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REGULARS 02 EDITOR’S WELCOME 04 NEWS Vietnam’s Ha Tinh TV Scales New
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47 PICTURE CUT Players in Content+Technology caught off-air.
Heights; Philippines’ ABS-CBN Launches DTV Alerts, Singapore’s First Live UHD Broadcast, AsiaSat Goes Private, ‘Quezon’s Game’ Wins with Blackmagic, Cignal TV Expands with Imagine, R&S Exports 5G Broadcast to China; People Moves.
FEATURES 11 TECHNICAL STANDARDS Update
12 IBC2019 Preview 20 ACQUISITION TV5
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Philippines Launches New Game Plan with Sony; Cooke Optics Opens China Office; Atomos Basks in the Neon; Sony Introduces “Simple Live Streaming”; New cameras, lenses and accessories.
21 SPORTSCASTING NBA,
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28 MEDIA IN THE CLOUD Tennis Australia Chooses Spectra Logic and Digistor for Australian Open; Oracle’s DIVA Divestment; How Broadcasters Can Relieve the Headache of Storing Archive Footage - Tim Jobling, CTO, Imagen; EditShare Powers Singapore’s Hoods Inc.
31 POST-PRODUCTION NZ’s
The Rebel Fleet Picks Quantum for Remote PostProduction; plus the latest from Siggraph2019.
36 AUDIO Pakistan’s AAP
Media Network Installs Calrec; Taiwan’s TVBS In-Touch with Clearcom; Stagetec Asia Connects Sound Innovations with Riedel’s Bolero; Audio Compliance for NETFLIX Content.
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EDITOR’S WELCOME
Disney - Taking the Mickey?
For the latest news visit www.content-technology.com MickeyFlix is coming …
By Phil Sandberg NOVEMBER IS THE LAUNCH MONTH for the Walt Disney Company’s direct-to-consumer streaming service Disney+ in Australia and New Zealand (as well as Canada and The Netherlands). While announcements on launch dates for other APAC countries have yet to be made, a Disney representative has told C+T that further territories in the region will be added over the course of 2020-21.
• Concurrent Streaming on up to four registered devices with no up-charges. • Multiple Languages - At launch, Disney+ will offer support for English, Spanish, French and Dutch, including both user interface as well as audio support and/or subtitles for library content, with additional languages available for Disney+ Originals.
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• Up to 4K Ultra HD video playback in Dolby Vision with HDR10 and Dolby Atmos immersive audio on supported devices for available programming.
As an aside, U.S. consumers will, naturally enough, be offered a SUPER-SIZED SERVICE! This will be a bundle of Disney+, ESPN+, and Hulu for just USD$12.99 per month. While those outside of the U.S. will not be offered the bundle, the Disney+ offering is formidable in its own right with content from the company’s iconic entertainment brands, including Disney, Pixar, Marvel, Star Wars National Geographic, and more.
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Disney+ will launch in Australia and New Zealand on November 19th, priced at AUD$8.99 per month (or $89.99 per year) and NZD$9.99 per month (or $99.99 per year), respectively. Netflix starts at AUD$9.00 per month in Australia for a basic SD service, AUD$13.00 per month for HD and AUD$17.99 up to 4K. Nine Entertainment’s Stan service, meanwhile, costs AUD$10, $14 and $17 for the same quality of services. By contrast, in Malaysia, the iflix streaming service comes in at 8 Malaysian Ringgit per month and PCCW’s Viu at RM10.
The Disney+ app experience, available to consumers on November 12, will feature:
Original content will include Star Wars spin-off series “The Mandalorian,” “High School Musical: The Musical: The Series,” “The World According to Jeff Goldblum,” and “Encore!” and films “Lady and the Tramp” and “Noelle.” Alongside Disney’s library of film and television entertainment and
• Commercial-free Viewing.
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And this is where the service will impact on existing players – free-to-air, cable/satellite DTH and OTT. The sheer gravitational force of Disney’s content offering will see these players further spin-off profitable genre segments, as well invest in original content for niche audiences. Most immediately affected will be those Englishlanguage players who have historically offered Disney content, and ironically, it will be the trailblazer Netflix which will be most exposed as households streamline their subscription expenditure. After all, which parent doesn’t want the best quality babysitter at the best price available.
• Support for closed captioning, descriptive audio and navigation assistance.
The company has said it has reached global agreements with nearly all the major platforms, including Apple, Google, Microsoft, Roku, and Sony, to distribute the Disney+ app across partner mobile and connected TV devices. In terms of CDN provider arrangements, the company has also told C+T it is not sharing any details at this time.
• Unlimited Downloads: Subscribers have access to unlimited downloads of shows and movies on the Disney+ app to watch offline later on up to 10 mobile or tablet devices, with no constraints on the number of times a title can be downloaded per year. Once downloaded, subscribers can watch on the go and without an internet connection. The number of titles stored at one time on a device is dependent upon the available storage space on a subscriber’s device.
30 seasons of “The Simpsons,” the service will also be the exclusive streaming home for films released by The Walt Disney Studios in 2019 and beyond, including “Captain Marvel,” “Avengers: Endgame,” “Aladdin,” “Toy Story 4,” “The Lion King,” “Maleficent: Mistress of Evil,” “Frozen 2,”and “Star Wars: The Rise of Skywalker.”
• Profile Customizations - up to seven different profiles.
In the short term, Disney will probably leverage existing relationships to promote the new service. Australia’s Nine Entertainment, for example, has spent a great deal of 2019 churning through its Disney back catalogue on its FTA 9GO channel, probably in anticipation of losing broadcast rights. This, however, presents a short-term opportunity for both parties. Time will tell, but There Will Be Blood. Thanks for reading Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811
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Vietnam’s Ha Tinh TV Scales New Heights VIETNAM HAS SEEN ITS BROADCAST INDUSTRY expand by leaps and bounds. The country is on track to go fully digital in 2020, and provincial TV stations, in particular, have pulled out all the stops to bring digital TV to their audiences.
“We’re witnessing a rapid development in broadcasting and social media,” said Nguyen Van Hien, Vice-Director, HTTV. “With our limited budget we have to carefully invest in technology and products that will serve our needs now and in the future.”
HTTV is the first TV station in Vietnam to acquire the HDCU-3100 CCU. It not only complements the HDC-1700, the new generation CCU was specifically chosen as it is IP-enabled and can be upgraded to 4K.
Although HTTV draws a fair amount of programming content from the country’s national TV station, Vietnam TV, it also produces a full range of programmes targeted at its provincial viewers. A key growth area for HTTV was its outdoor coverage. “Ha Tinh Province is a big area and we needed a reliable Outside Broadcast van that is suitable for our terrain and tropical weather conditions. HTTV worked closely with Sony to equip our OB van with a range of products that could also be deployed easily in our studios,” added Mr. Hien. HTTV already has a sizeable inventory from Sony.
“All the products were carefully selected to meet both our needs in the OB van as well as in the studios,” explained Mr. Hien on the new additions. “Our two selected cameras were chosen for their versatility in the field as well as in the studio. Likewise, for the switcher which is compact enough to work in tight environments. “We are investing in quality products to meet the demands of everyday broadcasting. With Sony’s proven after-sales service and support, we have a partner that will help HTTV scale new heights of excellence,” added Mr. Hien. Visit www.pro.sony
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340km south of Hanoi lies Ha Tinh Province, an area renowned for its rich cultural and historical heritage as well as the iconic Hong Linh Mountains. Like many provinces in Vietnam, Ha Tinh Province has its very own dedicated TV station that provides a wide range of programmes to its 1.28 million population. Established in 1956, Ha Tinh Radio and TV Station (HTTV) has always strived to stand out. After years of providing only radio coverage, the station aired its first TV programme in 1991. In 2018, HTTV aired its first High Definition (HD) programme and has never looked back. Even with its modest annual budget, it has consistently invested in the latest products and technology.
Its latest acquisitions include the HDC-1700 system camera (four units), HDCU-3100 camera control unit (CCU), MVS-3000A HD/SD video switcher, PMW-1000 HD/SD SxS memory card deck and BRAVIA professional monitor FW-55BZ35F.
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Philippines’ ABS-CBN Launches Real-Time DTV Alerts
ABS-CBN TVPLUS USERS IN THE PHILIPPINES now have access to information such as news advisories, disaster alerts, traffic updates, weather bulletins, and even job alerts, as it launches a new public service feature called INFOplus that is now available on TVplus set-top boxes. TVplus has joined forces with PAGASA (Philippine Atmospheric, Geophysical and Astronomical Services Administration), MMDA (Metro Manila Development Authority), and NDRRMC (National Disaster Risk Reduction and Management Council) to give real-time updates on weather, traffic, and disaster. Advisories such as announcements on work and class suspensions, and price of commodities, meanwhile, will be provided by ABS-CBN News, while job alerts will be delivered by TrabaHanap. Users can also check TVplus updates and the weekly KBO (Kapamilya Box Office) schedule via INFOplus.
