mount options. A prebundled and ready-to-shoot Production Pack is also available, and includes:

• V-RAPTOR XL camera system.

• DSMC3 RED Touch 7.0-inch LCD Monitor with DSMC3 RMI Cable (18-inch) and Sunhood.

• REDVOLT XL-V (or XL-G) Batteries RED Compact Dual V-Lock or Gold Mount Charger.

Orbiter LiOS2 Software Update from ARRI

WITH THE RELEASE of LiOS2 for the Orbiter LED luminaire, ARRI has introduced three new modes to establish new possibilities for crews to work and cooperate faster and smarter.

With the LiOS2 Sync Mode, light output can be triggered when and how the camera needs it. This LiOS2 automation is designed to free up the crew for real teamwork. Sync Mode allows the lighting parameters to be enabled or changed in sync with the camera frames. Even frame brightness or CCT range can be changed to accommodate new creative ideas.

Exact timing is key for capturing dynamic images and Cue Mode enables precise lighting control right on the spot. Every operator can set the key lighting parameter right on time and with precision. Besides variable timing and working options, the new Cue Mode even allows for fluid and easy light changes in different lighting modes. The transition can be selected from five different options, already known from SkyPanel.

The Optics Auto Adjust Mode offers 100 percent colour stability with any optic and any focus. Utilising the accessory recognition of Orbiter’s innovative QLM (Quick

Lighting Mount), the ARRI Spectra light engine is modified to maintain maximum colour stability no matter which configuration is used, including textiles such as Softboxes or Domes, a reflector in Open Face or lenses such as the new Orbiter Fresnel Lens. Also, with Orbiter’s new Fresnel Lens, LiOS2 ensures the colour rendition across its entire zoom range.

The new additional language package supports Japanese, Korean and Portuguese.

The values of the integrated colour sensor in Orbiter can now directly be selected from colour modes like CCT or HSI in LiOS2. The matching of ambient light is now easier, allowing for final manual adjustment if needed.

Network and remote control are becoming essential on more and more productions. A new DMX Mode Spec V5 allows for more convenient network operation and additional features within the LiOS2 update. For example, the zoom range of the Orbiter Fresnel lens can be operated, allowing for Extended Color Control (ECC) to be directly available. In addition, all elements are also addressable via RDM.

Visit https://www.arri.com

• RED Pro CFexpress 2TB cards and card reader.

• V-RAPTOR XL Top Handle with extensions.

• V-RAPTOR XL Riser Plate.

• V-RAPTOR XL Top and Bottom 15mm LWS rod support brackets.

• DSMC3 RED 5-pin to Dual XLR adapter.

RED worked closely with industry-leading partners such as Angelbird, Core SWX, and Creative Solutions to produce the purpose-built accessories included in the Production Pack. Visit https://www.red.com

Densitron Integration with BirdDog PTZs

DENSITRON HAS ANNOUNCED a new integration with BirdDog that allows the company’s full range of cameras to be controlled easily via Densitron’s Intelligent Display System (IDS) platform. Available through the IDS software, the integration provides an easyto-use interface that allows camera operators to adjust primary settings such as position, location, and preset store and recall.

The new development underlines the increasing popularity of BirdDog, which manufactures a wide range of PTZ (pan-tiltzoom) cameras and converters. Supporting production in both HD and 4K, BirdDog has also embedded the NDI video-over-IP transport and codec technology into its full range, and this is reflected in the new integration that Densitron has achieved with BirdDog.

Reuben Such, Global Business Director at Densitron IDS, comments: “One of the driving principles with IDS has always been that we work effectively with multiple third-party systems.

Increasingly, it had come to our attention that BirdDog cameras were being selected for projects in broadcast, houses of worship and other areas of pro-AV. We already supported a wide range of PTZ cameras from other manufacturers, so it was a logical move for us to provide the same kind of straightforward control interface for use with BirdDog products.”

The result is an elegant user experience that echoes the BirdDog front-end in its choice of colours and overall design scheme.

Visit https://www.densitron.com and https://birddog.tv

ATOMOS Cloud Studio

ATOMOS CLOUD STUDIO is live and the first three products in the new CONNECT range are now shipping. The recently announced ZATO CONNECT is the latest addition to the line-up with support for HDMI and USB UVC sources. It provides an accessible way to create a livestream or elevate webcam.

ATOMOS CONNECT is a network accessory specially designed to attach to the ATOMOS NINJA V and NINJA V+ production devices for monitoring and recording. SHOGUN CONNECT is a new all-inone production device with all the connected technologies built in. All three devices support ATOMOS Cloud Studio and work with the new ATOMOS Stream service. With a forthcoming update, ATOMOS CONNECT and SHOGUN CONNECT will integrate seamlessly with Frame.io Camera to Cloud (C2C), to bring a wider range of professional digital cinema, mirrorless, and DSLR cameras to automatically share media for remote collaboration.

ATOMOS Cloud Studio is a powerful collection of new cloud-based video production services. Launching with ATOMOS Stream and shortly after ATOMOS Capture to Cloud, which will introduce C2C workflows. With support for SHOGUN CONNECT, ATOMOS CONNECT for NINJA V/V+, and ZATO CONNECT, anyone with a compatible camera or device will be able to make use of these tools to share media and collaborate in real-time.

ATOMOS Stream is an all-in-one solution that enables any ATOMOS network-enabled device to deliver a live stream. At launch ATOMOS Stream will include free support to deliver content directly to a single platform including Facebook Live, Twitch, YouTube, and more. ATOMOS aims to release a premium ‘restreaming’ service, via ATOMOS Cloud Studio to support the delivery to multiple platforms simultaneously. ATOMOS Stream employs industry standard encryption to ensure that all data transfers are protected and streams are secure. Users can choose to work with high-end digital cinema cameras, mirrorless or DLSR cameras, or iOS devices. Frame.io Camera to Cloud

Since its launch in early 2021, C2C has been used by over one thousand productions to instantly get footage from the set to post-production teams. Files are transmitted to Frame.io using a standard internet connection.

Editorial teams using Frame.io NLE integrations will see new clips populate into their bins throughout the day. Customers no longer have to wait for long file transfers or hard drives to ship. With SDI or HDMI video captured by ATOMOS CONNECT and SHOGUN CONNECT, many, many more cameras are now compatible C2C and are able to support cloud workflows.

Once an ATOMOS CONNECT or SHOGUN CONNECT is paired with a Frame.io Project (via ATOMOS

or SHOGUN CONNECT devices, camera feeds are streamed to the Live Production system. Utilising an ultra-low-latency protocol, each stream can be controlled in realtime from a browser, iPad app, or any compatible control panel from anywhere in the world. Once logged into the system crew members can view, direct, produce, mix, and more from any location. The integrated live talkback technology keeps team members connected and allows for an

and DSLR cameras into fully integrated devices that support a range of advanced cloud-based workflows.

Featuring a 12G SDI interface to connect professional digital cinema cameras, ATOMOS AirGlu wireless timecode for seamlessly synchronising all cameras, multiple power options to accommodate a variety of on-set scenarios, plus Wi-Fi 6, network gigabit ethernet, and Bluetooth LE capabilities for flexible connections. The accessory itself has a slender profile that fits flush to the back of the 5-inch device and complements the compact, lightweight form factor of the NINJA V/V+.

SHOGUN CONNECT builds on the ground-breaking ATOMOS SHOGUN line. Featuring the comprehensive monitoring tools and recording options of the SHOGUN, the SHOGUN CONNECT is the first fully integrated product, combining HDR monitoring and RAW recording, as well as advanced network and cloud workflows.

Cloud Studio), customers can engage seamlessly with the complete, end-to-end C2C experience. Every recording is immediately available to view in Frame.io, or for download into integrated video applications, including Premiere Pro, Final Cut Pro, and DaVinci Resolve.

ATOMOS’ Live Production is a complete, cloud-based control room for live video and remote collaboration. With Live Production video creatives will be able to produce a live show, of the highest quality, at a fraction of the cost. The toolset includes a fully featured video switcher and sound mixer, with video effects, graphics, and talkback.

Live Production can work with any camera, from professional broadcast models, through DSLR and mirrorless, to the Apple iPhone and the system is able to provide timecode sync to all sources in the cloud and on every connected device. Using the new ZATO CONNECT, ATOMOS CONNECT,

iPhone to be hooked up to ensure team members can communicate directly and easily. Delivery destinations include a dedicated Apple TV app or iOS devices, to make sure everyone can view the production as it goes live.

ZATO CONNECT supports nearly all HDMI and USB UVC sources to livestream to Facebook Live, Twitch, YouTube, and other social sites, or can be used to create a webcam source for Microsoft Teams, Slack, Zoom, and other conferencing software. With support for Wi-Fi 5 and gigabit ethernet (via USB-C) to ensure maximum network compatibility, ZATO CONNECT will also convert HDMI sources to webcam signals and includes the ability to combine sources. AtomOS Lite also contains all the tools to record streams and overlay graphics.

ATOMOS CONNECT

When attached to the NINJA V/ V+, the ATOMOS CONNECT transforms professional cinema, mirrorless,

The enhanced 7-inch HDR screen is brighter (2000 nits) with a slimline bevel that makes it even more of a pleasure to use. The SHOGUN CONNECT features a comprehensive range of interfaces, including a loop through 12G SDI IN and OUT to support SDI RAW, ATOMOS SYNC timecode technology for seamless camera synchronisation, multiple power options to accommodate studio or location shoots, plus Wi-Fi 6, network gigabit ethernet, Bluetooth LE, and USB C for flexible all-round connections.

NDI|HX Support

ATOMOS has also developed a full implementation of the NDI|HX standard for ATOMOS CONNECT and SHOGUN CONNECT. NDI technology has been developed to make communication between devices on local network (LAN) easy to set up, provide refined encoding, and deliver frame accurate video. Initial support will be for NDI|HX encode (to act as an NDI source or transmission device) and with a software update later this year ATOMOS will introduce NDI|HX decode (to receive the NDI source signal for viewing and recording). This will enable customers to share the picture between multiple devices locally and select a specific device (or devices) to record the NDI encoded file.

The ATOMOS CONNECT network accessory.

AsiaSat, ABU and Telstra Deliver Commonwealth Games

THE ASIA-PACIFIC Broadcasting Union (ABU), in a collaboration with Telstra Broadcast Services (TBS), selected AsiaSat 5, AsiaSat’s prime occasional use (OU) platform, for live coverage of the Birmingham 2022 Commonwealth Games in the Asia-Pacific.

During the event coverage, the ABU Sports team on the ground managed the production of the live broadcast signals at the International Broadcast Centre (IBC) in Birmingham. TBS’s expert broadcast solutions team handled the turnaround and uplinking of the live transmission of four international HD feeds at Telstra’s teleport in Hong Kong to AsiaSat 5 for distribution to rights-holding broadcasters in the region.

Already established as a broadcast platform for live sports in Asia, AsiaSat 5 has a proven record in the delivery of international sports tournaments and events including the last Commonwealth Games on the Gold Coast in 2018. With AsiaSat 5’s extensive C-band

coverage and penetration, Asian broadcasters can connect their audiences on multiple platforms with event and athlete highlights for each of the participating nations and territories to witness the triumphant moments of the athletes.

The 22nd edition of Commonwealth Games (28 July to 8 August) gathered more than 4500 athletes from across 72 nations and territories in Birmingham, United Kingdom. Over the 11 action-packed days, these athletes competed across 280 medal events covering 19 sports and para-sports including athletics, cycling, swimming, badminton, diving, basketball, table tennis, gymnastics and more. This year’s Games staged the largest ever programme of women’s and para-sports in its history.

Cai Yanjiang, Director ABU Sports, said: “This edition of the Commonwealth Games production and broadcast is a continued success after the Gold Coast and Glasgow, in terms of the quality

service to ABU broadcast members through the combined efforts of the ABU team and our long-term partners AsiaSat and TBS. The ABU team have again enjoyed consistent support from them, which is the key to another safe and smooth delivery of these inspiring games to the ABU broadcasters and audiences in various countries. We look forward to future events working with them again.”

Steven Dargham, Business Development Executive, Major Events at TBS said: ‘’Telstra has been delivering major events solutions and networks for the ABU and its members for many major sporting events including several iterations of the Commonwealth Games. Each major event varies in complexity and with our collaboration with AsiaSat we are able to provide seamless integrated solutions to address the unique and diverse requirements of the ABU members. The spirit of the games is captured in our partnership, and we hope to enable more successful

Indonesia’s Usee Sports Scores with Futsal and TVU

TVU NETWORKS, the provider of cloud and IP-based live video solutions, has announced that UseeTV, the Indonesian streaming company owned and operated by Telkom Indonesia, recently used TVU One mobile transmitters and TVU Remote Production Solutions (RPS) to successfully stream live coverage of the Usee Sports Futsal Challenge Semarang Regional 2022.

Futsal, a soccer-inspired game played indoors on a hard court smaller than those in regulation outdoor or indoor soccer, has a brief yet strong history in Indonesia. Officially introduced to the country in 2001, the game has steadily gained popularity, thanks in large part to the sport’s emphasis on improvisation, creativity, and technique.

To support the growth of futsal and foster ongoing interest in the growing sport, UseeTV and Futsalation Indonesia organised the Usee Sports Futsal Challenge 2022. The second of three regional tournaments took place from June 23-26 at the newly renovated Jatidiri Stadium in Semarang, Central Java. The event brought together 20 futsal teamsten in the under-20 (U-20) category and ten in the general category - from the Central Java region. Thanks to the adoption of TVU Networks’ technology by UseeTV, fans unable to attend the tournament in person could stream games live on different channels, including UseeTV Go, IndiHome TV’s Usee Sports Channel, the streaming app Maxstream, and the Usee Sports channel on YouTube.

“With the TVU Networks technology, we’re able to bring lesser known sports to fans throughout Indonesia and the world,” said Mr David Guretno, Head Department OFF 1 HE O&M at Telkomunikasi Indonesia & Manager, Usee Sports Yohanes Indara. “And we get to do so with complete confidence that our live streams will be broadcast quality and produced in a far less costly way than a traditional, on-location multi-camera production.”