Filipino households can access all of this information for free by simply pressing the red button on their TVplus remote. TVplus uses Japan’s Integrated Service Digital Broadcasting-Terrestrial (ISDB-T) transmission standard. ABS-CBN was the first Filipino network to make the switch to digital terrestrial television when it launched ABS-CBN TVplus in 2015. It has now sold 8 million boxes as of July 2019. INFOplus adds to ABS-CBN TVplus’ previously launched public service feature, the built-in emergency warning broadcast system (EWBS) that
delivers safety alerts and tips on how to stay safe when disasters like earthquakes strikes. The company has also partnered with the Metropolitan Manila Development Authority to give Filipinos real time and free information on the traffic situation in Metro Manila. The information is also available via the red button on the TVplus remote. Meanwhile, outside the home, ABS-CBN will soon provide quality content, including the latest news updates and short, entertaining videos to 1.3 million Filipino LRT and MRT commuters daily as it inked a deal with international media and marketing company PHAR Partnership Inc. through Manila’s first in-train TV network, TUBE.
NEWS + PEOPLE
Mediacorp Delivers Singapore’s First Live UHD Broadcast
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TUBE is a real-time passenger information system which has been patented in the Philippines and approved by the country’s Department of Transportation. It employs a GPS/location-based system fortified with a CCTV that keeps passengers posted on what the next train station is, and whether there are any emergencies or interruptions during the trip. With over 1000 screens installed across the LRT and MRT train lines, the platform also engages the commuting public by offering news, weather reminders, traffic updates and short videos that enhances regular travelling experience. Visit www.abs-cbn.com
AsiaSat Shareholders Approve Privatisation
AUGUST 9 SAW MEDIACORP DELIVER a live telecast of Singapore’s 54th National Day Parade (NDP 2019) in 4K resolution on its over-the-top (OTT) platform Toggle, marking the first-ever live content delivery in Ultra High Definition (UHD) in Singapore.
said: “Technology adoption in terms of
Toggle users were invited to a closed trial of the live 4K event, where they experienced coverage via 4K-ready or UHD Smart TV sets. There was also be a live 4K screening of the parade on a big screen at a special viewing party at the SAFRA Punggol recreation centre. Following Mediacorp’s LIVE 4K broadcast of Singapore’s 54th National Day Parade, users of the Toggle OTT service are able to access on-demand content of the event in Ultra High Definition (UHD) resolution.
national events.”
The initiative rides on Mediacorp’s existing 4K production roadmap which has seen the creation of multiple 4K programmes like Tipping Point, VIC and Love at Cavenagh Bridge, and more soon to be available on the Toggle OTT platform.
experiences. And as audiences become more
our viewers.”
Assuming the Scheme is approved, AsiaSat will become a private wholly-owned subsidiary of Bowenvale, and the listing of the shares in AsiaSat on The Stock Exchange of Hong Kong Limited will be withdrawn.
Mediacorp CEO Tham Loke Kheng
Visit www.mediacorp.com.sg
Visit www.asiasat.com
4K-compatible devices is gathering momentum in Singapore. In anticipation of our audiences’ growing appetite for enhanced viewing experiences, we’ll be presenting more 4K content, including live coverage of major Over the next two years, Mediacorp says it will also commit to producing another 100 hours of 4K content annually, and double that to 200 hours per year by 2024. Irene Lim, Chief Customer Officer, Mediacorp said: “The landmark LIVE 4K broadcast of NDP 2019 has demonstrated Mediacorp’s ability in optimising our production formats to deliver high quality content and enhanced viewing sophisticated in their viewing habits, we will continue to present more 4K content from live coverage of national events to increased productions in UHD resolution, to better serve
BOWENVALE LIMITED (the joint venture between CITIC Group and The Carlyle Group) and Asia Satellite Telecommunications Holdings Limited (HKSE: 1135; 1135.HK) have jointly announced that the proposal for the privatisation of AsiaSat by way of a scheme of arrangement has been approved at a Court Meeting. Approximately 99.98 percent of the shares held by the shareholders of the Company, other than Bowenvale, that were voted in person or by proxy at the Court Meeting were voted in favour of the privatisation and a majority of the shareholders voting in person or by proxy on a headcount basis also voted in favour of the privatisation. Subject to the Scheme becoming effective, the Scheme Shareholders will receive a cancellation price of HK$10.22 per share (USD$1.30) in cash.
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CHINA CHINA UNICOM has chosen Nokia’s optical fronthaul solution to power its 4G and 5G networks in Beijing, supporting the operator’s ambitious commitment to deliver 5G in 2019. Part of the Nokia end-to-end 5G portfolio, the solution will accelerate the deployment of 4G and 5G base stations and reduce operational costs. Visit www.nokia.com
PHILLIPINES LIFE TV ASIA, based at Marikina City in the Philippines, has chosen PlayBox Neo Channelin-a-Box as the core of its broadcast playout system. The company has invested in two PlayBox Neo 1U Dual Xeon Channel-in-a-Box servers to provide full transmitting via terrestrial digital, direct-to-home satellite and cable. They provide the full channel branding, broadcast playout and social media playout capabilities needed to transmit live and scheduled content in standard definition and high definition. Visit www.playboxneo.com
MALAYSIA MALAYSIAN PAY-TELEVISION PROVIDER ASTRO has launched a new HD channel under the brand of Chinese online video giant iQIYI. The channel, which offers original content as well as hit drama series, movies, reality and variety content, is the result of a strategic partnership announced in June. Visit www.astro.com.my and www.iqiyi.com
INDONESIA
MOBILE SERVICE PROVIDER Telkomsel has selected Ericsson’s Network Functions Virtualization Infrastructure (NFVI) core network technology for a major upgrade as it moves towards 5G deployment. The deployment of the NFVI solution, together with Ericsson Cloud Packet Core, is a significant step towards making Telkomsel’s network 5G-ready.
NEWS + PEOPLE
Visit www.telkomsel.com
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ASIA PACIFIC NEWS
HONG KONG
THE HONG KONG COMMUNICATIONS AUTHORITY (CA) has created a new Localised Wireless Broadband Service (LWBS) Licence for the administrative assignment of up to 400 MHz of spectrum in the 26 GHz band (24.25 – 27.5 GHz) and 28 GHz band (27.5 – 28.35 GHz) on a geographically sharing basis (Shared Spectrum) to spur development of wireless communications services based on 5G or other advanced mobile technologies. The period of the Licence will be five years and may be extended a further five years. Calls for applications for the LWBS Licence will be launched in the near future. Visit www.coms-auth.hk
AUSTRALIA AUSTRALIA’S CONSUMER WATCHDOG, the ACCC, has called for reform of Facebook, Google and other tech giants in the final report of its Digital Platforms Inquiry. The report contains 23 recommendations, spanning competition law, consumer protection, media regulation and privacy law, addressing such issues as: the distorting market power of Google and Facebook; the highly uncertain money flows of digital advertising markets - particularly for automated and programmatic advertising; consumer protections around data collection; and the impact on news content creators. Visit www.accc.gov.au
SINGAPORE THE SINGAPORE TOURISM BOARD has partnered with the McLaren Shadow Project, McLaren’s search for the brightest and best racing talent in e-sports. Singapore will host the “Race to Singapore”, the competition’s first Asia-Pacific live qualifying event (scheduled for 19 September 2019). Throughout August 2019, casual gamers and e-sports enthusiasts can race in online qualifiers. The top eight contestants will be flown to Singapore to race on F1 2019, the official videogame of the 2019 FIA Formula One World Championship.
NEW ZEALAND USING THE “POP UP STORE” concept, telecommunications specialist, Kordia, is offering a service which allows anyone seeking a wider audience for their event to broadcast on New Zealand television. Kordia Pop Up TV is a complete solution which includes a dedicated Freeview channel and can include filming, audio, post-production, branding and the inclusion of advertising. Visit www.kordia.co.nz
Sample shown is WEATHERSCAPE Scenes, Typhoon track, Glass style.
NEWS + PEOPLE
Visit www.mclaren.com
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Filipino Feature ‘Quezon’s Game’ Wins with Blackmagic BLACKMAGIC DESIGN HAS ANNOUNCED that Matthew Rosen’s film “Quezon’s Game” was shot using Blackmagic Design cameras, with editing and colour correction done in DaVinci Resolve Studio. The Philippine historical drama was released worldwide in May of 2019 and has received more than 20 international film awards. The film, shot and directed by longtime filmmaker Matthew Rosen and produced by ABS-CBN Film Productions, tells the story of the Philippine President Manuel L. Quezon and his plan to shelter Jewish refugees fleeing from Nazi Germany. The film has won awards across the globe, including 4 at the WorldFest Houston International Film Festival and 12 at the Cinema World Festival in Canada, which included the Award of Merit for Colour Treatment to colourist Toni Gozum. To shoot “Quezon’s Game,” Rosen used a mix of Blackmagic Design cameras as the film’s main and action cameras. The Blackmagic camera’s compact size and high-quality filmic images gave Rosen the ability to shoot anywhere he needed.
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“I wanted ‘Quezon’s Game’ to look like ‘Casablanca’ or ‘Citizen Kane’ and other films of the era the movie is set in. However, I felt shooting a film in black and white that was aimed at mainstream cinema audiences would be limiting. This mindset really shaped the look of the film we ended up with,” said Rosen.
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“Most of the interior shots were graded with the high contrast look of black and white film. We lowered the saturation of the colours in Resolve, which was aided by the art direction, which was kept as monochromatic as possible with no vibrant colours. Most of the sets were earth colours, woods and off whites. It really did feel
like we were watching an old movie but it did not look black and white.”
scenes to show the vibrancy and freshness of a tropical country.”
Rosen added, “The cameras are incredibly lightweight and compact. We shot most of the movie in a tourist resort called Las Casas de Acuzar in Bataan, Philippines and were given the go ahead to shoot there when I gave my word we would not close down any roads or obstruct the guests in any way. And the rooms we were shooting in were also small and the Blackmagic Cinema Cameras allowed me to pull my cameras right up to the walls to get the most out of the limited depth we had.”
To emphasise that the film was not black and white, Gozum isolated certain elements in each scene and increased the saturation using Davinci Resolve on that element only. One example, an important scene in the film, was a shot in a jazz club with a German SS officer. Gozum used Resolve to make sure that the swastika was emphasized but still keeping the mood of the film.
The film captures the Philippines of the late 1930s and 1940s, and includes both high drama and action scenes throughout. “The two main factors that make me really very partial to this camera are its size and its image. Both factors really helped me capture the look I was after; its size because I could get the angles I wanted with ease and its look because it’s so filmic,” Rosen continued. “The cameras came in very useful when shooting traveling shots with the camera mounted on a bike. As the camera is light and compact, it works very well as an action camera and the shots fit perfectly between all other shots – as they are taken with the same camera.” The film was graded at Manila’s Kinetek by Toni Gozum, an industry veteran who has provided post production for feature films, television shows and commercials for global brands. She described the look and feel of the film: “We were aiming for a Casablanca feel but not entirely black and white. We still left a bit of colour, especially because we wanted the outdoor
“Resolve helped me save a lot of time. There are a lot of talking scenes and the camera basically just goes back and forth between the two actors. These shots pretty much have the same grade, so being able to select multiple clips and then apply a grade with one click was a great convenience. Also, the track grading feature helps when we suddenly decide to slightly alter the look of the entire sequence. I don’t have to go and put on the extra adjustment to each clip,” she said. The filmmakers also used DaVinci Resolve to prepare the film for its worldwide launch. “Of course, you can’t beat Resolve colour for its flexibility and function. We graded the entire movie in 8 days. When you are dealing with multiple requirements for international cinema, TV and OTT deliverables can be a nightmare. Subtitles, closed captions, aspect ratios, bit rates and wraps are all complete and simple to set up with Resolve, and it was very effective in letting us meet deliverables,” Rosen said. Visit www.blackmagicdesign.com
PEOPLE ON THE MOVE
Her appointment follows that of Adam Scott to the role of Post Partner Engagement Manager APAC at Netflix. Scott was previously General Manager at Spectrum Films, Director of Broadcast Operations at FOXTEL, and Head of Digital Intermediate at Peter Jackson’s Park Road Post. ---------------------------------------------------------------------------------------Nancy Diaz Curiel has been appointed Managing Director of Digigram Asia Pte Ltd. A 10-year veteran with the company, she has previously served as Regional Manager APAC, Sales Manager APAC, and Channel Sales Manager APAC.
---------------------------------------------------------------------------------------Md.Easin Ali has taken on the new role of Deputy Manager (BO&E and IT) with Bengal Media Corporation Ltd. (Rtv). He comes to the role after serving as System Administrator (In-Charge IT) with the company. Prior to that he was Assistant System Administrator (In-Charge IT) Channel Nine BD, and Sr.Executive (IT) with Bangla TV. ---------------------------------------------------------------------------------------Chris Walder has been named Head of Business Development, Asia-Pac, for Eurovision Services. He was previously with Arqiva in a number of roles, including Senior Vice-President, Asia-Pacific; Head of Sales, Asia; and Head of Sales, Occasional Use. ---------------------------------------------------------------------------------------Honcho Chin has taken on the role of Broadcast IT Lead with beIN Asia Pacific in Singapore. His previous roles include: Lead Systems Analyst with Turner Broadcasting System, Inc; Independent Consultant for beIN Asia Pacific; and Applications Management with ESPN STAR Sports.
Riedel Further Expands APAC Footprint TO BROADEN KNOWLEDGE and empower its customers, Riedel has appointed Julian Hewitt (pictured) as Regional Training Manager. As part of this strategic role, Hewitt will lead the development and deployment of various training materials, workshops, and industry educational programs. Hewitt’s 10 years of Riedel Deidre Joubert. experience has covered roles from user to consultant and he has worked extensively with many key customers in the region including Lighthouse Church in Singapore, TV18 in India, PCCW in Hong Kong, and the Sydney Opera House in Australia.
Regional Marketing Manager, Asia-Pacific. With experience in commercial roles in both professional sport and event broadcast for events such as the America’s Cup and Ryder Cup, Joubert will focus on supporting the Asia-Pacific region by developing a more localised approach.
“Having excellent equipment is only half the story. Having Julian Hewitt. amazing operators and engineers using the equipment completes the picture.” said Hewitt. “With comprehensive training materials and educational programs tailored to the specific needs of the region, our APAC customers will get even more out of their Riedel gear.”
“Our marketing strategy needs to reflect, both, the differences and similarities in customer motivations and requirements across this economically and culturally diverse region while providing a conduit to the full range of Riedel’s knowledge and global experience,” said Joubert. “To be effective in our communication and have a genuine impact, we have to be able to talk to our customers where they are, in a language they understand. By developing local support structures, we increase our ability to influence decisions and deliver positive outcomes for Riedel.”
Riedel has also appointed Deidre Joubert as
Visit www.riedel.net
---------------------------------------------------------------------------------------Peter Wharram has assumed the role of VTM Venue Technical Manager with FIBA Media, the Host Broadcaster for the World Cup Basketball in Guangzhou City, Guangdong, China. He also serves as Managing Director of White Sand Media and Broadcast Production and Technical Manager with Wharram Productions. ---------------------------------------------------------------------------------------Tze Ming Ng has been appointed Business Development Manager with NTT Singapore Pte Ltd. He was previously Cloud Sales Manager with InfoFabrica; Regional Sales Manager - Asia Pacific with Pebble Beach Systems; Sales Manager with The Media Village Pte Ltd; and Products Support Engineer at Techtel (S.E. Asia) Pte Ltd.
Pinewood Group and Iskandar Malaysia Studios Part Company JULY 2019 SAW PINEWOOD ISKANDAR MALAYSIA STUDIOS renamed Iskandar Malaysia Studios (IMS) following the end of Pinewood Group’s collaboration with IMS by mutual agreement. The decade long partnership saw Pinewood providing consultancy, brand and marketing services. With the initial objectives of the collaboration achieved - including the development of the Studios in Malaysia - both parties will now focus on the next phase of their respective businesses. Antony Tulloch has taken on the role of General Manager - Studio Operations at Iskandar Malaysia Studios. He served as General Manager - Studio Operations & Film Services under the Pinewood Iskandar Malaysia Studios collaboration. Pinewood Group has also recently sold its equity in Pinewood Atlanta Studios (USA) to its joint venture partner. Visit www.iskandarmalaysiastudios.com
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NETFLIX HAS BEEN RECRUITING HEAVY HITTERS for its Asia-Pacific operations. Debra Richards, CEO of Australian funding body Ausfilm has been enlisted by the streaming giant to oversee production policy in the APAC region. Richards was also previously CEO of the Australian Subscription Television & Radio Association (ASTRA).
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Rohde & Schwarz Exports 5G Broadcast to China CHINA’S ACADEMY OF BROADCASTING SCIENCE (ABS) and China Broadcasting Network Co. Ltd. (CBN), two public institutions under governmental authority Chinese National Radio and Television Administration (NRTA), have set up a 5G Broadcast field trial in Beijing. Following the example of the 5G TODAY project in Bavaria, the Chinese trial network went on air in August before BIRTV 2019. This trial is the first step of the long-term strategies pursued by both parties, which comprise 5G broadcast commercial deployment by 2022 Winter Olympic Games in Beijing, followed by further national expansion by 2025. Rohde & Schwarz is supplying the transmitters and core network components. NRTA has been researching on possible next generation broadcasting for quite some time. The FeMBMS (Further evolved Multimedia Broadcast Multicast Service) and related High Tower High Power (HTHP) concept specified in 3GPP release 14 seem to be in line with their requirements. Affirming through the fact that CBN got commercial 5G license of 4.9GHz with 50MHz band in June 2019, a FeMBMS field trial is consequently a logical move to step in the new mobile world. Both ABS and CBN have decided to rely on Rohde & Schwarz transmitters and core network components to set up the network. Already a driving force for 5G Broadcast, Rohde & Schwarz says, with this next generation concept, broadcasters can distribute content over 5G networks for different kinds of applications. The advantages, such as high video quality, short latency times and wide coverage, are expected to attract more mobile users.