Two TVU One mobile transmitters and two TVU RPS were used for the live broadcast – with one TVU One serving as the main distribution unit, and the second as a backup. One six-channel and one four-channel TVU RPS synchronised live video sources from the games. TVU RPS can aggregate up to 12 internet connections to provide high-speed, synchronised transmissions from multiple sources for remote production over the public internet.

“Sports teams, broadcasters and organisations around the world are seeing the advantages of TVU’s remote production solutions as a way to expand coverage of all kinds of sporting events in real time,” said Liming Fu, TVU Networks VP of Sales for the Asia-Pacific region. “Because of the cost-effectiveness of remote production, they can cover events that may not have warranted the cost of sending a mobile truck or a full crew previously.”

TVU One’s native 5G mobile transmitters allowed

production coverage in years to come.’’

Ina Lui, Senior Vice President, Commercial, Business Development and Strategy of AsiaSat, said: “It is our privilege to support the live telecast of the Commonwealth Games again this year, contributing to making a world of difference by celebrating the spirit of sportsmanship and bringing people of different culture together through world-class sports. We look forward to more collaboration with our partners ABU and TBS in other international events to come.”

Visit https://www.abu.org.my https://www.telstra.com.au/ business-enterprise/industries/ telstra-broadcast-services https://www.asiasat.com

UseeTV teams to capture footage of futsal matches in real time. By aggregating multiple cellular signals and using 4K HDR/HLG 10-bit video, UseeTV brought live, interruption-free coverage of the multi-day event to viewers throughout Indonesia.

Using TVU RPS, live signals from up to six feeds and two return feeds were perfectly synchronised for remote transmission with virtually no latency – all using a standard, public internet connection.

Thanks to the live, interruption-free broadcast, futsal supporters watched U-20 winners, Berkah Sport, and general category winners, Trivo Sport, celebrate their winning matches in real time, without resolution loss or delays in transmission.

Football Assoc of Singapore Boosts Broadcasts with In-House Production

THE FOOTBALL ASSOCIATION OF SINGAPORE

(FAS) is bringing the viewing experience of AIA Singapore Premier League (SPL) matches to greater heights through new in-house production and broadcast capabilities, which have been made possible with next-generation FIFA-certified software-based football productions systems.

Supplied to the FAS as part of a five-year contract with broadcast and media systems integrator Ideal Systems, the systems will be utilised in a new football production hub housed at the Jalan Besar Stadium. Facilities at the Jurong East Stadium, Our Tampines Hub shopping precinct, Hougang Stadium and Toa Payoh Stadium have all been retrofitted with remote cameras that relay the feeds back to the new production hub – known as the Production Control Room 2, the second such facility at Jalan Besar Stadium.

New pitch-side camera systems that allow up to 40-time zoom have been installed, while network connectivity has been improved to deliver enhanced reliability and a smoother viewing experience. A new partnership with AE Live – a leading provider of television graphics to the likes of FIFA, World Rugby, Women’s Tennis Association and Sky Sports – will enable revamped graphics, such as for line-ups, to add dynamism to matches.

A plethora of new cutting-edge broadcast technologies will be deployed in Asia for the first time, the core of which is based on ViBox from SimplyLive. ViBox is a software-based NDI enabled production tool for multi-camera football production that brings together all the major components of live football production including a video switcher, audio mixer, dynamic graphics, instant replay, highlights creation and is operated using an intuitive smart touchscreen user interface. The new production hub will also include DELTA-offside, a FIFA-certified offside line review system from Deltacast that uses revolutionary image processing technology to superimpose virtual offside line tied to the pitch without any sensors required on the production cameras.

For matches at the remote stadiums, all the camera feeds are NDI and are aggregated into the SimplyLive Venue Gateway which uses SRT to send the feeds back to the production hub via a Dejero Gateway which provides network aggregation for reliable connectivity across the dual-redundant internet connections.

Powered by Dejero Smart Blending Technology, the Dejero GateWay devices aggregate diverse connectivity paths from multiple providers to deliver enhanced reliability, expanded coverage, and greater bandwidth. The Dejero GateWay also provides bonded cellular back-up connectivity in the event both internet connections to a stadium fail. Kiloview SRT encoders and -Dejero gateways are used for the final distribution feeds from the Jalan Besar Production Hub to local broadcasters SingTel and StarHub.

Cameras

Pitch-side cameras supplied by Ideal Systems include the well-respected JVC GY-HC500, which features 40X zoom. Ideal has also supplied FAS with Singapore’s first BirdDog A200 NDI weather-sealed PTZ sports cameras with 30x zoom and super-fast presets. Ideal also provided the range-topping BirdDog P4K camera for the new chromakey TV studio, which is fully NDIbased using the TriCaster from NewTek. Communications

In a further use of new technologies, Ideal is supplying FAS with a new audio-over-IP intercom system using software-based Unity Intercom and unity iOS and Android apps running on mobile phones as “beltpacks”. This will provide local and remote communication between all users at the production hub and stadiums. Unity allows diverse connections from mobile devices either on wifi or cellular data.

The technology was put in place prior to the season curtain raiser, the 2022 AIA Community Shield match – taken out by the Lion City Sailors. Refinements were made during the first round of matches, which concluded on 20 April, to set the stage for an enhanced viewing experience for the remainder of the campaign.

Enhanced on and off-screen offerings

On screen talent includes presenter John Dykes, commentators Shehzad Haque and Mark Richmond, former player Rhysh Roshan Rai and football coach Shasi Kumar. Each Matchweek will be headlined by one Match of the Week, where build-up commences 30 minutes prior to kick-off with a pre-match show that delivers detailed insights, team updates, opinions and more.

Content offerings around match days have been beefed up with two new shows: the SPL Social and SPL Express. The SPL Social, helmed by Singaporean sports personality Ashikin Hashim – better known as Futbolita – is a 30-minute

Facebook show that sees her engage different guest stars every week on a variety of topics that span their thoughts on the SPL to their personalities off the pitch.

On the SPL Express, former professional player and football analyst Rhysh Roshan Rai offers short and sharp analysis on a short-form show that looks back on the previous week of SPL action and previews the upcoming round to bring fans closer to the league.

All SPL and Singapore Cup matches this season will be live-streamed online on the SPL YouTube channel and Mediacorp’s meWATCH platform, in addition to being broadcast on Singtel and StarHub.

On matchdays, experienced “live” sports broadcasting personnel are provided by production partner Mediacorp, including the camera operators, producers, replay operators and other personnel.

Abhishek Ravikrishnan, Manager (Content and Production), FAS, believes that the slew of technical improvements, combined with the stellar line-up of broadcast talent, will add unprecedented value for the fans.

“The fan experience is of great importance to the FAS and as the SPL grows in excitement and reputation, we are constantly striving to deliver the best possible viewing experience to them,” he said. “This is even more vital in light of the current capacity limits at match venues, which means that a majority of our audience will be tuning in online or on television. The new broadcast systems that we have put in place this season with the help of Ideal, together with the best of on screen talent in Singapore, will ensure that experience is optimal. During the first round of matches, some teething issues that came up were addressed with all partners and we are now confident that going forward, fans can receive a modern, fresh and dynamic experience no matter where they are tuning in from.”

Fintan Mc Kiernan, CEO Ideal Systems Singapore, said: “We are ecstatic to be working with FAS on this project. They have been so supportive of our use of new technologies like NDI (Network Device Interface) and softwarebased live production tools which has allowed our technology team to create a truly nextgeneration solution and what we believe is a world-first for IP-based live sports production at a national scale.”

Visit https://www.fas.org.sg/ and https://www.idealsys.com/

Biggest Ever Production for Gravity Media and Supercars

SUPERCARS MEDIA AND GRAVITY MEDIA are the driving forces behind one of Australia’s biggest television productions for 2022: the allencompassing coverage of the Repco Bathurst 1000.

Across 199 television cameras on-track, in-car, in the pits, around the track, embedded in concrete kerbs and walls, in the air and across sections of the track on a wire, and accessing four state of the art high definition outside broadcast trucks, 52 kilometres of broadcast cable and a total production crew of 257, Gravity Media and Supercars Media’s production takes in a total of 2500 minutes of television coverage on Fox Sports and the Seven Network.

In addition, coverage of this year’s Repco Bathurst 1000 is broadcast around the world via Supercars international broadcast partners and SuperView.

Coverage of the Repco Bathurst 1000 has expanded dramatically over the years. Three television cameras covered the first Great Race at Mount Panorama in 1963. The first “live” helicopter camera in 1977 and the introduction of “in-car” cameras in 1979 transformed coverage of sports and today the coverage of the Repco Bathurst 1000 is recognised as one of the world’s best sports television productions.

This is the tenth year for Gravity Media’s broadcast facilities and technology collaboration with Supercars Media which produces the global and Australian television coverage of The Great Race.

Gravity Media also has a long partnership with Supercars Media in the television production of each of the rounds in the Repco Supercars Championship, including Gravity Media’s acknowledged speciality and in-car camera technologies.

David Tunnicliffe, Supercars Head of Broadcast, said, “This year we are delivering the biggest production of the Great Race we have ever put together. Nearly 200 cameras will bring to fans every single inch of the racetrack, ensuring viewers are right at the heart of every moment that will decide this year’s King of the Mountain.

“We are also incorporating new initiatives into the broadcast to maximise the insight provided to viewers, like crossing to pit lane during sessions to talk directly to team owners, drivers and team personnel via headset to get their view on the action as it happens.”

In a nutshell, key production details for television coverage of the Repco Bathurst 1000 include:

• Nine production trucks, including four high definition outside broadcast trucks driving the overall television production

• 61 cameras across the track, in the pits, mounted in race walls and track kerbs, including portable and specialty extreme super slo-mo cameras, and a “fly-cam” covering 450 metres across Conrod Straight and The Chase

• 1 helicopter camera

• 104 in-car cameras in 28 Supercars for the Great Race

Riedel and Red Bull Team Deliver Comms for Rugby

RIEDEL COMMUNICATIONS has extended its partnership with Red Bull UK to provide a fully integrated communications solution for an international rugby team. Consisting of a Riedel Artist digital intercom matrix, Bolero and Bolero S wireless intercom systems, and RSP-1232HL SmartPanels — and backed by Riedel’s Managed Technology Services for remote support and maintenance — the solution provides the team with clear and reliable communication during training and matches.

“Coaches and other staff conduct numerous strategic conversations during a rugby match, and the standard radios that the team was previously using didn’t provide the audio quality needed for them to consistently hear each other,” said Nacho Lee, U.K. Sales Manager at Riedel. “Not only did the team require a solution that delivered crystal-clear audio, but it also needed to provide ease of use with differentiated tactical channels for various staff. Finally, they wanted peace of mind in terms of system setup, support, and maintenance – and our Managed Technology solution checked all their boxes.”

At the heart of the rugby team’s communications solutions is Riedel’s

Artist intercom mainframe. A decentralised, scalable solution, Artist allows for flexible placement of nodes to reduce wiring and setup costs, while enhancing system reliability with a dual-ring fibre-optic network topology that provides full redundancy. Furthermore, with its unified recording and audio mixing capabilities, the matrix allows the team to integrate referee communications into its strategic decision workflow, while recording in-game communications for aftergame training purposes.

The Artist platform integrates seamlessly with the team’s Bolero and Bolero S wireless intercom systems, which consist of five antennas and 30 wireless beltpacks, with Red Bull-branded MAX highperformance headsets and 20 RUN in-ear headsets delivering optimal audio quality. The full-duplex, multiple channel communication provided by the Bolero systems enables flexible setup, allowing the system to be used during both training and matches.

For ease of use, the head coach relies on

• 1 in-car camera mounted in the Safety Car

• 32 in-car cameras across 16 cars competing in other categories across the race weekend.

• 52 kilometres of television production cable and fibre, enough to lap the circuit more than eight times

• Broadcast and production team of 257 across Gravity Media and Supercars Media

In addition, Gravity Media also provides the technology and systems for Supercars’ team radios, and isolated cameras providing constant coverage for the Gravity Review System, used by the motorsports judiciary and race control in the management of the Bathurst 1000. Gravity Media also provides all technology and facilities for the production of on-track big screen coverage.

Visit https://www.gravitymedia.com

Riedel’s RSP-1232HL SmartPanel. With the panel, he can easily ID each key member of staff, making it simple to communicate individually with other coaches, the substitute bench, the medical team, and more. From Riedel’s Remote Operations Center (ROC) in Wuppertal, Germany, the company’s operators remotely control, configure, and calibrate all system components in real time, ensuring maximum security and optimum sound quality.

Vislink Unveils 5G Production Solution, Updates IQ Sports Producer

FOLLOWING ITS PARTICIPATION in recent high-profile 5G trials at the Commonwealth Games and Premiership Rugby, Vislink has announced the introduction of Vislink 5G 4Live, a complete endto-end remote production solution designed to provide a premiumquality, uncontended 5G private network solution.

The Vislink 5G 4Live solution was engineered for use at major events where live production organisations have traditionally deployed COFDM systems. It enables live production with full support for wireless camerasproviding complete freedom to roam and capture engagementbuilding footage - and the deployment of an onsite bidirectional all-IP 5G gateway at the event.

Vislink 5G 4Live functions as a combined 5G network solution that integrates roaming camera 5G transmitters with a hybrid portable/ private 5G network infrastructure. This provides production teams with a complete 5G private network deployment that is tailored to deliver high up-link bandwidth, low latency and uncontended connectivity at the edge.

Mickey Miller, CEO of Vislink, said, “Vislink 5G 4Live is the first event production solution capable of seamlessly bridging broadcasters’ remote production infrastructure between the cloud and the edge. It leverages the extensive 5G development history featured in our Mobile Viewpoint line. 5G 4Live brings fully bi-directional IP connectivity all the way to the edge – right up to the roaming cameras, which enhances communication

with camera operators while simplifying camera control systems. This game-changing solution opens the door to realising substantial cost efficiencies in the remote production of live events and allows for unprecedented creativity and flexibility in event coverage.”

Vislink 5G 4Live incorporates a number of best-of-breed Vislink and Mobile Viewpoint technologies in a completely integrated ecosystem, including:

• The Vislink HCAM Module 5 is a 5G edge device that allows users of Vislink HCAM OFDM systems to migrate to 5G technology for deployments where 5G can enable new creativity and operational flexibility — while allowing a transition of service offerings at the pace that is right for them. It also maintains their ability to provide highest quality video, lowest latency and guaranteed RF robustness.