The Beijing Trial network contains three stations operating in a single-frequency-network (SFN). The stations - CCTV Tower, Jing Guang Center and Ming Ren Square - are around 10km away from each other. Transmitters from Rohde & Schwarz with 1kW output power will be working at central frequency 754MHz with 5MHz bandwidth (later on 10MHz). A software defined radio receiver developed by Technische Universitaet Braunschweig, Germany, and Kathrein signal analyser are included in the same trial package. With this end-to-end implementation, ABS and CBN are carrying out a variety of tests, such as field strength propagation, network coverage, mobility reception, application possibilities and interworking with LTE unicast network. The 5G TODAY project in Bavaria, funded by the Bavarian Research Foundation (BFS), on-air since December 2018, convinced the NRTA delegation to make the decision for setting up its own trial project, when they visited Munich to investigate the 5G Broadcast solution in mid-April 2019. The Bavarian public broadcaster Bayerischer Rundfunk, the Institute for Broadcast Technology (IRT), Kathrein, Rohde & Schwarz and Telefónica Deutschland are cooperating in this research project to explore a broadcasting solution for the future 5G technology. Two Rohde & Schwarz high-power transmitters respectively located at Wendelstein and Ismaning Stations are transmitting both with 100kW antenna power in SFN. Visit www.rohde-schwarz.com
[IN BRIEF] STAGE TEC, THE BERLIN-BASED manufacturer of professional audio technology, has entered into a sales partnership with ACE (Advanced Communication Equipment (International) Company Ltd.) to cover the Hong Kong, Macau and mainland China markets. ACE will work alongside China-based Stagetec Media Technology.
VIDEO-OVER-IP TRANSPORT SPECIALIST Zixi has appointed Digibase as its authorised reseller in Korea. Based in Seoul, Digibase is a specialist supplier of global brand encoders and optimized media solutions for the Korean market.
According to Zeng Dong, Managing Director of Stagetec Media Technology, “ACE’s activities in the broadcasting sector complement our activities in the theatre sector very well. Stage Tec will benefit from this partnership.”
“Digibase has an incredible base of customers across Korea – from pay TV operators to OTT and Satellite providers – and has built a stellar reputation for its expertise and service in the region,” said Eunice Park, VP Global Sales, Zixi. “We are confident that Digibase will help us to continue to grow Zixi’s footprint in this sophisticated market.”
Visit www.stagetec.com
Visit https://zixi.com
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Cignal TV Philippines Expands Playout with Imagine Communications CIGNAL TV, ONE OF THE LEADING satellite broadcasters in the Philippines, has expanded its playout capacity using the fully integrated Versio modular playout solution from Imagine Communications. Cignal TV broadcasts premium content on both television and radio to more than two million subscribers across the country. To meet the expectations of its audience, Cignal TV continually adds highquality content and channels. The new playout system gives the broadcaster increased scalability and speed to market with a futureproofed, software-based solution. “Our growth in both television and radio meant that we needed to add playout channels as quickly as possible,” said Benedict V Galang, First Vice President Network Engineering & Operation, Cignal TV. “It was vital that the additional capacity slotted seamlessly into our existing operations to minimize disruption. Imagine Communications demonstrated it could provide a solution quickly, fitting precisely into our workflow and, through the redundancy, ensuring the reliability and security we required. With the new installation we can make a positive step towards the IP transition when the time comes.” Imagine Communications worked with systems integrator Composite Technology Inc. on the geo-dispersed Versio solution, which expands the system to 4+1 channels, providing redundancy on every channel. The channels have the capability of live broadcasting, switching via Cignal’s existing Platinum VX router. Imagine’s market-proven ADC automation system ensures reliable, flexible and efficient operations across the entire workflow. Content is stored on an Imagine Versio IOX SAN high-performance online storage system, connected to the Versio array over 10 gigabit fiber ethernet. The Versio software also provides the broadcast graphics, and a Nexio® Motion workflow engine provides content management. Imagine and Composite Technology delivered the project as a turnkey supply, with strong continuing support from Imagine’s local and regional engineering teams. For Imagine Communications, Mathias Eckert, SVP & GM, EMEA & APAC, added, “An MCR is the mission-critical hub for broadcast operations — any downtime means lost revenues. It needs to be a highly reliable and efficient workplace that is automated as far as possible and easy to operate, monitor and maintain. Our software-defined solutions allow us to precisely tailor systems to provide a path to IP as and when Cignal TV wishes to make this transition.” Visit www.imaginecommunications.com
TECHNICAL STANDARDS www.content-technology.com/standards
DPP Makes IMF Easier, Brings JPEG2000 Support to SMPTE TSP 2121
THE DPP HAS RELEASED FOUR DOCUMENTS to support the industry’s deployment of IMF for Broadcast & Online. The documents will benefit implementers that acquire, master and distribute content using the DPP’s technical specification, SMPTE TSP 2121-1:2018 IMF Application DPP (ProRes). The four documents are: • Recommendation DPP003: Carriage of User Metadata in IMF • Guidance DPP004: Best Practice for IMF QC Workflows • Guidance DPP005: IMF Operational Guidance v2.0 • File Delivery using IMF: Programme Delivery Document template The IMF Programme Delivery Document template defines a common framework for broadcasters and content providers to define their specific technical and operational requirements when commissioning content for delivery in IMF.
Second SMPTE Tech Spec for IMF in Broadcast and Online The DPP, in collaboration with the North American Broadcasters Association (NABA), has also announced the publication of the second SMPTE Technical Specification (TSP) for the Interoperable Master Format (IMF) for broadcast and online use cases: SMPTE TSP 2121-4:2019 IMF Application Constraint DPP (JPEG2000). This new specification has been created to sit alongside IMF Application DPP (ProRes), also known as SMPTE TSP 2121-1, in order to benefit a wide range of implementers by offering delivery options through two codecs, common in the broadcast and online industries.
The DPP Guidance document, Best Practice for IMF QC Workflows and has been designed for anyone looking to deploy practical IMF workflows in their organisations. It offers best practice for choosing
In order to further align with other uses of IMF, IMF Application Constraint DPP (JPEG2000) is based on SMPTE ST 2067-21 IMF Application #2e. To enable the use of high dynamic range (HDR) content in the Hybrid Log Gamma (HLG) format, the DPP also supported the BBC in proposing Amendment 1 to SMPTE ST 2067-21:2016, which will add support for HLG to Application #2e.
Carriage of User Metadata in IMF is a DPP Recommendation that defines a common approach to the carriage of editorial metadata in IMF for Broadcast & Online. It specifies a dictionary of metadata elements and the preferred methods for carriage of these elements.
Each specification makes it possible to automate the content supply chain, eliminate the unnecessary creation of multiple versions, enable workflow efficiencies, and reduce QC and archive storage requirements, while maintaining the quality of the original asset.
Finally, the DPP’s Operational Guidance v2.0 is an updated release of the DPP’s practical guidance for using IMF in the content supply chain. It is a great starting point for those considering IMF deployment, and can be used alongside the other documents or as a standalone guide.
For full SMPTE specifications, visit https://www.smpte.org/technicalspecifications/tsp2121-app-dpp Visit https://www.thedpp.com
MPEG Progresses Versatile Video Coding (VVC) to Committee Draft THE DEVELOPMENT OF THE NEXT MAJOR generation of video coding standards is progressing with the recent WG11 (MPEG) meeting in Gothenburg, Sweden, approving the consideration of the text for formal balloting in the ISO/IEC approval process (Committee Draft).
THE WORLD BROADCASTING UNIONS’ (WBU) Technical Committee has unanimously supported the completion of all standards associated with the European Broadcasting Union’s (EBU) Technology Pyramid for Media Nodes. According to the WBU, SMPTE’s ST-2110 suite of standards provides an important first step in broadcasters’ migration towards a fully Internet Protocol (IP) -based infrastructure. More work, however, needs to be done to complete and promulgate standards in configuration and monitoring, security, discovery and connection, as well as timing and synchronisation for IP production systems. “Broadcasters planning the move to new IP production facilities for Television or Radio should engage manufacturers with the Technology Pyramid for Media Nodes and ascertain their degree of compliance,” said Michael McEwen, Head, WBU Secretariat. “Further, the missing standards need to be completed as soon as possible so that broadcasters can make the important migration to IP with the required assurance.” Visit www.worldbroadcastingunions.org
The VVC standard is being developed in the Joint Video Experts Team (JVET), a group established jointly by WG11 (MPEG) and the Video Coding Experts Group (VCEG) of ITU-T Study Group 16. The VVC standard is expected to be finalised in mid-2020. In addition to a text specification, the project also includes the development of reference software, a conformance testing suite, and a new standard ISO/IEC 23002-7 specifying supplemental enhancement information messages for coded video bitstreams. The approval process for ISO/IEC 23002-7 has also begun, with the issuance of a CD consideration ballot. Visit https://mpeg.chiariglione.org
TECHNICAL STANDARDS
WBU Supports EBU’s Technology Pyramid for Media Nodes
The new VVC standard (ISO/IEC 23090-3) will be applicable to a broad range of applications. It will provide a substantial improvement in coding efficiency relative to existing standards and will also provide additional functionalities. The amount of improvement in coding efficiency that will be attained by the new standard has not yet been formally measured, but is expected to be quite substantial – e.g., in the range of 35 – 60% bit rate reduction relative to that obtained using High Efficiency Video Coding (HEVC; ISO/IEC 23008-2 | Rec. ITU-T H.265) for equivalent subjective video quality at picture resolutions such as 1080p HD or 4K or 8K UHD, either for standard dynamic range video or high dynamic range and wide colour gamut content for levels of quality appropriate for use in consumer distribution services. The focus during the development of the standard has primarily been on 10-bit 4:2:0 content, and 4:4:4 chroma format will also be supported.
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IBC 2019 PREVIEW IBC 2019 – Reflecting Change in Media
Migration is a matter of survival
IBC CEO Michael Crimp outlines the highlights on offer for this year’s conference and exhibition in Amsterdam. VISITORS TO THIS YEAR’S IBC SHOW (13-17 September 2019, RAI Amsterdam) will find much that is new as the event evolves to reflect technology, business and demographic changes across the media industry.
According to IBC CEO Michael Crimp, “The most obvious change is that the conference will now run Friday to Tuesday, ending with the IBC Esports Showcase, a new venture supported by market leader ESL along with Lagardère and EVS. This means that our invitation-only Executive Forums will take place on Thursday (12 September), clear of the rest of the event, allowing us to focus all our attention on these vital, top level summits. “As ever, the conference looks at contemporary issues from a creative, commercial and technical viewpoint, allowing our visitors to form a fully rounded view and take part in the debate about the future of the industry. This year, each day has its own theme. “Friday is create and produce: creating disruption, which includes a look at new technologies including immersive experiences and beyond 4k resolutions. “Saturday sees manage: automating media supply chains, which looks at how emerging technologies like blockchain and AI can transform the media business. “Sunday we will look at publish: embracing the platform revolution and how the move towards new business models is disrupting the industry. “Monday’s theme is consume: engaging consumer experiences, and in particular what is going to engage. “Tuesday is monetise: scaling audiences and revenues, looking at how brands can lead to new models of advertising. “The lounge talks programme - more informal chats about key topics - will be back, too, looking at topics which are harder to fit into the formal programme. That includes corporate social responsibility and inclusion, too.” IBC is still five-days, but you’ve aligned the conference and exhibition dates. Why? “I know I use this mantra so often, but it is absolutely true. IBC is run by the industry, for the industry. Our five-day format gives visitors the opportunity to attend over a weekend or on weekdays; they can drop in for a day or two, or benefit from the whole experience.
IBC 2019 PREVIEW
“This is not me saying this. We commissioned
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research from an independent body and the results were clear, that most of our audience is happy with the number of days we run. If that is what our
Contactwants, Magna Systems & deliver. Engineering audience that is what we will ”
Where does your collaboration with TM Forum to drive innovation across the telecom and media industries stand? “We established catalyst projects to seed development in important collaborative directions. At IBC2019 we will be showing the results of three of these projects. The three are very different in application, but use technological innovations coming from both industries to solve real-world issues. “The three projects are a 5G-enabled tourism experience, championed by Aardman Entertainment and BBC R&D, and developed with Bristol University, Cambridge Communications Systems and Zeetta Networks; AI indexing for regulatory content management, championed by Associated Press, Al Jazeera and RTÉ, with technical participation from Metaliquid, QCRSI, Tech Mahindra and V-Nova; and mobile news gathering using AI-powered compression, again championed by Associated Press, Al Jazeera and RTÉ, working with V-Nova. “These three projects really show how collaboration across our industries can transform both businesses and consumer experiences.” What technical trends can we expect at IBC2019? “We will certainly see more developments in Ultra HD - 8k as well as 4k, with the Japanese launch of consumer Super Hi-Vision channels ahead of next year’s Tokyo Olympics. As well as resolution, that means growing interest in HDR. “The march from bespoke hardware connected by SDI towards software applications running on standard IT kit and connected by IP is well advanced. These applications enable the key challenges, like delivering to multiple platforms quickly and efficiently.
What are the top three things to do at IBC2019? “This year we have a great programme of keynote presentations in the conference, including leaders like Cécile Frot-Coutaz, head of YouTube EMEA; YouTube; Arnaud de Puyfontaine, chairman of Vivendi; and Max Amordeluso, EU lead evangelist, Amazon Alexa. “We are bringing back the IBC Global Gamechangers Stage again this year. Already signed up to speak on the stage are Gary Shapiro, president and CEO of the Consumer Technology Association; Jane Turton, CEO of All3Media; and Lisa Opie, Managing Director, UK Production, BBC Studios. “Number three for me would be something I am really looking forward to, the Esports Showcase. This is going to light up Tuesday with top level debates and discussions, and of course the chance to see what it is all about, with a real, live, here onstage contest between the national champions of Germany and Spain playing Counter-Strike. “But limiting me to three means I miss out on all the other great stuff, like 15 exhibition halls, the Awards Ceremony on Sunday night, movies and screenings. That includes the chance to see a complete, battle-strewn episode from the final series of Game of Thrones, on the giant screen in the Auditorium in 4k and HDR. And there is so much more! Continues page14>>
For the last 50 years Magna has been providing a competitive
“On top of these software-defined advantage for its customers in the broadcast industry through architectures, we will see major developments in AI and machine aimed atof innovations with minimal risk of disruption. thelearning, timelyagain adoption managing the massive amount Summed up of ascontent secure innovation, Magna de-risk a first-mover we now generate, and deliver it to the IBC Chief advantage and safely takes its customers to where their competitors Executive audience that will enjoy it, whether they haven’t gone yet. With Magna, you can rest assured that we’ll get Officer, know about it or not. Michaell
you there – we owe it to our reputation. “Monetisation is the final partsecurely of the Crimp. chain. Media businesses can only create, Contact your local Magna office for more information curate and deliver content if they and free consultation today. make a fair return onatheir investment, so expect Auckland +64 9520 1582 Hong Kong +852 2563 4453 Jakarta +62 8181 43923 to see new ways of optimising, Singapore +65 6282 3613 Sydney +61 2 9417 1111 sales@magnasys.tv www.magnasys.tv tracking and collecting today to” arrange a meeting with one of our team at IBC 2018 revenues.
2018
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IBC 2019 PREVIEW
New Esports Showcase
IBC2019 WILL EXPLORE THE technical and commercial opportunities and challenges of the rapidly growing world of Esports, with its first ever Esports Showcase on Tuesday 17 September. The IBC Esports showcase powered by ESL, EVS and Lagardère will feature a live esports tournament in the RAI Auditorium taking advantage of a unique combination of worldclass tech placing spectators at the heart of the action. ESL’s National Championship teams from Germany and Spain will go headto head in a live Counter-Strike tournament on the big cinema screen in Dolby stereo. Before the tournament, as part of the IBC Esports Showcase, IBC will bring together some of the most influential people in the world of Esports, to explore the latest trends and development, considering the business case for esports from stretch targets, challenges and opportunities for esports players and the technical delivery of esports programs. Speakers include Chester King, CEO – British Esports Association, Michiel Bakker, CEO – GINX Esports TV Canada, Jonas Gundersen, CCO – North A/S, Henrik Nyhuis, Head of Ran Esports – ProSiebenSat.1 Sports GmbH, Jens Fischer – EVS, Simon Eicher, Executive Producer, Director of Broadcast, eSports Services – ESL, Ryan Chaply, Senior Esports Program Manager – Twitch, Peter Emminger, VP Global Broadcast – Blizzard. Globally, esports delivers younger audiences on digital channels unheard of in traditional sports broadcasting making this a brand-new revenue opportunity for players in the media ecosystem. Revenues are set to exceed $1billion in 2019, representing a year-on-year growth of +26.7 percent, and >> continued from12
IBC 2019 PREVIEW
You have recently renewed your agreement with the RAI.