• The LinkMatrix system and device management control application enables full management from remote locations using simple dragand-drop operations, enabling greater working efficiencies for technical staff.

• Mobile Viewpoint UltraLink-Air 5G encoders allow complete roaming camera flexibility to achieve real-time content capture while moving between globally available public cellular networks and private 5G networks, for low latency and guaranteed uncontended connectivity — even in high population density events.

• Both Vislink and Mobile Viewpoint 5G wireless camera systems can simultaneously operate over the same 5G network to enable complete creativity for event production teams.

With the private 5G network smoothly bridging the gap between the camera and the production center, the Vislink 5G 4Live end-to-end system enables a step-change in remote production architectures. Content from both roaming and fixed cameras can be transported directly to the production centre – whether an on-premise facility or as part of a migration to true cloud production architectures.

Updates to IQ Sports Producer Vislink has also announced updates to its AI-driven IQ Sports Producer, including the ability to now also use a range of Pan-Tilt-Zoom (PTZ) cameras to capture live events with the highest quality optics, and encode the AI-directed content for live streaming platforms.

In addition, this capability is supported by Vislink’s full suite of software tools, including LinkMatrix and NFT Clipper.

Vislink’s IQ Sports Producer provides high quality live broadcast sports productions driven by an artificial intelligence engine, to track the sporting action and produce an exciting and engaging production. IQ Sports Producer delivers broadcast quality images using a choice of high-quality 4K camera systems to produce single or multi-camera productions, such as the company’s Stellar Cam. Now, the use of PTZ cameras can be integrated into the IQ Sports Producer workflow. This provides users with the highest quality imaging by dedicating the full frame of the PTZ camera image to the sporting action at full broadcast frame rates. Further, a simple overview camera allows the AI engine to steer the broadcast PTZ camera to the heart of the sporting action.

Visit https://www.vislink.com

Viaccess-Orca and Harmonic Optimise Content Protection for Live Sports

VIACCESS-ORCA (VO), the provider of OTT and TV platforms, content protection, and advanced data solutions, and Harmonic, the provider of video delivery solutions, have announced that the two companies are joining forces to improve content protection for live sports streaming. VO’s dynamic watermarking technology will be integrated with Harmonic’s market-leading VOS 360 cloud SaaS platform, offering content owners and providers a simple, scalable solution for quickly identifying piracy sources and stopping content restreaming.

“Sports piracy is a dangerous threat to the industry, costing billions of dollars in revenue loss every year,” said Mathieu Harel, Product Director of Watermarking at Viaccess-Orca. “By integrating our dynamic watermarking technology with Harmonic’s cloud platform, we are empowering sports content owners and content providers with a flexible business model, making it simpler and safer than ever to deliver

premium live sports content.”

Content owners will be able to utilise VO’s dynamic watermarking as a service on the Harmonic VOS360 SaaS platform for the entire duration of sports events. The server-side software can easily be used, on the fly, by new and existing customers.

“The ultimate way to protect live sports content is with a robust watermarking technology,” said Eric Gallier, Vice President, Video Customer Solutions at Harmonic. “We’re excited to bring Viaccess-Orca’s dynamic watermarking technology to our VOS360 SaaS platform.

With this new integration, we’re offering an automated and scalable event-based Anti-Piracy solution to safeguard live sports content.”

VO’s dynamic watermarking detects content redistributed from broadcast, IPTV, and OTT networks.

Using the state-of-the-art technology, operators can identify and remove the source of

restreaming within minutes, which is critical for live sports events. Blind identification on VO’s dynamic watermarking technology eliminates the need for metadata and enables content providers to automatically detect the chunk size of the original stream. Fully scalable, dynamic watermarking can scan millions of devices at once and instantly pinpoint those that are pirating content.

Harmonic’s VOS360 cloud platform simplifies the delivery and monetisation of live sports content at scale, ensuring low latency and pristine video quality up to UHD. Running on three major public clouds, the end-to-end SaaS platform provides unparalleled agility, resiliency, security, and scalability for a superior viewing experience. Based on a pay-per-use business model, the VOS360 platform enables operators to only pay for watermarking when needed.

Visit www.viaccess-orca.com and www. harmonicinc.com.

OPERATIONSNEWS OPERTAIONS

Mediacorp Takes News Editing to the Cloud with Qvest

INSTALLING AN ALL-CLOUD video editing solution from Qvest has powered the Mediacorp newsroom to even higher level performance. News video editors at Singapore’s national media network and largest content creator can now work faster and more flexibly without compromising data security or user experience. Moreover, new virtual editing suites also pave the way for Mediacorp to implement significantly more efficient, collaborative, and remote workflows at Channel News Asia (CNA).

With its cloud workflow technology solution, Qvest has contributed to Mediacorp’s futureproof and agile editorial collaboration standards. Their CNA team can now work more flexibly outside of premises, thanks to highly integrated cloud editing workstations. Central cloud management via the qibb integration platform enables access to fully integrated and location-independent, predefined programs and functions, such as Adobe Premiere Pro. The PC-over-IP protocol, powered by the cloud workstation’s dedicated GPU, provides highest quality, lowest latency, and end-user experience when using the integrated applications. This connection protocol, and additional supporting services, allows all members of the editing team to collaborate efficiently and remotely in an identical production environment.

According to Walter Fernandez, Editor-in-Chief & Chief Sustainability Officer at Mediacorp, “CNA is one of the largest English language news networks in Asia, delivering trusted news reports about Asia to millions from around the world on a daily basis. So, it is no surprise that

resilience coupled with innovation are crucial in shaping our ever-evolving daily operations, especially as we adapt to post-pandemic work norms. Our news gathering, production and delivery systems need to be flexible, efficient, and secure. Our partnership with Qvest to deploy a cloud based news editing system is just one example of how we are looking to empower our editorial teams to be able to create and deliver relevant content wherever they are using the most efficient workflows.”

The cloud system is based on qibb, managed as a platform-as-a-service, and is easily operable from any end device. Qvest uses Amazon Web Services for its infrastructure. The high-performance cloud architecture, individually configured to meet Mediacorp’s requirements, has been tailored for HD resolution editing enabling frame-accurate video editing in real time in the cloud. CNA journalists’ cloud workstations are available automatically at the start of their workday based on the intuitive scheduling system, which can be scaled up as needed for different days of the week.

Thanks to the flexible integration capabilities of the qibb platform to scale up and down, Mediacorp can customise the functionalities of the cloud environment with additional services at any time. For optimal control of resources and costs, data can be visualised via the qibb dashboard to quickly identify budget-relevant developments, assess if resources are being used effectively and act as required.

AFP Digital Reporting Courses

GLOBAL NEWS AGENCY AFP has created a training platform to help equip all journalists and journalism students with skills for digital investigations and tackling misinformation in a changing news ecosystem.

The training was developed by AFP’s award-winning digital investigations team, with the support of the Google News Initiative. Every journalist will receive a certificate after successfully completing a module.

Sifting through misinformation is now a key skill for coverage from breaking news to elections, the war in Ukraine, the Covid pandemic or following the latest trends on social media.

AFP developed the courses to reply to an urgent need for all journalists, whatever their beat, to be equally at ease in the digital world as in the real one.

AFP’s new platform provides short modules for working and future journalists to complete in their own time, with videos, examples, quizzes and tips from its global digital investigations service.

The platform includes 10 modules of around one hour each in English and French. The content is designed for all levels of experience, providing training at no cost to boost essential digital skills and save time searching for reliable information while dealing with online sources in breaking news situations.

More advanced courses cover techniques for deeper investigations, tackling health misinformation, and steps to anticipate and deal with online harassment.

In the coming months, the platform will be updated with new examples, exercises and webinars, and training in Portuguese and Spanish.

“Rapid developments on social media platforms and fast-moving disinformation mean that journalism skills constantly need to be updated. We want to share learnings from our digital investigations team with all journalists, helping them to work more efficiently and safely online,” said Phil Chetwynd, Global News Director of AFP.

According to Thomas Müller, Qvest Group CTO, “Ever-faster production cycles in the media landscape and limited resources, both in the technological supply chain and in terms of skilled staff, call for new solutions. Thanks to the possibilities and potential of our cloud-based editing workflow, the newsroom gains flexibility – while ensuring the highest journalistic standards. We are proud to be able to support the Mediacorp team with this solution on a sustainable basis.”

The Qvest Cloud team tailored the system design to meet the requirements of Mediacorp to be flexibly adaptable for use by other departments. Mediacorp, based in Singapore’s innovative high-tech cluster “one-north”, employs over 2500 professionals, including more than 300 journalists and engages over three million people in Singapore daily across the four national languages of English, Chinese, Malay and Tamil. Visit https://www.qvest.com

NHK WORLD-JAPAN Launches Channel in South Africa

NHK WORLD-JAPAN recently announced the commencement of its first round-the-clock English-language broadcast in the Republic of South Africa.

Beginning on July 1, NHK WORLD-JAPAN expanded its cooperation with MultiChoice Group, Africa’s leading video entertainment provider, and joined its Southern African lineup on DStv channel 431.

In addition to those already subscribed to DStv’s Sub-Saharan African offering, a direct-to-home (DTH) service via the Eutelsat36B, now approximately 8 million more DStv subscribers will have access to the channel’s exciting content via the Intelsat-20.

With this launch, viewers on all DStv packages throughout the continent can watch NHK WORLD-JAPAN’s unique and diverse blend of programming, featuring hourly live international news, along with arts and culture, dramas, anime, food, travel, technology, documentaries, and much more.

https://www3.nhk.or.jp

Detecting Fake News in Videos

SOCIAL MEDIA REPRESENTS a major channel for the spreading of fake news and disinformation. This situation has been made worse with recent advances in photo and video editing and artificial intelligence tools, which make it easy to tamper with audiovisual files, for example with so-called deep fakes, which combine and superimpose images, audio and video clips to create montages that look like real footage. Researchers from the K-riptography and Information Security for Open Networks (KISON) and the Communication Networks and Social Change (CNSC) groups of the Internet Interdisciplinary Institute (IN3) at the Universitat Oberta de Catalunya (UOC) have launched a new project to develop innovative technology that, using artificial intelligence and data concealment techniques, should help users to automatically differentiate between original and adulterated multimedia content, thus contributing to minimising the reposting of fake news. DISSIMILAR is an international initiative headed by the UOC including researchers from the Warsaw University of Technology (Poland) and Okayama University (Japan).

“The project has two objectives: firstly, to provide content creators with tools to watermark their creations, thus making any modification easily detectable; and secondly, to offer social media users tools based on latestgeneration signal processing and machine learning methods to detect fake digital content,” explained Professor David Megías, KISON lead researcher and director of the IN3. Furthermore, DISSIMILAR aims to include “the cultural dimension and the viewpoint of the end user throughout the entire project”, from the designing of the tools to the study of usability in the different stages. The danger of biases

Currently, there are basically two types of tools to detect fake news. Firstly, there are automatic ones based on machine learning, of which (currently) only a few prototypes are in existence. And, secondly, there are the fake news detection platforms featuring human involvement, as is the case with Facebook and Twitter, which require the participation of people to ascertain whether specific content is genuine or

fake. According to David Megías, this centralised solution could be affected by different biases and encourage censorship. “We believe that an objective assessment based on technological tools might be a better option, provided that users have the last word on deciding, on the basis of a pre-evaluation, whether they can trust certain content or not,” he explained.

For Megías, there is no single silver bullet that can detect fake news: rather, detection needs to be carried out with a combination of different tools.

“That’s why we’ve opted to explore the concealment of information (watermarks), digital content forensics analysis techniques (to a great extent based on signal processing) and, it goes without saying, machine learning”, he noted.

Automatically verifying multimedia files

Digital watermarking comprises a series of techniques in the field of data concealment that embed imperceptible information in the original file to ‘easily and automatically’ verify a multimedia file.

“It can be used to indicate a content’s legitimacy by, for example, confirming that a video or photo has been distributed by an official news agency, and can also be used as an authentication mark, which would be deleted in the case of modification of the content, or to trace the origin of the data. In other words, it can tell if the source of the information (e.g. a Twitter account) is spreading fake content,” explained Megías. Digital content forensics analysis techniques

The project will combine the development of watermarks with the application of digital content forensics analysis techniques. The goal is to leverage signal processing technology to detect the intrinsic distortions produced by the devices and programs used when creating or modifying any audiovisual file. These processes give rise to a range of alterations, such as sensor noise or optical distortion, which could be detected by means of machine learning models. “The idea is that the combination of all these tools improves outcomes when compared with the use of single solutions,” stated Megías.

Studies with users in Spain, Poland and Japan

One of the key characteristics of DISSIMILAR is its holistic approach and its gathering of the perceptions and cultural components around fake news. With this in mind, different user-focused studies will be carried out, broken down into different stages.

“Firstly, we want to find out how users interact with the news, what interests them, what media they consume, depending upon their interests, what they use as their basis to identify certain content as fake news and what they are prepared to do to check its truthfulness. If we can identify these things, it will make it easier for the technological tools we design to help prevent the propagation of fake news,” explained Megías. These perceptions will be gauged in different places and cultural contexts, in user group studies in Catalonia, Poland and Japan, so as to incorporate their idiosyncrasies when designing the solutions.

“This is important because, for example, each country has

governments and/or public authorities with greater or lesser degrees of credibility. This has an impact on how news is followed and support for fake news: if I don’t believe in the word of the authorities, why should I pay any attention to the news coming from these sources? This could be seen during the COVID-19 crisis: in countries in which there was less trust in the public authorities, there was less respect for suggestions and rules on the handling of the pandemic and vaccination,” said Andrea Rosales, a CNSC researcher.

A product that is easy to use and understand

In stage two, users will participate in designing the tool to “ensure that the product will be well-received, easy to use and understandable”, said Andrea Rosales. “We’d like them to be involved with us throughout the entire process until the final prototype is produced, as this will help us to provide a better response to their needs and priorities and do what other solutions haven’t been able to,” added David Megías.