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“Yes, we have signed a new three-year contract with RAI Amsterdam and its partners, and I am very pleased we have. I am all too aware that there is pressure to consider other venues and I would like to assure everyone we take this matter seriously, continually monitoring our options. “But, our conclusion remains that the RAI, and the city of Amsterdam, remains the right venue for IBC. The RAI allows us to stage the entire event under
are forecast to reach $3billion by 2022. While sponsorship is currently the highest source of revenue, the fastest growing source of revenue is now media rights – estimated to reach 40 percent of total revenues by 2022. According to IBC Chief Executive Officer, Michael Crimp, “Esports have rapidly risen to become major global media events, calling for comprehensive coverage and with a unique set of technical and editorial challenges. Where else would you go to understand the issues and possibilities than IBC? “We have always taken the view that you need to see something to understand it, so we have always strived to make the IBC conference experiential. A dry debate without appreciating the extraordinary excitement of esports would be very dull. “So, as well as conference sessions - which include the participation of the players emerging from the world of esports like Ginx TV, Twitch, Riot and Blizzard, as well as developers like EA Sports - we will host a live demonstration. Two professional teams from ESL’s National Championships in Germany and Spain will go head-to-head on Counter-Strike. “We think this is going to be an extraordinary afternoon, so we are hosting this in the RAI Auditorium, our largest space, which we will be kitting out with all the technology an esports championship demands. Everyone is welcome, and we anticipate a big audience.” Visit https://show.ibc.org
one roof, with spaces that are flexible enough as our requirements change, and which have the functionality we require.” What new audiences will you attract to IBC2019? “The audience for IBC is anyone who has an interest in creating and delivering media, whether that is creating it, managing it or earning revenue from it. The nature of the media industry is changing, and our audience has to reflect that, reaching out into adjacent sectors like telecoms and mobile, IT and the cloud. “One of the ways in which we broach these topics is through our three Executive Forums, which are
invitation-only events aimed at a C-level audience. In the Leaders’ Forum, the Cyber Security Forum and the Telco and Media Innovation Forum we bring together the most influential and visionary people at the top of the industry, giving them an opportunity - behind closed doors - to talk about the strategic issues facing us. “We also have specific goals to ensure that women in our industry are better represented at IBC, and to attract younger people working in media. We have made great strides in our inclusivity, but there is always more to do.” Visit https://show.ibc.org
IBC 2019 PREVIEW
Harmonic Brings Real-World OTT and Broadcast
AT IBC2019 HARMONIC WILL DEMONSTRATE real-world deployments of its unified OTT and broadcast delivery solutions. A variety of deployment strategies will be showcased, including cloud, on-premises and hybrid environments, to demonstrate how service providers, broadcasters and content owners originate and distribute video channels smarter, faster and simpler. Harmonic’s unique approach to video delivery includes cloud-based SaaS solutions that dramatically speed up the launch of new services, including live OTT channels, increase business agility and enhance video experiences.
“At IBC2019, we’re drawing from our extensive deployment experience and showcasing concrete solutions deployed in the field by leading service providers, broadcasters and content owners,” said Tim Warren, Senior Vice President and Chief Technology Officer at Harmonic. “The video market is highly dynamic, and consumer demand for live OTT services is growing. Harmonic’s expansive solutions portfolio and enhancements in cloud, targeted advertisement and 8K technologies, with a SaaS business approach are designed with a sharp eye to help our customers stay one step ahead of the video evolution.”
will showcase a range of unique workflows for VOS360 SaaS to launch skinny bundles, create new pop-up channels, deploy disaster recovery and stream live sports in UHD.
Virtualised, Software and Cloud Playout Solutions At IBC2019, Harmonic will demonstrate realworld deployments of hybrid SDI/IP, UHD and HDR playout and on-premises/cloud-based channel origination for OTT and broadcast workflows powered by its virtualised Spectrum X media servers and VOS360 SaaS. By supporting the SMPTE ST 2110 suite of standards and AMWA IS-04 and IS-05 specifications, Harmonic enables video content and service providers to make a smooth transition to all-IP workflows. Live Content Distribution with CDN-Enabled Primary Distribution SaaS
Unified OTT and Broadcast Delivery
Harmonic’s CDN-enabled Primary Distribution solution, a powerful workflow supported by the company’s VOS360 SaaS, will also be highlighted. With the Primary Distribution SaaS solution, programmers can deliver linear channels to distributors, whether they are traditional pay-TV operators, virtual MVPDs or local broadcasters, anywhere in the world via CDN.
Unified delivery workflows running in the cloud and on premises will be demonstrated, which offer service providers a low-latency OTT solution for multiprotocol environments to provide the same delay between broadcast and OTT feeds – key for delivering live sports. In addition, Harmonic
Harmonic will also showcase the powerful dynamic ad insertion (DAI) capabilities in Harmonic’s video SaaS solutions. With the company’s video SaaS solutions, operators can
Monetisation with Video SaaS for OTT and Broadcast Services
deliver advanced targeted advertisements and optimise ad campaigns to deliver personalised advertisements to viewers in real time. Harmonic’s solutions provide operators and advertisers a unified approach to reach audiences over hybrid broadcast and broadband delivery networks. Future Zone Brings 8K, AI Technologies to the Forefront The company will demonstrate high-quality 8K video delivery on 8K connected TVs and legacy mobile devices with EyeQ content-aware encoding (CAE), which reduces the required bandwidth by up to 50 percent while improving quality of experience. AI-based video compression will also be demonstrated, showing how it can reduce bit rates for broadcast and IPTV delivery, improve QoE for OTT and increase density for all applications. AI Video Compression, 8K and 5G Thierry Fautier, vice president of video strategy at Harmonic, will outline the opportunities that 5G networks promise and the challenges ahead for 8K in his ‘Taking a Look at 8K and 5G Technologies’ presentation on September14 at 1:50pm. in the Future Zone Theatre (Hall 8, stand F40). Also in the Future Zone Theatre, Stephane Cloirec, Senior Director, Video Appliances at Harmonic, will speak on how ‘AI-Driven Video Compression Brings New Revenue Opportunities and Cost Savings for Service Providers’ on September 16 at 4:10pm. Visit www.harmonicinc.com
-— THIS WAY TO BRING VIDEO STREAMING TO LIFE Smarter. Faster. Simpler. With Harmonic’s market-leading VOS®360 media processing as a service, the sky is the limit to launching enticing, revenue-generating OTT channels. Launch broadcast quality video streaming services, quickly, easily and with lower capital outlay and pay-as-you-go pricing. Live content management, thematic channels, low latency, personalized advertising and a resilient cloud-based video disaster recovery solution are just some of the many advantages.
©2019 Harmonic Inc. All rights reserved worldwide.
IBC 2019 PREVIEW
Experience VOS360 SaaS In Action at harmonicinc.com.
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IBC 2019 PREVIEW
IBC TV - a Showcase for IP Workflow FROM ITS HUMBLE BEGINNINGS as a basic cable-TV style operation, IBC TV has evolved into both a content and technology showcase with news from the show floor brought to viewers by the latest production and delivery platforms. This year’s IBC TV will be based in Hall 13, Stand 13.A06. IBC TV will be shot, edited and produced in HD, thanks to EVS and Grass Valley. It will be played throughout the day in HD on the stand as well as repeated regularly on the IBC Info Channel: the digital signage system around the whole convention complex. At IBC2019, EVS technology will form part of a remote live production workflow for IBC TV, the annual media, entertainment and technology show’s official channel. The IBC TV workflow incorporates multiples EVS’ newsroom solutions. Integrating with leading technology specialists Arista, Embrionix, IHSE and Adobe, EVS will help to provide a completely live IPbased production environment for the in-house news service. This is the 11th year of the EVS and IBC TV collaboration, which delivers show-related news and interviews live to screens throughout the RAI exhibition centre and to a global audience through the IBC TV website.
IBC 2019 PREVIEW
For IBC2019, IBC TV and its data centre will be housed on booth 13.A05 in Hall 13 at RAI Amsterdam. There, EVS’ Dyvi software-defined switcher, which enables the rapid operation of complex, multi-layered designs at the push of a button, will be used to create the content on the screens of a virtually animated studio that is being deployed for the first time.
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“Dyvi provides the kind of intuitive, ultraresponsive creativity and control that’s simply not possible with traditional switchers,” said Gillian Kelly, Producer at IBC TV. “We look forward to seeing how this solution will impact the entire virtual studio experience.”
Four GV LDX 86 Universe cameras from Grass Valley, that combine both higher frame rates like 6X, and higher resolution for 4K UHD into one camera head, are being deployed, alongside Grass Valley’s XCU Universe UXF base stations, that support the extended bandwidth requirements of LDX 86 Series high-speed cameras. IBC TV is also leveraging a three M/E GV Korona K-Frame V-Series system that combines mid-range broadcast and media applications. As part of the channel’s bid to leverage IP technologies for flexible and agile operations, all of the Grass Valley kit is SMPTE ST2110 video over IP enabled and native SDI connected. Grass Valley kit will also be running in the IBC conference rooms throughout the RAI, including the Densité 3 Frames with audio and video processing cards to enable multiple AV formats in a single frame. All live feeds and data from Grass Valley cameras will be input directly into EVS XT-VIA live production servers over IP. The all-IP control room also houses content management tools, including EVS IPDirector, which provides a centralized application for content browsing, control, edit and playout, and live PAM tools to quickly and easily create show highlights. Editors will use EVS’ IPLink plugin to instantly access any media available on the EVS nearline media library within Adobe Premiere Pro CC editor suites. Also new this year, Broadcast Solutions’ hi app, a dedicated IP control panel, will integrate with EVS’ Score Master software-defined IP routing system and Arista IP Switch. Together the solutions will provide unparalleled routing and switching that underpin the entire IP production workflow. Visit https://evs.com/en www.grassvalley.com and http://www.ibc-tv.org/show.html
DVB to Show DVB-I, Low Latency DASH and Multicast Adaptive Bit Rate AT IBC2019, DVB WILL DEMONSTRATE how it is enabling an open standards-based approach to OTT and broadband television through its new DVB-I suite of specifications, highlighting support for low latency, enhanced service discovery, and mABR. “The DVB-I suite of specifications is quickly taking shape and will soon be ready for deployment,” said Peter MacAvock, chair of DVB. “We look forward to demonstrating the exciting capabilities of DVB-I to broadcasters and service providers at IBC2019 and discussing how we can support smooth implementation and flawless OTT services on every screen.” At IBC2019, DVB will present the world’s first showcase of DVB-I, a new suite of specifications that is designed to improve OTT delivery, providing increased scalability and cost savings with the same user-friendliness and robustness as classical broadcast delivery solutions. DVB-I enhances the viewer experience for hybrid and broadband television through advanced features like integrated channel lists, interactive content guides, and simple lean-back channel selection. DVB-I will be showcased alongside Low Latency DASH (LL-DASH) and Multicast Adaptive Bit Rate (mABR), forthcoming standards from DVB. LL-DASH, for which the technical specification has been approved, will ensure that the overall delay for live OTT channels is the equivalent to broadcast, while mABR – still in development – will allow broadcasters and network operators to work together to optimise IP-based delivery to a large number of receivers simultaneously. IBC2019 visitors will also have an opportunity to book a one-to-one consultation with experts on a wide range of DVB-related topics. A panel of specialists drawn from the DVB community will be available on the stand, providing advice and guidance on diverse topics, from physical layer transmission technology to audio and video coding, interactive services, conditional access, and more. Visit www.dvb.org
IBC 2019 PREVIEW
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IBC 2019 PREVIEW
SMPTE2110-30/31
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ACQUISITION & LIGHTING www.content-technology.com/acquisition
TV5 Philippines Launches New Game Plan with Sony TV5 OF THE PHILIPPINES RECENTLY ACQUIRED a range of IP-enabled 4K/ HD products to enhance its sports coverage from its OB vans. This winning combination came about after extensive trials. Made up of over 7000 islands and with a population of over 100 million people, the Philippines has seen its internet usage surge. As most of its population live in rural areas, television continues to be the go-to place for content. This has helped the country build a vibrant and challenging broadcast industry. Part of MediaQuest Holdings, TV5 Network Inc. has been consistently rated as one of the top 3 free-to-air broadcasters in the Philippines. Dubbed the Kapatid Network (Sibling in Filipino), the network was originally called Associated Broadcasting Corporation (ABC was formed in 1960). ABC was rebranded as TV5 Network in 2008. As part of the rebrand, the network launched its new slogan called “Get It On 5!”. This also coincided with its five-brand strategy which consists of News 5 (News), ESPN5 (Sports), On5 (Entertainment and other content), D5 Studio (Digital) and the newly-revived Studio5 (Films and Originals). To reach out to a wider audience especially in the rural areas, TV5 mapped out a new strategy. It actively collaborated with other TV networks, partnered international content providers as well as opened new TV channels. It also embarked on an upgrading programme as the country made its transition from Analog to Digital. In 2015, it opened the TV5 Media Centre in Mandaluyong to house all its TV studios and radio stations. A big focus for TV5 is sports. With its tie-up with ESPN, TV5 aims to give sports lovers in the Philippines the best of two worlds – international and local coverage. “TV5 hosts the Philippine edition of ESPN,” a spokesperson for TV5 Network Inc highlighted. “Our dedicated ESPN5 channel carries international sports as well as popular local sports like Philippines Basketball Association games,
Philippines SuperLiga, GILAS and boxing among others. “To help us enhance our local sports coverage we have acquired Sony’s HDC-4300 4K/HD System Camera. We have teamed this up with the PWS4500 live production server by Sony which is part of our OB van set-up. “Sony is globally recognised as a major player in sports coverage. Their proven credentials and well-designed products gave us the confidence to invest in new equipment for our sports channel. “The learning curve with the new Sony equipment was very short. This really helped us hit the ground running. The ultimate feedback is from our viewers. They love the quality of our enhanced HD coverage. We’ve transported them to the stadium.” Visit http://pro.sony/
Leitz Wetzlar Delivers 90mm Thalia-T Lens
Cooke Optics Opens China Office in Shanghai
LEITZ WETZLAR HAS COMMENCED deliveries of its THALIA-T lens which, the company says, is not an extension of its existing THALIA set, but a new line of cine lenses.
LENS MANUFACTURER, COOKE OPTICS has announced it has opened its long-awaited Chinese office in Shanghai. As with all other international offices, Cooke China will provide full lens servicing and testing. This new office further strengthens Cooke Optics’ dedication to worldwide service and support. The Cooke China office will be run by general manager, Jeson Hao, who will be supported by Thomas Greiser in the region.
THALIA-T lenses come with the robust, approved premium Leitz lens housing and mechanics, with all diameters and gear positions matched to the existing THALIA set, and features one enlarged image circle diameter of 60mm and will be available with PL- as well as LPL-Mount.
Les Zellan, Chairman, Cooke Optics, said, “We’re thrilled to have permanent presence in the Asia and Oceania market, based out of Shanghai. We’re a global brand with users all across the world so it was essential for us to offer our customers in this region the same amount of support that customers have in Europe and the Americas. With Jeson and Thomas at the helm, I’m sure we’ll see increased adoption of the Cooke brand in the region.”
ACQUISITION
THALIA-T lenses were created by making use of synergy effects, by taking over the very unique characteristics from the legendary Leica M-Thambar from 1935 and translating these very distinctive attributes of still images to moving images.
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The THALIA-T 90mm has one filter-like look, a distinctive bokeh created by deliberately undercorrected spherical aberrations, along with a circle round aperture for circular rendition of out-of-focus highlights. The aberration increases towards the periphery of the optical system, that is why both, the
extension of the depth of field and the degree of diffusion, can be precisely controlled via the step-less aperture ring. Widening the aperture increases the soft focus, whereas stopping down reduces the effect.
The company has also announced that it has discontinued its distribution relationship with Jebsen Industrial. This will not affect any existing orders placed with Jebsen prior to June 2019.
Visit www.leitz-cine.com
Visit www.cookeoptics.com
Email lenses@cookeoptics.com
ACQUISITION & LIGHTING
Atomos Basks in the Neon Atomos has introduced the Neon range of precision 4K HDR field monitor/recorders for on-set or in-studio production. SPEAKING TO C+T AT THE RECENT BroadcastAsia2019 show in Singapore, Trevor Rooney, Business Development Manager with Atomos, said, “Atomos has been around for nine years, originally disrupting the industry with small monitor recorders, items like the Shinobi monitor, the Ninja, which has now evolved into the Ninja 5 for the prosumer market, from the very basic through to products like the Sumo and the Shogun Studio. “The Neon product has come along to embrace the professional cinema market. Our goal, really, is to democratise the whole evolution of workflow. If you can imagine, we look back 20 or 30 years ago, 10 years ago, five years ago even, what people are doing day-to-day and then how they’re actually managing the content that they’re filming during the day and then looking at dailies and whatever else. Our goal with something like the Neon is to create an ecosystem.” The Neon range comes in four sizes: • 17” for focus pullers and as an onset buddy reference monitor for laptops; • 24” and 31” models for the video village, DIT, cinematographer, editor, director, and as a reference monitor for an iMac or Mac Pro; and • 55” for clients, showrooms and colour graders. The monitor/recorders are controlled over Bluetooth via the Atomos iOS app, and feature Dolby Vision HDR, Dynamic AtomHDR backlight technology, ProRes RAW recording, and a replaceable Master Control Unit that allows out-of-the-box 4K capture capability which can be upgraded later. The Master Control Unit is also compatible with AtomX expansion modules that provide SDI and NDI connectivity on top of Neon’s standard HDMI connectivity. “The goal is to have all of these on set, the director potentially using the 55”, focus puller maybe using the 31”, you’ve got your sound guy, you’ve got everyone else and everything is talking to each other via Bluetooth,” says Rooney. “You can have up to 1000 products all in sync, which is quite exciting. “They’re not a touchscreen. We’ve decided to move away from that figuring that people don’t want to have grubby hands on a large 55”, so everything is controlled by an app. And, quite simply, the director would be looking at Neon with four camera feeds. As he’s watching and controlling with the app, he’s making his edits as he goes, picking the right shots. That’s all being recorded and so when we export at a later date, all of the changes that have been made live are actually
Atomos BDM, Trevor Rooney, with the new Neon 4K recorder/monitors.