This user acceptance could in the future be a factor that leads social network platforms to include the solutions developed in this project. “If our experiments bear fruit, it would be great if they integrated these technologies. For the time being, we’d be happy with a working prototype and a proof of concept that could encourage social media platforms to include these technologies in the future,” concluded David Megías.

“Firstly, we want to find out how users interact with the news, what interests them, what media they consume, depending upon their interests, what they use as their basis to identify certain content as fake news and what they are prepared to do to check its truthfulness.

nxtedition Puts Storytelling Front and Centre

NXTEDITION WILL SHOWCASE its production solution at IBC 2022. Visitors to the show will be able to experience the digital-first platform for themselves. nxtedition is built from the ground up, with storytelling at the heart of the production workflow, allowing even small teams to create and deliver highly compelling content fast, first and accurately.

By creating a densely feature-rich microservice ecosystem, nxtediton has consolidated sophisticated tools like planning, NRCS, ingest, MAM, graphics, streaming, studio automation and digital publishing removing engineering and putting storytelling rightfully at the centre. From sports shoulder broadcasting, building a news programme to posting on web and social or managing channel playout. Each member of the team has context aware access

to exactly the functionality they need within the single unified GUI, ensuring all their tasks are intuitive and primarily handled by simple drag and drop features. This ensures lightning speed as content comes in, is turned around and pushed out without losing time switching to other applications. The speed and productivity gains from this approach ensures nxtedition clients are always the first notification on a viewer’s device.

What sets nxtedition apart is an internal system architecture built entirely of web technologies repurposed for broadcast, whilst using the switching, layering and realtime rendering power of CasparCG to guarantee unmatched image quality on COTS hardware or in public cloud. Users can log in from any location and access all the tools in nxtedition (both on-

Intinor Debuts New Direkt Link Compact

SWEDEN’S DEVELOPER of products and solutions for highquality video over the internet, will unveil the Intinor Direkt link compact (mobile and backpack) alongside new features, such as AES67 support for its intercom solution, at IBC 2022. Visitors to this year’s show will also see Intinor’s market leading Bifrost and Direkt router series in action, with a range of new features now available.

The Direct link compact is

designed to meet the needs of single camera sports and news productions where a highly agile, small crew is of the essence. The system ensures a true point-topoint connection, eliminating the need for cloud subscriptions that adds cost and latency. Direct link compact supports 4-wire intercom for comms with the master control room (MCR), return video path and features two built-in modems, with the option for additional modems to be added as required.

prem or cloud) for extremely high availability and business continuity.

The fully virtualised architecture means that systems can be built to precisely match the individual workflow requirements, with the

appropriate level of resilience and a large reduction in complexity that microservices bring; nxtedition takes responsibility for the glue.

Visit https://nxtedition.com

Like the rest of the Direkt link range, this solution relies on Intinor’s proprietary Bifrost Reliable Transport (Bifrost) protocol, which incorporates a uniquely effective forward error correction, re-sending (ARQ), adaptive bitrate as well as network bonding to ensure maximum quality, stability, and reliability of the links. The result is more straightforward remote network management and monitoring in the field directly from the control

room. As with all its solutions, Direct link compact delivers the ultra-low latency (0.5 seconds) that is Intinor’s hallmark.

Intinor has also added full support for AES67 to its intercom solution, which will further simplify remote production and remote commentary workflows, ensuring greater levels of interoperability with customers’ existing systems.

Visit https://intinor.com

Stringr Updates Remote Video Sourcing and Production Platform

STRINGR HAS ANNOUNCED the latest version of its SaaS solution, the Stringr Remote Video Sourcing and Production platform. The endto-end platform connects media companies with instant access to custom video footage, remote production software and limitless video distribution options. New features include:

• Engage – Stringr Engage simplifies how broadcasters can source video from their communities. Instead of searching for user generated

content on social media, asking for permissions and then waiting for the high-resolution original video to be shared, media companies can simply create an Engage request for any video content and share it publicly with their audience – onscreen with a QR code or on social with a link – so anyone can contribute video. Videos are instantly added as an asset to edit, share, or use for live broadcast.

• Remote Guest Interview: The Stringr platform now includes a

feature that makes it easy to get HD recorded and live interview content from remote guests and commentators. Send the link and guests can join instantly. Instead of looking like a standard video conference, the host and guests are all individual feeds to switch between for live broadcasts or edit together later for a dynamic looking interview.

• Remote Commenting – The Stringr platform includes video editing and production tools, but now also has remote,

frame-level video commenting to collaborate and get feedback in real-time from anyone on the team, no matter where they are located. Stringr integrates these comments with our cloud-based editing tools so there is no need to change between multiple applications and programs. All assets from the original raw video to the final produced piece are all located in one place, so no more searching for different versions.

DaVinci Resolve Studio Used for Data Management on Shin Ultraman

BLACKMAGIC DESIGN RECENTLY announced that DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software was used for data management on the hit movie ‘Shin Ultraman’. A Blackmagic Pocket Cinema Camera 4K digital film camera, as well as an UltraStudio Mini Monitor playback device, were also used on the production.

‘Shin Ultraman’ is a film based on the popular tokusatsu (special effects) drama “Ultraman,” which was first broadcast in 1966. The film was planned, written and supervised by filmmaker/ anime creator Hideaki Anno, an avowed fan of the Ultraman series. The film was directed by Shinji Higuchi, who has worked with Anno on numerous films, including the hit film ‘Shin Godzilla’. ‘Shin Ultraman’ is an entertaining work that can be enjoyed by any generation, as it includes many scenes which are an homage to the original work.

DaVinci Resolve Studio was used for data management, QC and creating offline material during filming.

“DaVinci Resolve is an easy and reliable data management hub. For data copying, I used Resolve’s clone tool, and I played back the copied footage in Resolve for quality checks.

AFTRS and ILM Partner on Training for VFX

Since DaVinci Resolve is an application that can be used for finishing, I was more confident in my quality checks. I also used an UltraStudio Mini Monitor for monitoring, not only for this film but also for many other works,” said Takuto Watanabe, DIT of the film.

After quality checks, Watanabe created offline and rush material. Roughly one day’s worth of recorded data from the film was about one terabyte, and since it also included relatively low data footage from iPhones, it could be as much as four to five hours that were filmed. Watanabe said: “In addition to the main cameras, we used a variety of other cameras for this film. And, there are cameras that do not embed reel names in the metadata. So I put reel names on the footage from those cameras. In creating the offline material, I burned the timecode and other information onto the footage. DaVinci Resolve allowed me to set up custom settings for data burning very easily.”

Watanabe continued: “We started filming in 2019, but we needed to shoot additional material constantly. This film required many cameras as it needed to be shot with various angles and also used a Blackmagic Pocket Cinema Camera 4K for some tokusatsu shots.

‘Phase 2’ for Animal Logic USD Package

THE AUSTRALIAN Film Television and Radio School (AFTRS) and visual effects company Industrial Light and Magic (ILM) recently announced a partnership that will see new world-class training for students in the rapidly expanding screen speciality of visual effects.

AFTRS’ new Graduate Diploma in Visual Effects, commencing in February 2023, will bring together the vision, skills and expertise of ILM, and the educational expertise and creative excellence of AFTRS.

The Graduate Diploma in Visual Effects is a hands-on course designed to up-skill emerging practitioners, digital artists and budding technical directors to become job-ready visual effects artists in the Australian screen sector.

The course will prototype an innovative model of integrated training that combines the best of on-thejob training with formal education: blending real-world learning driven by leading industry experts, with the critical thinking and adaptive creative skill sets vital to thrive in today’s digital world.

The Graduate Diploma in Visual Effects program is to be delivered full-time over two semesters and is structured around an immersive series of practical classes and workshops. Led by senior professionals in the industry from ILM and AFTRS’ subject matter experts, students will progress through a cycle of learning, collaboration, experimentation, feedback and mentoring to hone their technical, creative and story skills.

FOLLOWING THE SUCCESS of last year’s release of ALab, with 4000 downloads to date, Animal Logic is sharing the next enhanced iteration of its open source project.

Last year’s release was a fully realised Universal Scene Description (USD) Scene that aimed to encourage further collaboration and exploration by the wider community.

Universal Scene Description (USD) is a framework for interchange of 3D computer graphics data, created by Pixar. As an early adopter, Animal Logic began transitioning its Sydney and Vancouver studios to an end-toend USD based pipeline during production on Peter Rabbit in 2017 and completing with Peter Rabbit 2 in March of 2020.

ALab ‘Phase 2’ provides a view of a full production scene with over 300 production quality assets, two animated characters with looping animation and baked procedural fur and fabric, all provided as a part of the first open-sourced USD shot context from a studio.

The wider community can now create their own magic with access to the expanded open-source digital production set, including cameras, lights, and two rigged CG characters, Goggles and her offsider Hinge. The new release aims to foster further exploration and adoption of the open-

DaVinci Resolve was reliable as I could bring in my projects even after I updated the software to the latest version.”

Tsuburaya Production, a tokusatsu production company which is best known for producing the Ultraman series, released a number of short movies as part of the film’s promotion on its streaming platform TSUBURAYA IMAGINATION. The movies are called “Shin Ultra Fight,” and Watanabe completed post production, including colour correction and online editing, using DaVinci Resolve Studio 18.

“These are a series of short movies using full CGI, and I did online editing for this project, not data management. What I mainly did was grading and adding some effects using ResolveFX. As I heavily added effects on CGI shots, I found artefacts on some shots, but I could make them smooth out by using beauty or deband effects in Resolve. I also used Resolve’s new magic mask feature, and I could track the kaiju and aliens perfectly! DaVinci Resolve allowed me to do complex work only in one application, which resulted in shortening my working hours,” said Watanabe.

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

source USD ecosystem while promoting the talent at Animal Logic. ALab has provided an accessible platform for artists and practitioners to develop their individual aesthetics and encourage collaboration across the wider 3D community.

In addition to releasing the USD files and textures from the production shot, Animal Logic has created a lit and rendered sequence, directed by Grant Freckelton, who also led the team that designed the ALab assets. The sequence highlights the asset suite’s complexity and quality while introducing the two new characters found in the scene.

The ALab data set is supplied as three separate downloads: the full production scene, high-quality textures, and baked procedural fur and fabric for the animated characters.

The Animal Logic ALab data set is one of the first digital assets adopted by the Academy Software Foundation’s Digital Production Example Library and is now available to access via https://animallogic.com/alab

Amazon and Avid Team Up for Editorial in AWS

AVID TECHNOLOGY and Amazon Studios have announced a three-year agreement to bring cloud-based editorial to Amazon Studios’ expanding slate of more than 300 original movies and series. Creative teams will get the same experience and performance as an onpremises editorial bay – including collaborative workflows with shared storage and end-to-end media management – without the complexity and time required to set up and tear down traditional hardware.

Editors need to access massive sets of media files that have traditionally been stored in the same location as the editing team. In collaboration with Avid, Amazon Studios will untether their editorial process to allow creative work to happen from almost anywhere, and centralise the editorial and

content workflows in the cloud. This collaboration will bring Avid’s Emmy-winning Media Composer software tool and Avid NEXIS media storage solutions to editors and other content contributors wherever they are, supporting creative teams that are spread across the globe. “Amazon Studios is prolific in its sheer output of original series and features that achieve the highest standard of creativity and quality,” said Jeff Rosica, Chief Executive Officer and President of Avid. “By building their creative workflows around a complete set of Avid tools and platforms in the cloud, Amazon Studios is kicking off a new era of productivity and collaboration for their creative teams and contributors. Avid is delighted that our open technologies are being chosen by more customers who are innovating how content is

produced in the cloud, on a global scale.”

This collaboration is an important step forward for Amazon Studios’ vision of a globally scalable studio-in-the-cloud platform, which will eventually include Avid’s MediaCentral production platform.

“We are on a journey to provide a best-in-class creative platform for our productions,” explains Ben Stanbury, Worldwide Head of Technology for Amazon Studios. “Studio in the Cloud is our overarching vision for how we provide our creative teams with a cloud-based toolset that they can use wherever they are in the world. Avid is a central component of this vision, so we are thrilled to be starting this new partnership with them.”

By leveraging AWS and its global infrastructure, Amazon Studios will further centralise

production assets in the cloud, creating a smoother, more unified production workflow. Production and Post-Production teams will spend less time duplicating and transferring media to critical team members, allowing more time to be spent on high-value creative efforts. Productions will also enjoy the peace of mind that comes from having their content, including camera raw files, protected by automatic processes that distribute data across several AWS Regions.

Avid and Amazon Studios expect to have cloud-based, productionready solutions by fourth quarter 2022.

Visit www.avid.com

Surface Imperfections Added to Maxon Capsules

AS PART OF THE COMPANY’S continuing effort to add value to its subscription offerings, Maxon is pleased to announce the addition of 50+ 4K premium tiled textures to the Maxon Capsules collection, designed to bring photorealism to artists’ renderings by adding minor flaws to the surfaces of 3D objects. The greyscale maps feature a mix of scratches, dust specs, smudges, fingerprints, hairs, residue, isolated fingerprints, all scanned from real surfaces and meticulously tiled.

The Surface Imperfections Volume 1 texture library was created by David Gruwier and has been licensed by Maxon for immediate royalty-free use by all Cinema 4D

and Maxon One subscribers.

For years surface imperfections or grunge maps have been the secret sauce of top professionals. By subtly layering in surface imperfections like dust, scratches, fingerprints and smudges – artists can take their renders from good to great. Building textures like this takes expensive equipment, specialised techniques, and the time and patience to make them tileable. Maxon is thrilled to make this commercial library available free to all Cinema 4D users without the hassles of project-by-project licensing.

Flanders Scientific Introduces MediaLight Pro2

THE MEDIALIGHT PRO2 Bias Lighting System was created for directors, editors and colourists who need the highest CRI and the most uniform spectral power distribution in a bias light for their professional displays.

The Pro2 uses a new class of ColorGrade MPro2 SMD (LED) chips, powered by blue-violet emitters that virtually eliminate LED emitter spike, with a colour rendering index (CRI) of 99 Ra, TLCI 99.7 Qa, and Spectral Similarity Index (SSI) of 88. The flicker-free dimmer operates at

30KHz (30,000Hz versus 220Hz for other MediaLight dimmers –sold separately so you can add them to your existing setup.

If you haven’t come across SSI before, it’s a comparison of a light source to a reference illuminant; in this case, the CIE standard illuminant D65. It compares the spectral power distribution (SPD) of the light source to the SPD curve for D65.

For the sake of comparison, the very accurate MediaLight Mk2, with CRI 98 Ra, has an SSI of 70.

Maxon Adds Enhanced Functionality to Maxon One

MAXON RECENTLY ANNOUNCED that all Maxon products are now included in its value-packed subscription: Cinema 4D, Redshift, Red Giant, Universe, Forger and now ZBrush, acquired in December of last year, are all included in Maxon One for the same price.

As part of an ongoing effort to bring Redshift to more users, Maxon is pleased to add CPU rendering to the production-proven engine known for incredible GPU performance. This allows users to make use of Redshift’s powerful materials and photorealistic rendering on any system. Users can more intuitively define surfaces and exchange material definitions thanks to a new Standard Material, which also includes improved photorealism from multiscatter energy conservation, D’Eon Lambert Sphere diffuse roughness model, thin film for iridescent materials and improved volumetric motion blur.

Maxon’s 3D modelling and animation solution Cinema 4D is incorporating some of the best technology from the Maxon family, with the addition of Redshift CPU, improved integration with Redshift, and procedural automatic retopology via ZRemesher. Cinema 4D S26 also introduces a fantastic lineup of new procedural and interactive modelling tools and an all-new cloth and rope simulation system.

Red Giant’s tools for editors and compositors expand to include Real Lens Flares for creating lens flares based on simulated optical models and ray traced light. Magic Bullet Looks now includes new Halation and Diffusion tools. Trapcode Particular now supports layer maps. Universe adds four new

immediately download all product updates via Maxon App. Everyone is welcome to download a 14-day trial of the entire Maxon One offering from within Maxon App and experience for themselves all the great new features across the entire Maxon family of products.

RED GIANT

VFX Suite 3 introduces Real Lens Flares based on simulated optical models and ray traced light. This technology preview will evolve with the participation of our artistic community.

Magic Bullet Suite 16 adds new Halation and Optical Diffusion tools for Looks, along with OpenColorIO support.

Trapcode Suite 18 now offers M1 support for all Trapcode tools, and layer maps support in Particular.

Universe: Universe 6 adds exciting new tools providing many new options to be creative and enhance an artist’s workflow. Sketchify adds sketch- and toon-like effects to footage, ChromaTown creates chromatic streaks and blurs for warpy looks and transitions, Box Bokeh provides square or diamond shaped lens bokeh effects, and Stretch Transition adds a stretchy crossfade between clips for a warp-like transition. Combined with over 70 new presets, Universe 6 helps artists to get impressive results quickly in a fun and intuitive way.

FORGER

The latest version of Forger reveals the first stage in Maxon’s plan to provide powerful hard-surface modelling capabilities to 3D artists.

Built with Cinema 4D’s polygonal foundation, Forger now offers a selection of polygonal primitives: planes, cubes, spheres, cylinders, torus, pyramids, capsules, oil tanks, etc. These primitives can be shaped and crafted into complex creations with Forger’s awardwinning set of sculpting tools using the powerful yet ingenious Apple

CuttingRoom Launches Cloud-native Pro Video Editor

CUTTINGROOM HAS ANNOUNCED the release of its browser-based video editing and publishing tool, designed as the world’s first cloud-native solution for professional editors in the broadcast and AV industries.

On the back of both the significant changes to operational paradigms brought about by the pandemic and an increasingly heavy demand for off-site, remote and distributed production – facilitated in large part by the rise of IP-based broadcast – CuttingRoom seeks to meet the needs of video editors who need to work on collaborative projects in disparate locations, and yet still retain – and indeed improve upon – the reliability, operational speed and quality associated with traditional editing suites.

Using an intuitive user interface that incorporates all the expected elements of a source/ sequence/timeline editing package, CuttingRoom also allows for Adobe After Effects templates to be integrated, as well as facilitating closedcaption search and metadata management. Moreover, by virtue of an API-based, open architecture, CuttingRoom is capable of integration with major MAM systems; including Vimond, Mimir, Iconik and Wolftech.

In terms of technical specifications, CuttingRoom can ingest both live and recorded video, stills and audio in a range of formats, which can be published in a variety of bitrates, aspect ratios and containers. Rendering is undertaken concurrently, delivering outputs quickly with a consistent performance that is maintained regardless of load. CuttingRoom’s founders – who draw from their experience as the creators of video streaming provider Vimond – estimate that editing with CuttingRoom can be 25x faster than traditional approaches. Most crucially, both editing and rendering can be undertaken simultaneously, with outputs delivered to any location across the globe.

Indeed, it is this capacity for simultaneous collaborative work that represents CuttingRoom’s unique proposition; with no practical limits on the number of simultaneous users who can work on a project, no geographical boundaries or time zone limitations, with reliability guaranteed by built-in 24/7 redundancy, there is no stronger, faster or more intuitive collaborative editing tool currently available to creative teams.

BRT Vietnam Expands EditShare Storage with Danmon Asia

DANMON ASIA has announced the completion of expanded digital media storage for Ba Ria – Vung Tau Radio and Television (BRT) which broadcasts across southeastern Vietnam.

Based on EditShare technology, the newly integrated system is designed to enhance the efficiency of BRT’s workflow, increasing the station’s online storage capacity and adding automated archiving.

“We selected EditShare as our preferred storage technology some years ago,” says BRT Technical Manager Le An Thi. “It proved a good choice, expanding the creative potential of our production team. Danmon Asia partnered very effectively with us from the initial design phase and onward through implementation, system testing and staff training. The Danmon Asia team also provides fast and effective maintenance support on the rare occasion that we need it. We recently began studying the potential for automating some of the manual aspects of our production, archiving and presentation process. After researching the various products in the

marketplace, we decided to expand our Editshare infrastructure into a complete solution embracing ingest, quality control, storage and editorial vetting right through to transmission. The result is very effective in accelerating our media throughput while sustaining BRT’s high content quality.”

“The expanded system we have supplied and integrated includes four EditShare EFS 300 storage nodes with a combined capacity of 640 terabytes for use in video production,” adds Danmon Asia General Director Bjarne Pedersen.

“Each EFS 300 is equipped with EditShare Flow production asset management software. This gives BRTs editors fast access to file-based ingest, logging, cataloguing, searching, cutsonly editing and drag-and-drop resources. We have also provided an Editshare Ark content management library incorporating LTO-8 drives which can be accessed quickly from the online servers.”

EditShare’s Flow software serves as a control layer across multiple storage pools, offering fast production tools plus highly efficient asset

and metadata tracking. A single EFS 300 can support from one to eight additional storage nodes. Up to 5 Petabytes of total storage can be accommodated by adding dedicated metadata controllers and servers for Flow and Ark.

EditShare Ark allows users to backup essential media assets automatically. Unused assets can be parked in nearline disk and offline tape storage. Operators can also restore backups from nearline and offline destinations. Up to 560 LTO-8 tape slots can be supported. Ark is also compatible with third-party LTO tape libraries.

Visit https://www.danmonasia.com and https://editshare.com

Thailand’s TV5 Manages Media with eMAM and Intraware

INTRAWARE, THE APAC DISTRIBUTOR of the eMAM Media Asset Management System recently took part in an installation of a fully integrated playout and media asset management system for Thai TV5 at the network’s studio headquarters in Bangkok, in partnership with eMAM and PlayBox Neo. The project encompassed the replacement of legacy third-party equipment with a solution designed to combine high operational efficiency, reliability and scalability. Intraware worked with both suppliers in the installation and commissioning of the eMAM system.

“The media asset management solution chosen for TV5HD is based on our eMAM Enterprise platform,” according to EMAM, Inc. VP of Business Development Chuck Buelow. “eMAM manages the content transcoding process and extraction of metadata. Additional metadata can be added during or after ingest, by human or AI tagging. From the web interface, operators can search, browse, preview, organise, mark, subclip, build sequences and download content. Creatives can use their existing applications to perform editing and share the results back

to eMAM Enterprise. Content can be shared via links in an email or social media. Operators can generate embedded links or deliver media in multiple formats and to multiple locations. Single clips or multiple files associated with a category or project can be archived to a more cost-effective storage platform.”

The decision to go with eMAM was driven at CH 5, because of its web based workflows there was no need to change anything on the client side and eMAM’s ability to support all of Ch5 legacy workflows. The Program Department liked that eMAM offered Ingest, Censorship, Media Management, Delivery for ONAIR to Playbox Neo and the News Department liked also that it can ingest, but also that sequences can be created for final editing and integrated with Adobe Premiere CC and then integrate with Octopus Newsroom for ONAIR. It also integrates to CH5’s Xendata Archive solution and Qantum LTO Tape Library.

The Playout component supplied was from Playbox NEO.

“The system we proposed in Q1 that has now been completed is based on PlayBox Neo AirBox Neo-20

Channel-in-a-Box systems,” says David Srikalra, Managing Director of PS and Sons (Thailand) Co Ltd. “These successfully power a large number of television channels and playout services here in APAC and around the globe. We also recommended EMAM Inc as the vendor for content management. EMAM products integrate easily with AirBox Neo-20, enabling operators to archive programs and interstitials complete with fastsearchable descriptive metadata. They are deployed in the master control room used for the HD channel.”

“A key strength of AirBox Neo-20 is that it is based on a range of software modules which allow customers or their system integrators to select a configuration that exactly meets their current workflow,” adds Nut Deesamer, Director of PlayBox Neo’s Thailand branch. “David Srikalra and his colleagues together with the Thai TV5 operations team specified the features and facilities they needed. The resultant playout system comprises three AirBox Neo-20 Channel-In-a-Box playout servers including TitleBox Neo-20 channel branding plus our Capture Suite and latest-generation Multi

Playout Manager. This combination allows the network to function with high efficiency and flexibility. Content arriving at TV5HD, or created in the network’s studios, is ingested into the eMAM Enterprise database. The ingest process is supervised using two Capture Suites. Material required for transmission is then transferred to playout server storage within AirBox Neo-20 for on-air playlist preparation, graphics and title generation. Much of this process is handled using Multi Playout Manager. Communication within the PlayBox Neo and eMAM system is over 10G ethernet IP. The system is configured to function as main and backup with the additional protection of a cool spare. The solution gives Ch5 a manageable system and workflow that was within their budget.

TV5HD is now in its 64th year of operation which makes it one of the country’s longest established free-to-air television networks, transmitting news and variety programs in 1080i over Thailand’s digital terrestrial network and by direct-to-home satellite.

Avid NEXIS F-Series Raises Bar on Media Storage

AVID HAS UNVEILED the next generation of its Avid NEXIS shared storage solutions with the Avid NEXIS F-series family of storage engines and Avid NEXIS | VFS (virtual file system). Available now, the Avid NEXIS F-series solutions allow media production teams of all sizes to work from anywhere by providing secure, remote access to media and metadata across online, nearline, cloud and archive storage. Avid NEXIS | VFS allows users to deploy Avid NEXIS storage on-premises, in the cloud, or as a SaaS solution, simplifying their ability to collaborate from anywhere, as well as to adapt and grow their business in today’s rapidly changing media production landscape.

Avid NEXIS F-series

With performance that can scale to more than 30 gigabytes per second, the new family of Avid NEXIS F-series storage engines gives media production organisations the power to accelerate the most complex media workflows. The speed and capacity of the Avid NEXIS F-series accommodates business growth, new projects and remote collaboration without disruption or down time. With its modular, costeffective design, the Avid NEXIS F-series is ideal for any size team, project and workflow. This new generation of Avid NEXIS shared storage systems, which provides storage with no latency or delay for collaborative and real-time workflows, also includes the Avid NEXIS | PRO+ introduction for smaller collaborative teams. The Avid NEXIS | PRO+ delivers the proven reliability teams demand to optimise the entire lifecycle of

backup, repurposing and archive. Production teams can tackle these tasks without dropping a single frame – even when working with high-res media in the most demanding broadcast and post-production environments.

Avid NEXIS | VFS

Serving as the brain of the Avid NEXIS F-series and Avid NEXIS | PRO+, the completely reimagined Avid NEXIS | VFS now virtualises storage into a single pool of shared resources. It accelerates collaborative media workflows by allowing teams of any size to quickly and securely access content from anywhere.

Avid NEXIS | VFS software also features builtin intelligence to automate administrative tasks and allow Avid NEXIS F-series storage to adapt to changing workloads without user intervention. From dynamically reallocating storage capacity and optimising bandwidth to delivering protection with automatic drive rebuild, it provides the agile environment and reliability required for 24×7 operations.

Avid NEXIS | VFS also powers easy collaboration and fast turnaround, no matter what video, audio, news, sports or graphics production tools are being used. Hundreds of users can simultaneously browse, find and share media and projects from anywhere – in the facility, on location, or at home – keeping their organisation’s entire content library and archive

EditShare Joins AWS ISV Accelerate Program

EDITSHARE HAS ANNOUNCED it has joined the Amazon Web Services (AWS) Independent Software Vendor (ISV) Accelerate Program, a co-sell program for AWS Partners that provides software solutions that run on or integrate with AWS. The program helps AWS Partners drive new business by directly connecting participating ISVs with the AWS Sales organisation.

Members of the AWS ISV Accelerate program are held to the industry’s highest standards and must undergo a comprehensive architectural and security evaluation to gain acceptance into the program. Proof of customer excellence was also reviewed to validate the successes EditShare customers have achieved across industry verticals. EditShare

has an excellent track record in integrating cloud storage into practical solutions which are used by media organisations from national broadcasters to boutique post houses. In turn, this makes it a proven partner for the AWS Partner Network (APN) Customer Engagement Program.

“More and more media industry leaders are making the transition towards cloud and hybrid production workflows, because they support new ways of engaging with creative talents as well as providing the resilience and security of business continuity,” commented Said Bacho, chief revenue officer at EditShare. “The AWS ISV Accelerate Program gives us another route to provide our FLEX cloud storage and asset

“With remote collaboration now being the norm for most production and creative teams around the world, media organisations are looking to scale their infrastructures and take the next step on their cloud journeys without impacting performance or reliability,” said David Colantuoni, Vice President, Product Management for Video and Media Solutions at Avid. “Avid NEXIS lets organisations of all sizes do exactly that. From powering unmatched collaborative performance to bringing intelligence into media workflows and delivering unprecedented flexibility, Avid NEXIS enables remote operations like never before.”

Avid NEXIS | FLEX Subscription

The new Avid NEXIS F-series and Avid NEXIS | VFS are available today as a subscription offering via the recently announced Avid NEXIS | FLEX purchase plan. Avid NEXIS | FLEX subscriptions allow Avid NEXIS customers to gain the financial benefits of an OPEX business model while also simplifying their ability to migrate from a traditional, hardware-based storage deployment to the cloud or SaaS environment. As such, Avid NEXIS | FLEX customers gain lower cost of entry, business agility and exceptional investment protection. Avid NEXIS | FLEX also enables media teams to combine their other Avid subscription solutions such as Media Composer and MediaCentral, providing an all-in-one OPEX engagement with Avid.

Visit https://www.avid.com/products/avid-nexis

management applications to AWS customers.

“Participation in the AWS ISV Accelerate program is more than just signing a form,” Bacho added. “A company is invited to join when it has demonstrated both the technical strength of the

solutions and their relevance in the ecosystem, through multiple sales and significant revenues. This is an important accolade for the EditShare platform, and we are proud to be a part of this program.”

AI-Based Localisation and Translation

XL8, A SILICON VALLEY tech company providing AI-powered machine translation technology optimised for media content, has unveiled its MediaCAT platform for seamless, AI-based media localisation. This powerful web-based platform adds asset management, editing, and automation capabilities to complement XL8’s existing content services.

MediaCAT can automatically extract lines from media content, match the timecode, and translate content to the desired language pair –or multiple language pairs simultaneously. The platform enables in-line post-editing and the addition of synthetic dubbing or voice-overs, allowing users to audition specific voices quickly with just a few clicks.

“Content owners and service providers are under increasing pressure to meet the exploding worldwide demand for media titles and deliver hyper-localised translated media to a growing number of platforms,” said Janice Pearson, SVP of Sales and Strategy at XL8. “They need tools that not only automate and streamline the process but also scale to work at the speed of their business.”

Adding these new capabilities to XL8’s existing suite of Machine Translation Post-Edit (MTPE) services makes MediaCAT the most convenient and unified translation solution available for human translators. MediaCAT will allow users to edit timecode and set limits per segment

for a translated subtitle in-line within the tool. These features significantly reduce tedious and repetitive tasks often associated with traditional translation workflows since XL8’s translation engine is specifically optimised for media content translation.

At IBC, XL8 has also previewed its EventCAT platform, which will complement XL8’s existing live subtitling capabilities for live broadcasts and events and provide an on/offline interpretation platform supported by a global network of thousands of interpreters.

The combination of MediaCAT and EventCAT allows linguists to streamline their workflows while unlocking the full power of Artificial Intelligence to support efficient and costeffective media and conversational localization. All products and services are designed to help localization professionals with the power of XL8’s human-like machine translation engine. XL8’s full array of media content services

includes text and subtitle translations; auto subtitling based on speech recognition through ASR, auto-captioning, synchronisation; and synthesised dubbing and voice-overs. The company’s translation technology is distinguished from other competitive offerings through its use of Context Awareness models to translate colloquial phrases better. Context awareness allows the technology to truly “localise” content instead of simply translating it “word for word.” XL8’s translation engines can also incorporate specific language formalities by recognizing the relationships between words and characters.

Object Matrix Expands Partner Network with New Integrations Qumulo Security Enhancements

OBJECT MATRIX has announced a series of new technical partnerships, including integrations with Hiscale, MASV, Pebble Beach Systems, and Drastic Technologies. The partnerships will enhance workflows and infrastructure for MatrixStore customers and demonstrate the company’s ongoing commitment to technical innovation.

Object Matrix provides media focused object storage solutions to organisations that need to manage video assets or rich media files. Its flagship solution, MatrixStore, enables organisations to benefit financially and operationally from modernising video archive workflows and providing instant access to all media assets from anywhere. With built-in security, analytics, and intuitive interfaces, MatrixStore delivers operational efficiencies, full digital content governance, and multiple mediabased workflows.

Software development company Hiscale, has integrated its flexible transcoding solution, FLICS, with MatrixStore, providing users with a scalable transcoding solution that can manage instances across various platforms. As a result of the partnership, broadcast, media and entertainment companies can easily and quickly access transcoding and proxy workflows whilst benefiting from a secure media archiving solution.

Object Matrix has partnered with the large file transfer platform, MASV, to provide an

integrated file transfer storage solution for the broadcast and media industry. The combination of these technologies brings together size, speed, security, and stability, using Object Matrix’s file system interface, S3Connect, which enables the user to read and write data and metadata to MatrixStore object storage.

Pebble Beach Systems, a leader in broadcast playout automation, has integrated its automated, channel, IP, and virtualised playout technology with MatrixStore. This will provide users with the ability to deliver highly automated, integrated video for ingest, channel branding, and frame-accurate multi-channel playout. The partnership has created an accessible avenue for broadcast media companies, who need to schedule multi-channel broadcasting, with seamlessly efficient access to their archived media assets.

Post-production and sports broadcasting solutions developer, Drastic Technologies, has partnered with Object Matrix to provide users with the ability to organise and streamline their postproduction and broadcast media. The integration enables users to access their content securely from anywhere, at any time, whilst ensuring that any access to assets is secure, efficient, and simple.

Visit https://object-matrix.com/

QUMULO, THE PROVIDER OF of solutions for enterprise file data management across hybrid cloud environments, has announced significantly enhanced security support for network file system protocol NFSv4.1. The company has also announced it has received an attestation of compliance with SOC 2 Type II.

Qumulo introduced Qumulo on Azure as a Service (QaaS) in July of 2021, so that multi-cloud organisations could store, manage, and curate their data with simplicity anywhere. To prove the security of its service across key criteria, Qumulo engaged A-Lign, an independent auditing firm, to review its service data controls. This attestation of compliance with SOC 2 Type II for QaaS provides customers peace of mind that the data entrusted to QaaS will be secured.

With the new enhancements to the NFSv4.1 protocol, there is additional support for authentication via Kerberos and file locking control. In NFSv3, users can impersonate any user with root access to their client machine. Kerberos solves this problem with cryptography techniques to securely authenticate users from a central identity provider, such as Microsoft Active Directory Domain Controllers or an opensource Kerberos Key Distribution Center (KDC).

The latest release includes improved lock handling for file access. When files are accessed by a client, they are locked to ensure that other clients cannot write data to the file, preventing potential corruption or version control issues. NFSv3 had known problems with orphaned sessions leaving files locked, requiring administrators to run a process to release locks from time to time. NFSv4.1 provides superior lock control and time outs to release locked files after some interval of inactivity.

Visit https://www.qumulo.com

DiGiCo Delivers High-End Audio for Shanghai’s Yun Hall Cultural Centre

LOCATED IN THE SONGJIANG DISTRICT of Shanghai, the Yun Hall Cultural Art Centre is a major community and economic project of the district party committee and district government. Its aim is to build a comprehensive, high-quality cultural landmark, providing one-stop public cultural services such as art exhibitions, cultural performances, group activities and reading for all. A pair of DiGiCo Quantum 338 consoles form part of its high-end technical infrastructure, designed and installed by DiGiCo distributor, Rightway Audio Consultants (Racpro).

Designed by Xing Tonghe, chief architect at Shanghai Xian Dai Architecture, whose works encompasses an organic combination of the spirit of the times and national tradition, modern technology, and history and culture, the Yun Hall Culture and Art Centre communicates a strong sense of innovation and highlights the ‘new Chinese’ aesthetic style.

The Centre includes the Yun Theatre, which extends to approximately 10,000 square metres, can accommodate a 1200-capacity audience, and can meet the needs of a variety of performances including dance, opera,

drama, symphonic concerts, Chinese opera and variety shows.

To complement a substantial L-Acoustics PA system, Racpro recommended DiGiCo consoles, specifying two Quantum 338s, their size, the advantage of a trio of screens and 38 touch sensitive faders making it perfect for the theatre’s engineers. The consoles are situated in a control room at the rear of the auditorium, which is the ideal position for the theatre’s engineers and those from visiting productions to mix from.

“As the venue doesn’t have a separate monitor desk, the Q338’s Nodal Processing is also a big advantage,” says Fang Hongsen, Sound Technology Director. “And real-time data synchronisation ensures stable audio output during performances.”

Yun Theatre’s premier was the G60 Shanghai Songjiang Spring Festival Concert, presented by the Shanghai Symphony Orchestra, with traditional pieces such as Spring Festival Overture and The Butterfly Lovers, as well as

excerpts from Classic of Mountains and Seas, and Fathers, a specially commissioned work to celebrate the centenary of the founding of the Communist Party of China, and the first movement of The Light of G60, a symphony praising for Songjiang, composed by a renowned composer Qiang Weihao.

“The advanced design of the Q338 fits perfectly with the technical vision for Yun Hall Culture and Art Centre,” concludes Racpro’s Li Feng, Brand Manager. “We have had great feedback from the venue and we are very proud to have been involved in such a prestigious project.”

Visit https://digico.biz/

ABC Radio Australia to Carry SBS Samoan Programming

AUSTRALIA’S TWO governmentowned broadcasters have launched a collaboration that will expand in-language news and information for audiences across the Pacific.

Under a new content-sharing agreement, SBS Radio content from the SBS Gagana Samoa program will be carried on Australia’s international broadcaster, ABC Radio Australia.

Claire M. Gorman, ABC Head of International Services, described the ABC/SBS collaboration as an important commitment to Pacific

audiences.

“For more than 80 years, Radio Australia has been speaking with communities across the Pacific and our service has evolved to include online and digital platforms. This agreement with SBS will increase the availability of in-language content for the benefit of our Pacific audiences,” she said.

Under the agreement, SBS Gagana Samoan will be heard in the Samoan capital Apia and across the Pacific region on ABC Radio Australia.

RADIO NAURU Upgrades Studio with AEQ

NAURU, LOCATED IN the Pacific Ocean’s Micronesia region is a single island country with a 23mm² area. Its population of 10,000 is the world´s secondsmallest after Vatican City.

Radio Nauru was founded in 1968 as the only governmentowned non-commercial radio station. It operates as the Nauru Broadcasting Service, launching

Produced by SBS Radio in Sydney, the SBS Gagana Samoan team creates content for radio and online, from an Australian perspective across a range of issues important to Samoan language speakers.

David Hua, SBS Director of Audio and Language Content, said the multilingual public broadcaster was pleased to be partnering with ABC Radio Australia to help expand the reach of its content into the Pacific.

“We already see interest in our digital stories from outside of

Australia and we are very pleased that content, such as SBS Samoan, will have an expanded reach across the Pacific under this arrangement.

“This deal sees both public broadcasters highlighting their various strengths and working together in a way which benefits overseas audiences with unique and trusted in-language content from an Australian perspective.”

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

its content via online and on 105.1MHz FM from its facilities in Yaren – main city of the island.

Radio Nauru offers a wide range of programmes, including traditional culture, news, classical music, as well as ancest local music. It also broadcasts some programmes from Radio Australia and BBC.

Traditionally, Radio Nauru has always worked with analogue equipment. But recently, the technical management of the radio station has decided to upgrade one of its studios with digital technology and have chosen the AEQ CAPITOL IP console as the heart of the new studio.

Visit http://www.aeq.es

Nugen Audio Presents Latest Plug-In Solutions

NUGEN AUDIO will showcase its latest broadcast and film-focused plug-ins to IBC 2022 attendees at Stand 7.P11. Included among these is a preview of the new Halo Vision software, which is a customisable, real-time visual analysis suite designed for 3D, surround and immersive audio workflows. The company is also presenting the latest updates to its SigMod plug-in, which provides users with greater flexibility within the signal architecture, as well as Paragon, its 3D-compatible convolution reverb.

Operating in up to 7.1.2 channels for the AAX, VST3 and AU formats, Halo Vision features a variety of modules that provide audio professionals with a clearer understanding of every sound aspect. Among the available tools are a Correlation Matrix, Correlation Web and Spectrum, as well as expanded versions of NUGEN’s Frequency Haze and Location Haze functions, and a True Peak meter for each channel. These modules all support mix engineers in their decision-making and troubleshooting process, allowing them to pinpoint problem areas that might be missed using ears alone. Halo Vision can be customised, rearranged and resized to suit any specific workflow, making it perfect for a broad

spectrum of immersive sound projects, from music to film.

NUGEN focused on creativity with the new version of its SigMod plug-in, which now includes mono and split-mono modes. There is also a new ‘Split’ module that allows users to switch between stereo and split-mono formats, providing them with greater flexibility within the signal architecture. NUGEN’s SigMod software provides custom, simple signal architecture with 13 single-process modules to enhance plug-in and DAW functionality. It offers creative ways to work by allowing users to easily insert, swap and move modules to fit to the correction, conversion and tweaking of audio. Included among the available modules are Split, Mid/Side, Protect, Tap, Crossover, Insert, Mute/Solo, Trim, Switch, DC Off-Set, Mono, Phase, and Delay.

With purity of sound at the forefront of this plug-in, Paragon operates in up to 7.1.2 channels of audio, making it perfect for broadcast audio applications, as well as for producing reverb in mono and stereo formats. Using state-of-the-art technology, Paragon features spectral analysis and precise EQ of Impulse Responses (IR), which are analysed, decomposed and re-synthesised to create new

Evertz and Studer Take Audio Into The IP Domain

STUDER AUDIO WILL FEATURE prominently on the Evertz stand at IBC 2022 where the company will highlight exciting additions and upgrades to this famous product range. Studer has been an iconic audio brand for more than 70 years, with the Vista digital mixing consoles found in the control rooms of the world’s most prestigious and modern broadcast facilities. Over the past few months, Evertz has focused on integrating the legendary Studer technology into its own live production workflows. Studer Vista digital consoles and Infinity Core audio mixing and processing are now part of Evertz Software Defined Video Networking (SDVN) solutions, which are leading the industry’s transition to IP. These developments making an enormous difference to customers as they can now access complete solutions for IP-based video and audio production.

On stand 1.F76 in Hall 1, Evertz will introduce the Vista 1 Carbon, a 22 fader, all in one, compact console that is the latest addition to the well-established Studer Vista console range. Designed for live events, broadcasts, remote and Outside Broadcast (OB) productions, Vista consoles are both flexible and powerful, boasting a Digital Signal Processing engine that offers over 1,000 channels and busses, and more than 6,000 physical I/O. By utilising the same application software across the entire range, Studer gives customers an easy transition from one console to another, whether they are working on the new Vista 1 Carbon or the 72 fader, fully redundant flagship Vista X. In addition to the Vista 1 Carbon, Evertz will also be showing the new Studer Infinity-ST server core, which features a new CoreLink card

audio interface that provides both IP based ST2110-30 and Studer proprietary A-link native connectivity. With more than 6000 inputs and outputs, the Infinity ST1100’s cutting edge CPU technology also boasts 1100 simultaneous DSP channels and busses to mix, while the Infinity ST550 provides a cost effective alternative for those not needing the high level horsepower. The Infinity-ST series maintains Studer’s sample-locked 100 percent redundancy option giving today’s high pressure, high stakes productions the protection it demands.

Completing the Evertz Studer line up for IBC is the Micro Series – a high end digital audio

authentic spaces. This ensures a small digital footprint for the IR library and makes it possible to configure limitless combinations of spaces with just a few adjustments to the settings. Further, it features individually configurable crosstalk; unique technology for re-synthesis of authentic IRs, HPF and LPF; and switchable LFE. New presets and an improved browser, with ‘search’, ‘tagging’ and ‘favourite’ functions were recently added specifically for exterior scenes, which are found in nearly every movie or TV production.

mixing system in a compact, cost effective package that give users everything they need in one box.

Comprised of the core unit, a graphical user interface and an optional fader control surface, the Micro Series is ideal for radio and TV broadcast, production studios, ENG/DSNG and more. Its convenient HTML5-based user interface means that the Studer Micro can be fully controlled from the web browser on virtually any tablet or computer.

Neumann Unveils DSP-Powered Studio Monitor KH 150

GERMAN STUDIO SPECIALIST

Neumann.Berlin expands its line of reference-class studio monitors with the KH 150. The bi-amplified, DSP-controlled loudspeaker features the same high-resolution tweeter as all Neumann studio monitors and a newly developed 6.5-inch woofer with ultra-low distortion and high SPL capability. Despite its rather compact format, the KH 150 surprises with outstanding clarity, even at high volume, and extended low-end. The KH 150 has an exceptionally flat frequency response from 39Hz to 21kHz (±3dB) and is recommended for all applications from broadcast to music production. Including styles that require a powerful, deep low-end and/or elevated listening levels such as urban music, EDM, and film scoring.

Digital electronics also allows the KH 150 to be calibrated via Neumann’s MA 1 Automatic

Monitor Alignment (sold separately). “The KH 150 follows the same philosophy as all Neumann studio monitors: highest linearity, lowest distortion, no colouration, and perfect adaptability to any acoustic environment”, states Neumann’s CEO Ralf Oehl. “In our pursuit of sonic perfection, we not only optimise every parameter of the loudspeaker itself, we also include the greatest variable: the listening environment. The KH 150’s DSP engine perfectly integrates with Neumann’s game-changing MA 1 Automatic Monitor Alignment for best possible sound in any room.”

In addition, the KH 150 is extremely energy efficient. Neumann engineers took great care to develop a patent pending amplifier technology which combines superior audio performance with the energy efficiency of Class D. Although the KH 150’s amplifiers deliver up

AETA Launches Scoop6 Compact Codec

to 145W to the 6.5-inch woofer and 100W to the 1-inch tweeter, they only consume 17 W at idle. Auto-standby reduces power consumption to 0.3 W when the KH 150 has not been used for a while, but can be deactivated.

The KH 150 offers analogue and digital inputs (S/PDIF). It will also be available in an AES67 variant with redundant AES67

audio network ports that are fully compliant with broadcast standards such as ST 2110, ST 2022-7 redundancy, and RAVENNA. At the same time, the KH 150 AES67 is compatible with DANTE-generated AES67 network streams.

The KH 150 and KH 150 AES67 will be available in September 2022.

Visit https://en-au.neumann.com

Nixer Pro Audio to Top Off RL Series with RL256

AETA AUDIO SYSTEMS is proud to announce the release of Scoop6 double IP mono codec, the latest product in a lineup of recent innovations from the audio and IP codec specialists.

Scoop6 follows in the footsteps of the Scoop5s rackmount audio codec. The new unit is, however, more compact and allows users to combine many codecs into just one 19-inch rack unit, even squeezing into crowded MCRs as well as facilitating remote broadcast in OB vans, for example.

Like Scoop5s, Scoop6 supports multiple network interfaces such as two Ethernet ports as well as 4G and 5G connections, so it’s also adaptable for all types of broadcast applications.

Just half the size of a 19-inch

rack unit, the Scoop6 codec offers redundant power supply for safety as well as any kind of audio I/Os with AES67 (Dante or Ravenna) as analog or AES3.

“Just like we’ve upgraded Scoopy+S into Scoopy Flex, we have now modernised Scoop5s with Scoop6. Our job is to offer top-quality technology that lets users benefit from the most advanced features and versatility on the market may it be in remote connections or in the studio,” said Yann Vonarburg, General Manager of AETA Audio Systems. Scoop6 will be available in October 2022.

Visit https://www.aeta-audio.com

WITH BROADCAST, post production, recording studios and live sound rapidly transitioning to IP Audio, the need for confidence monitoring and diagnostic solutions have increased accordingly in recent years. Nixer Pro Audio specialises in developing, designing and manufacturing high quality and cost-effective AoIP tools that address this growing demand. The RL256, which offers confidence monitoring for high channel count, as well as a clear and intuitive touch display, is ideal for rapid source selection during demanding live events and broadcast transmissions.

Originally, the RL units were designed for use within large multichannel broadcast Master Control Rooms, and with the addition of RL256 an operator can now access up to 256 channels from a single monitoring position, making it ideal for not only Master Control Rooms, but also AoIP-equipped Outside Broadcast trucks.

With four base models in the RL Series, RL256 is the latest and largest addition to the range. It offers connection for 256 AoIP channels, but with the important

note that each of the four Ethernet ports, each carrying 64 channels, can be tailored to offer 1-4 Dante ports or 1-4 Ravenna ports in any combination.

On the Dante side, RL256 supports Dante Controller, Dante Domain Manager, AES67 and SMPTE 2110. And Ravenna models are compatible with AES67, SMPTE 2110 and NMOS. Further, regardless of AoIP format, every port comes with a secondary redundancy connection, as well as dual power supplies to ensure reliable operation.

RL Series comes with built-in full-range speakers, but it is also possible to monitor the channels via the Headphones output, as well as AES or balanced line signal on XLR connectors. And on the input side, separate mic and AES inputs are located on the rear panel.

Finally, units that are purchased with 1,2 or 3 ports populated can be upgraded to the full RL256 specification if future needs for even more AoIP channels arise.

CONTENT DELIVERY

ETV Thailand Upgrades with PlayBox Neo

AS PART OF A FREE THAI PUBLIC SERVICE

broadcaster ETV has chosen a playout system from PlayBox Neo as the core of its highdefinition educational television channel. The project was coordinated by GBS Alliance (Thailand) Company Limited, a broadcast systems integration specialist based in Nonthaburi. The newly completed installation comprises two complete channel-in-a-box solutions in a main and auxiliary configuration with automatic protective switchover.

ETV approached GBS Alliance to advise on a replacement for third-party hardware that was nearing the end of its useful life. The proposed solution meets all its requirements in terms of reliability, operational versatility and workflow flexibility, as well as being highly space efficient.

“Every aspect of the channel branding, scheduling and transmission process can be controlled within the PlayBox Neo user interface, including fully automated playout,” says GBS Alliance engineer Akkharawut Khamklin. “Automation is important as ETV broadcasts round the clock. Changes in workflow can be accommodated simply by integrating additional software modules as or when required, either to add new facilities or to support emerging standards.”

“Both of the new CIAB cores at ETV are based on an AirBox Neo-20 populated with the facilities required for pre-transmission graphics preparation, program and interstitials scheduling, and playout to air,” details Nut Deesamer, Director of PlayBox Neo’s Thailand branch. “The high reliability and versatility of our products and services is confirmed by the very large number of PlayBox Neo systems being used by terrestrial, satellite, cable and internet-connected broadcasters around the world. Our systems are also future-proof thanks to the highly experienced development team active at our global headquarters. 4K-UHD compatibility is already supplied part of the AirBox Neo-20 feature set.”

PlayBox Neo’s Channel-in-a-Box system is centred on AirBox Neo-20, a scalable playout/ streaming engine available in 3U multi-channel and 1U single-channel versions. AirBox Neo20 allows media files of various kinds to be combined into a single transmission playlist.

Tencent Cloud Powers Up Japanese Streaming

TENCENT CLOUD – the cloud business of global technology company Tencent – recently announced its support for top-tier Japanese streaming service Mildom to enhance the service’s operational efficiency and elevate video streamers’ experience.

Tencent Cloud’s joint effort with Mildom aims to deliver a secure and fun place for users to create and discover live-streaming of any genre. Tencent Cloud provides holistic and comprehensive state-of-the-art technology support, from Infrastructure as a Service (IaaS) such as compute, network, and storage

resources, to Platform as a Service (PaaS) that offers end-to-end one-stop audio and video solutions as well as database services. Furthermore, it offers support on content acceleration and security protection.

Tencent Cloud’s advanced artificial intelligence technology allows Mildom to let influencers create custom characters as virtual streamers that would best attract their audience. In addition, AI Transfy – Tencent Cloud’s realtime subtitling solution that transcribes and translates in a wide array of languages – helps streamers connect with enthusiasts globally via

LG U+ Picks Media Links for 4K Delivery Across Korea

MEDIA LINKS HAS ANNOUNCED that LG U+ has once again selected its MD8000 Media over IP Transport technology for the delivery of content across its nationwide media network. KBS –Korean Broadcasting System will be using Media Links technology in the LG U+ network to deliver media services across the Korean peninsula.

The flexibility, reliability and agility of the MD8000 platform and technology allows LG U+ to provide real-time, low latency delivery of 4K video as well as other media services over its network backbone. In addition to KBS, these varied media services can also be utilised by other broadcasters to deliver content from source to multiple destinations and back again across the region.

Partnering with Media Links allows LG U+ to utilise an IP-based workflow for its broadcast services, providing a graceful transition from

legacy SDI media environments along with several other key benefits and advantages:

• More efficient network bandwidth utilisation.

• Decreasing IP equipment costs;

• Adaptable and scalable service offerings; and

• Support for evolving media resolutions, standards and formats.

For this particular LG U+ expansion, close to two dozen 7RU large capacity Media Links MD8000 EX chassis will be deployed, supporting over a hundred video/audio services at resolutions up to 4K, along with a similar number of data channels.

The project was managed and implemented by LG U+ along with Korea-based Media Links partners, DBN – Digital Broadcast and Network and IISN Systems. Throughout the project, all teams closely collaborated, and seamlessly

Playlists can be scheduled weeks in advance for automated transmission. Files can be trimmed, edited or repositioned at any time prior to being aired without losing the freedom to transmit live. Gaps and time overlaps are automatically corrected to ensure continuous operation even when events with conflicting times are present. Special protection is provided to ensure uninterrupted operation where content files or even entire schedules are missing or misplaced.

Visit https://playboxneo.com and http://www.etvthai.tv

a unique, personalised livestream presentation.

Hideaki Wakasa, Chief Product Officer, Mildom’s operating company Douyu Japan Co., Ltd., said, “Mildom has created many communities out of various entertainment content such as games and chats. In view of this, we heavily rely on Tencent Cloud’s low-latency, stable, and highquality service support. We look forward to using more of Tencent Cloud’s functions in the future to further improve our capacity to develop more community-friendly services.”

Visit https://intl.cloud.tencent.com

coordinated the system configuration requirements, installation, turn-up, as well as operational training and support services.

The MD8000 media transport platform offers impeccable Quality of Service due to its robust design, supporting both equipment and network redundancy with seamless protection switching, error correction, low-latency, and bi-directional operation. The MD8000 suite of products is an adaptable solution for transporting uncompressed and compressed video of all resolutions along with audio and data.

ProMD EMS network management software complements Media Links’ hardware offering by providing the ability to provision and monitor media services, manage network activity as well as detect and isolate equipment problems.

Ross Redefines the Ultrix Router

ROSS VIDEO HAS LAUNCHED a new version of its Ultrix Router –the 12G-ready Ultrix FR12 routing, multiviewer and signal processing platform for studios, OB vans and flypacks. As a softwaredefined platform, users can take advantage of cost, space, and power efficiencies with flexibility and agility.

Key features include:

Software defined Pay as You Go –Easily add new features through additional software licenses. No additional hardware required.

12G ready – Ultrix natively supports 12G throughout the entire chassis. This means it’s ready for UHD production when you are, without replacing any hardware or losing capacity.

Transport agnostic – Ultrix supports SDI, fibre and IP signal I/O. Use all of one or mix and match as you need. Focus on workflow, not on transport. Hyperconverged design – The Ultrix platform is production in a box. Video/audio routing, multiviewers, audio processing, frame synchronisers, clean/ quiet switching, UHD gearboxing, production switchers, audio mixers and more all unified in one single chassis.

Cost savings – Due to its size, base feature set and software capabilities, owners save significant money on upfront capital costs. Additionally, the advanced architecture provides significant ROI in terms of power, cooling, shipping, and space costs.

As Director of Product Management for Hyperconverged Solutions at Ross Video, Todd Riggs, explains, “When we launched Ultrix we had 1RU and 2RU frame sizes. A couple of years later we brought the 5RU frame to market. Today, with the launch of the FR12, our award-winning

platform makes a huge leap forward, one that will rock the world for a wide range of markets.”

The FR12 also features a smart door that’s an LCD display designed to help users with monitoring the system, troubleshooting, configuring, and control via a highresolution, full-size touchscreen panel.

The FR12 boasts up to 288 x 288 SDI ports with a 6144 x 6144 TDM audio fabric, up to 288 frame syncs, 288 clean quiet switches and up to 48 x 100 PIP multiviewers. It also has up to eight SDPE blades that can be configured as a single 8ME Ross Acuity switcher, eight independent Ross Carbonites or even a 4ME Acuity and four independent Carbonites. Riggs continues, “In the past, a traditional system could use around 500 rack units. Now with the FR12, you’re looking at only 14 rack units for the equivalent solution. That’s over 500 less rack units and freed up space for your business to grow. Less hardware also means less power consumption, so while a typical system could consume 52,300 Watts, the FR12 equivalent system would only consume 2400 Watts. Less hardware also means far less cabling – hundreds instead of thousands – and significantly less weight as the FR12 tips the scales around 100 lbs or 45kg as opposed to a traditional system’s massive 6284 lbs or 2850kg!”

In addition, as the FR12 features an integrated production switcher, allowing users to build entire

LYNX Technik Server Module

LYNX TECHNIK, provider of modular signal processing interfaces, has announced a new Server Module for its yellobrik products. The SVR 1000 server module is a companion product to the company’s Rack Controller; model RCT 1012, which is designed to ease the process of controlling, configuring, and updating the yellobrik line of throw-down bricks. With the new SRV 1000 yellobrik server module and the yellobrik rack controller, users can

control all yellobriks that are located at different sites from a central location. This enhanced functionality provides facilities with a streamlined interface to control yellobriks centrally, reduces technical onboarding, reduces support time, and ensures centralised yellobrik monitoring, reporting, and other status indicators – for small and large yellobrik systems alike.

The SRV 1000 operates as a central control module for yellobrik

infrastructures with flexibility, performance, and integration.

Other features include:

Rich multiviewer capabilities – Up to 48 Independent multiviewer heads in a single 12RU chassis. Each head supports up to 100 pips. Completely independent and individually controllable providing superior flexibility.

Powerful audio processing and routing fabric – Up to 6k x 6k audio routing and processing fabric comes standard with Ultrix. Up to 6k x 6k embedded, and 2k x 2k discrete audio (through use of the AUX ports) supported. Route, process and configure down to a mono channel, regardless of I/O. Add the optional UltrimixMXR license to the fabric and a virtual, fully routable audio mixer is enabled bringing unique, one of a kind, audio flexibility and capability to the Ultrix chassis. Robust hardware – The multiple patents awarded hardware design is based on attention to little

details. From the sophisticated thermal management, locking card guides and edge connections, advanced internal smart fabric and more, the Ultrix 12G Router has been designed to perform in the harshest environments.

Single frame or distributed architectures – Ultrix can be configured as a single frame solution or as part of a multi-frame distributed architecture.

I/O Cards – Ultrix platforms are built with a modular input and output matrix to easily swap in unique I/O cards that build upon the Ultrix feature set. All these cards are compatible with each other on a single chassis and allow you to customise your Ultrix Connectivity Platform to serve as a 12G-capable router, multiviewer and signal processing platform, a hybrid-IP switcher or a signalprocessing hub.

Visit https://www.rossvideo.com/

installations and applications and is scalable in nature, supporting a single rack to hundreds of racks deployed across many facilities. The control topology is all accessed through the complimentary LYNX Technik software, LynxCentraal application. A single SRV 1000 server module can extend the control of up to 256 Rack Controller yellobriks which in turn can each connect to up to 12 yellobrik modules.

The SRV 1000 is designed to

be used with the yellobrik Rack Controller and yellobrik Rack Frame and provides ethernet LAN connectivity to a yellobrik system for enhanced control (remote or local) from several computers (MAC or PC) or third-party applications. It provides remote control, status monitoring and event error reporting for all yellobrik modules in a system.

Hitomi MatchBox with Latency Option

HITOMI BROADCAST’S MATCHBOX

now measures the delay between an event happening in real life and seeing it in picture – latency.

Taken either from the front of multiple cameras or at various points through the broadcast chain, readings are displayed in real time with milli-second accuracy. MatchBox Latency further strengthens Hitomi’s applications for remote and virtual productions.

Typically, live broadcast workflows add delay which can vary each time. Different paths need to be synchronised for a seamless viewer experience. For example, in golf coverage graphics that show the trajectory of the ball can take up to a second to generate. If this latency is overcompensated for, you see the flight of the ball before the golfer hits it. The same principle applies when cutting between cameras with different delays, including drones, wired, shoulder-held etc.

Latency can creep up if left unmeasured. The causes of extra latency can frequently be accidental. For example, inherited settings from the last event or pieces of equipment in the chain not actually required.

Live interviews between studio presenters and a remote correspondent require low latency links for a true two-way interactive conversation – audiences dislike

long pauses waiting for replies. MatchBox Latency can measure the speed of links in order to ascertain if faster ones are necessary.

Determining offsets theoretically can take up a lot of engineering time; with MatchBox it takes just a matter of seconds. Hitomi’s system is fast, easy to use and accurate, simplifying the task of measuring latency and delivering a lipsync reading as well. MatchBox is a two-part solution. A timed test pattern is launched as the source with a bespoke analyser receiving and decoding it at the destination resulting in the timing measurement. This method can be thought of as a multi-meter for signal timing with a probe at each end of the section of interest.

The test pattern can originate from either MatchBox Generator or using an iOS device held in front of the camera running our free Hitomi Glass app. A licence is required to decode the latency signal but not to send it. Existing users can simply upgrade their Generator software for free to create the timed signal. This added functionality is invaluable in

KILOVIEW 12G-SDI to NDI Converter

KILOVIEW, A PROVIDER OF IP-based video transmission solutions, is pleased to launch worldwide its new 12G-SDI bidirectional converter N50.

Following the successful launch of the N60 converter in April this year, the KILOVIEW N50 is another step ahead in the company’s mission of creating a growing ecosystem of powerful IP-based video transmission solutions. While the N60 focuses on converting HDMI to NDI and NDI to HDMI, the N50 will be able to convert 12G-SDI to NDI and NDI to 12G-SDI, and will also support the direct transmission of USB to NDI signals by integrating both NDI and NDI|HX into one converter. With greater performance, this allencompassing solution is intended to streamline and simplify processes in any professional

IP-based video transmission environment, including broadcast, news gathering, sports, concerts, medical imaging, and live events.

Same as with the N60, the N50 offers unmatched colour depth and transmission efficiency at an incredible price, by supporting 12gG-SDI and both main NDI protocols, as well as delivering both high quality or low latency under the most demanding professional broadcast and AV conditions.

Common features of the N60 and N50 include:

• NDI and NDI|HX: Both protocols supported with encoding and decoding functionality combined all in one small form factor

• Better colour performance: Up

multi-venue events across several geographic locations, where multiple broadcasters must work together.

Hitomi’s Broadcast Director, Russell Johnson, said, “The customers I have visited using latency have found it to be a game changer. Their workflow is now to check that the latency is what they were expecting first then follow it by measuring lip-sync. This is because if video latency is longer than expected then the lip-sync will be out. Audio arriving early is most disconcerting to viewers as in real life we rarely hear things before we see them.

“The need for “low latency” is much talked about, but rarely quantified,” Johnson continued.

“With MatchBox it can be. As the system is already deployed worldwide with major name broadcasters, widespread adoption of this new technology can be rapid.”

This product is designed to help broadcasters prepare for live transmissions as well as virtual studios and other applications where timing needs to be known, not guessed. It can form part of a remote production toolset helping broadcasters move to more eco-friendly workflows whilst still retaining quality. Visit https://www.hitomi-broadcast.tv

to YCbCr 4:2:2 colour space and 10 bits colour depth.

• High quality and low latency: 4K video bi-directional transmission with HDMI/12G-SDI input and output when every millisecond counts.

• Built-in IPS LCD screen: Quick, smart, and clear presentation of all vital parameters for intuitive live direction.

• Scroll wheel: Customise user settings and/or switch and control all video sources with ultimate ease.

• Bring HD USB video into NDI: For customers using USB HD camera sources, the N60 and N50 simply connect to the USB video and transmit it to a NDI source, opening up even more possibilities in NDI production environments.

“Both N60 and N50 offer broadcasters a solution to the difficult and time-consuming process of figuring out which encoder or decoder in the chain accepts an NDI or an NDI|HX stream. Since the N60/N50 may output both NDI and NDI|HX, there is no need to set different NDI formats anymore,” commented

Judy Zuo, KILOVIEW’s VP and Head of Sales and Marketing.

“With professional quality of image and low latency performance, the N50/N60 could boost the application of NDI in industries such as professional broadcasting, medical, education, etc.”

Blackmagic DeckLink Mini Monitor HD and Mini Recorder HD

BLACKMAGIC DESIGN HAS ANNOUNCED DeckLink Mini Monitor HD and DeckLink Mini Recorder HD, new models of PCIe capture and playback solutions featuring 3G SDI and HDMI connections. These updated models of the popular DeckLink Mini cards support video formats up to 1080p60 and 2Kp60 DCI, and are designed to work with advanced colour spaces such Rec. 2020 for deep colour and higher dynamic range. The new DeckLink Mini HD models are also lower cost.

DeckLink Mini Monitor HD and DeckLink Mini Recorder HD are available now from Blackmagic Design resellers worldwide for AU$205 each.

DeckLink Mini Recorder HD and DeckLink Mini Monitor HD feature advanced high quality video technology that supports uncompressed and compressed capture and playback at the highest 10 bit SD and HD quality. Both models support broadcast quality 10 bit YUV and 12 bit RGB 4:4:4 for pixel perfect capture and playback so customers get breathtaking image quality and detail. Replacing the previous 1.5G SDI models, the update to 3G SDI has allowed more features to be added such as support for video formats up to 1080p60 and 2Kp60 DCI, wider colour spaces including Rec. 2020, as well as support for RGB video formats.

The new DeckLink Mini HD models are low profile 1 lane Gen 2 PCI Express cards that fit easily into

either desktop or rack mount server style computers with the included full height and low profile PCIe shields. They can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more. This is perfect for editing, compositing, graphics production and unlimited broadcast and post production situations where the highest quality video and true versatility are demanded.

DeckLink Mini Recorder HD lets customers capture broadcast quality video from 3G SDI and HDMI sources with any PCIe computer. Customers can capture from virtually any SD or HD source including HDCAM, D5, SDCAM, Digital Betacam and more. DeckLink Mini Recorder HD also works with popular video streaming software such as OBS so customers can capture from cameras or live productions switchers and integrate the video directly into live broadcasts.

DeckLink Mini Monitor HD provides broadcast 3G SDI and HDMI video playback from PCIe computers. It is perfect for playing back directly to TVs, video projectors and even live production switchers up to 1080p60. Playback images are a perfect pixel for pixel clone of the file so customers get breathtaking image quality and detail, perfect for critical monitoring. DeckLink Mini Monitor HD even supports the latest HDR formats, so it’s perfect for when customers need professional but affordable colour

Vbrick Introduces VPaaS for Developers

VBRICK, THE CLOUD-NATIVE enterprise video solutions provider, is embracing the developer community with the introduction of VPaaS for Developers, a new developer-focused subscription tier that provides full access to Vbrick’s enterprise Video Platform as a Service (VPaaS) capabilities. Previously available only to Vbrick’s enterprise video platform (EVP) customers, VPaaS for Developers is a smaller-scale developercentric licence for Vbrick’s fully extensible video platform. The Vbrick platform provides a robust suite of APIs and SDKs that enables developers to embed powerful video capabilities, including live webcasts, on-demand streaming,

transcription, translation, eCDN distribution, content management, and analytics, into their existing applications and workflows.

“Vbrick customers and partners have successfully utilised our VPaaS capabilities to enhance their internal and external applications with high-quality, secure, and reliable video at scale,” said Shailesh Lohiya, Chief Technology Officer, Vbrick. “By creating a developer-focused VPaaS offering, we are providing the wider development community with access to our technology and encouraging developers to innovate and experiment with building video into their applications to transform their workflows, all while testing

accurate monitoring.

Their lower cost means customers can choose to add recording or playback when needed. A good example is when monitoring using NLE software the DeckLink Mini Monitor HD would be the perfect choice. Customers who need simple capture can choose the DeckLink Mini Recorder HD. “DeckLink Mini Recorder HD and DeckLink Mini Monitor HD are perfect for a wide range workflows as they deliver broadcast quality at a very low cost,” said Grant Petty, CEO, Blackmagic Design. “We are excited to be able to add support for formats up to 1080p60 and 2K DCI to these new cards, as well as including support for advanced colour spaces and HDR. They fit in almost any computer, even low profile server class computers which means that every editing station can monitor or capture in stunning broadcast quality at a very low cost!”

DeckLink Mini Monitor HD and DeckLink Mini Recorder HD

Features:

• Two models, DeckLink Mini Recorder HD for capture and DeckLink Mini Monitor HD for playback.

• Low profile 1 lane Gen 2 PCI Express cards.

• Includes PCIe shields for both regular and low profile slots.

• Built in 3G-SDI and HDMI connections on each model.

• Supports all common SD/HD video formats up to 1080p60.

• Supports DCI formats up to 2Kp60 via SDI.

• Uncompressed and compressed 10-bit 4:2:2 YUV or RGB quality.

• Supports DaVinci Resolve and all other video software.

• Developer SDK available to download free. Visit https://www. blackmagicdesign.com

the functionality in a production environment before deploying.”

Vbrick VPaaS for Developers allows development teams to implement video quickly using turnkey solutions that eliminate the need to manage complex infrastructure and code. Built-in, rich business logic provides access control and the ability to build on existing roles, while Vbrick’s global distribution ensures efficient delivery of highquality video streams around the world, and the ability to scale to hundreds of thousands of users with the industry’s highest security standards.

“With access to Vbrick’s full suite of APIs and video SDK resources, developers have the flexibility to

truly customise their applications and products with video, leveraging the individual aspects and components of our EVP to best meet their organisation’s needs,” said Lohiya.

Vbrick VPaaS for Developers is supported by a team of expert engineers and professional services groups that provide support throughout the enterprise video journey. Subscribers have access to a comprehensive developer hub with how-to tutorials, videos, and reference materials. To learn more or to request a demo, head to vbrick. com/vpaas.

MANY WEBINARS, SO LITTLE TIME?