then in that export feed so it slips into Final Cut Pro, or whatever it might be, and all of those points are already in-situ. I guess what it does is, from glass to glass, it brings everything back to a much shorter period of time. “In layman’s terms, I’ve been telling people from creation to consumption, at the end of the day, it used to be a long time but now, if it’s not a very heavy visual effects movie, you could literally be filming in a few days and then broadcasting. So, we’ve very, very excited.” Neon17 and Neon 24 will be available from August 2019; Neon31 and Neon55 will be available from September 2019. All four are for sale from authorized Atomos Entertainment Resellers. Visit www.atomos.com
Sony Introduces “Simple Live Streaming”
Requiring only Wi-Fi connection without additional gear, Simple Live Streaming allows users to conduct live streaming and upload onto major video sharing sites and social media platforms in a straightforward manner. Sony has been actively promoting “Simple Live solution”, achieved by combining the company’s MCX-500 Multi Camera Live Producer and the RM-30MP remote commander to provide multicamera basis simple live production. When a user needs to expand the live streaming to multiple camcorder operation, HXR-NX80 and PXW-Z90 camcorders can be connected to MCX-500 via SDI or HDMI providing live stream onto social media platforms with rich live features such as tally, title and transition. The Simple Live Streaming supported by HXR-NX80 and PXW-Z90 offers even simpler operation achieved by single camera, further enhancing the remote delivery of content
quickly without compromising on imaging quality. “In today’s live environment, video content is evolving quickly as an essential tool to connect with audiences,” said Takuma Wada, Head of Content Creation Solutions Marketing, Professional Solutions Company (PSAP), Sony Corporation of Hong Kong Limited. “The introduction of Simple Live Streaming for HXR-NX80 and PXW-Z90 streamlines the overall workflow, from shooting to live distribution. Equipped with Simple Live Streaming, the camcorders will have online sharing features, further empowering our content creators to concentrate on what they do best storytelling on the go.” Well-suited for a range of live applications including events, concerts, seminars, weddings and news reporting, the ultra-lightweight camcorders shoot in any situation with stunning image quality at all times, offering users complete creative control, all thanks to Sony’s ground-breaking Fast Hybrid AF system
featuring 1.0-type stacked Exmor RS CMOS image sensor. In addition, fixed 29mm wide-angle ZEISS Vario-Sonnar T lens are equipped with12x optical zoom that can be increased maximum to 18x with Clear Image Zoom maintaining 4K resolution using Super Resolution Technology or 24x in HD. On the audio front, an XLR audio input terminal and microphone holder also add to its operability on top of sound quality and reliability in connection. The free firmware upgrade is planned to be available by the end of 2019. Visit http://pro.sony
ACQUISITION
AT THE RECENT BROADCASTASIA SHOW in Singapore, Sony announced that its palm-sized 4K HDR professional camcorders, HXR-NX80 and PXW-Z90, will receive additional workflow flexibility via a free firmware upgrade. The company introduced “Simple Live Streaming”.
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ACQUISITION & LIGHTING
Production Solutions from Vitec at IBC BUSINESS UNITS FROM ALL ACROSS the Vitec Group will be hitting IBC2019 with new and improved production solutions. From Anton/Bauer comes Titon, a series of V-Mount or Gold Mount batteries designed for on-location productions. Offered in both 90Wh and 150Wh models, Titon powers the leading HD-DSLR, mirrorless, ENG, and digital cine cameras as well as LED panels. With P-TAP and high-speed Smart USB ports, Titon can also power accessories such as wireless transmitters, monitors, and smart devices. Using the onboard LCD screen or the camera’s viewfinder display, Titon users know the exact runtime and remaining available power for the devices being powered. LITEPANELS GEMINI The new Gemini 1×1 Soft is an all-in-one, cine-quality LED light that is easy to transport and quick to rig in the studio or on location. As a true RGBWW soft panel, Gemini 1×1 Soft offers full-spectrum colour adjustment. Gemini 1×1 Soft is ideal for lighting talent and rendering skin tones, enabling users to match a broad range of ambient lighting conditions quickly and easily. In addition, Gemini 1×1 Soft provides an extensive choice of control options with intuitive onboard controls as well as remote control through wired or wireless DMX or Bluetooth. Weighing in at just 5.31 kilograms, and with a maximum draw of just 200W, Gemini 1×1 Soft delivers flicker-free performance at any frame rate, shutter angle, or intensity, and with smooth dimming from 100 percent to 0.1 percent.
StarTracker module, offering an absolute-reference tracking system for floor-roaming pedestal combinations. Also on display will be the new virtual reality/augmented reality (VR/AR) solution for Vinten’s curved floor and ceiling tracks. A collaboration between Vinten, dolly manufacturer Tecnopoint, and Vizrt, the VR/AR option brings virtual set graphics together with the eye-catching camera movements and angles of Vinten’s curved floor and ceiling tracks. As the first curved track solution for the Vizrt graphics engine, the new VR/AR solution takes tracking data from the dolly, then uses an algorithm to calculate the position of the camera on the curved tracks and communicate it back to Vizrt. A new sequencing control option for Vinten’s robotic pedestals and pan-and-tilt heads enables curved movements for creating brand-building signature shots. Delivered through the latest version of Vinten’s HD-VRC control software, this new functionality enables operators to take the camera through a non-linear visual flow according to a series of user-defined waypoints. SACHTLER AND VINTEN FLOWTECH TRIPOD SYSTEMS At IBC2019, Sachtler and Vinten will also feature flowtech75 and flowtech100 tripods together with optional accessories for added stability and support, such as removable midlevel and ground spreaders, standard and studio dollies, carry handles, and rubber feet. These features combine to offer broadcasters, ENG teams, DPs, and independent filmmakers an innovative tripod solution for capturing images in the most rugged production environments.
VINTEN ROBOTICS
AUTOSCRIPT WINPLUS-IP
The new FH-155 is a robotic/manual pan-and-tilt head designed to support heavy payloads with a maximum payload capacity of 70 kilograms/155 pounds. The FH155 combines sophisticated software and mechanical engineering to enable exceptionally accurate, smooth, and quiet movements. In addition, the FH-155 is the industry’s first pan-and-tilt head with an option for a fully integrated
Visit https://www.vitec.com
Autoscript is set to release new features within its WinPlus-IP Intelligent Prompting software which offers a fully IP-enabled workflow that can also accommodate video workflows. The new features harness the power of IP to enhance remote production and studio workflows.
The Sachtler-VInten flowtech100 Carbon-Fibre Tripod.
Ross to Display Complete Camera Motion System Range ROSS VIDEO WILL BE ATTENDING the forthcoming IBC2019 exhibition in Amsterdam with its full range of camera motion system solutions, including the all-new SkyDolly ceiling-mounted dolly. The company is also launching version 5 of the SmartShell robotics control system, updated to include MotionDirector technology on all Furio robotics products.
ACQUISITION
“NAB Show 2019 saw Ross launch the world’s first 3-wheeled ceiling dolly that safely sits above the rails rather than hanging below them; SkyDolly is a beautifully engineered product and it received a very positive reception at the show,” says Bruce Takasaki, Marketing Product Manager for Camera Motion Systems at Ross Video. “Ceiling-mounted systems open up new creative possibilities and SkyDolly has been designed to lead the market in terms of safety, stability and feature-set. Unlike other ceiling-mounted products, SkyDolly is fast, smooth and can carry a full-size prompter. If a ceiling-mounted system is not right for you, however, we still have the most comprehensive range of rail and pedestal robotic solutions available.”
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SmartShell, meanwhile, is an intuitive control system that combines a touchscreen interface with an ergonomic joystick control panel, enabling customers to operate their Ross robotic systems through a single control platform using a centralised ethernet-based architecture. New for IBC 2019, the latest version 5 of SmartShell contains a MotionDirector firmware update for all Furio products.
MotionDirector is a new motion control algorithm that provides superior smoothness and more precise control, helping Furio deliver the most natural-looking camera movements, Ross Video’s SkyDolly ceiling-mounted dolly. even in demanding dynamic environments. As well as improving the look and feel of moving shots by always ensuring smooth start and stop movements, MotionDirector offers even greater flexibility by providing the ability to make manual camera adjustments and/or duration changes (‘time dilation’) via the joystick panel while the dolly dolly is in motion. Visit www.rossvideo.com
SPORTSCASTING Sport coverage worldwide
NBA, Unbnd Launch Immersive Content for Oz and Singapore Basketball Fans
on-boarding practices. The NBA is a global sports and media business built around four professional sports leagues: the National Basketball Association, the Women’s National Basketball Association, the NBA G League and the NBA 2K League. NBA Digital’s assets include NBA TV, NBA.com, the NBA App and NBA League Pass.
THE U.S. NATIONAL BASKETBALL ASSOCIATION (NBA) and Unbnd, an Australian creative technology company, have announced a content partnership to broadcast NBA TV – the league’s 24/7 dedicated linear channel – and game highlights in a Mixed Reality Theatre Experience to fans in Australia and Singapore.
Beginning with the 2019-20 NBA preseason, Unbnd will launch its new Missing in Action (MIA) content platform, which will allow users to experience live NBA games, highlights and original programming. The MIA platform will use mixed reality to enhance the NBA broadcast experience for fans, simulating a 360-degree virtual theatre environment that displays real-time game statistics and interactive branded content experiences.
Unbnd is a technology company that specialises in virtual reality, augmented reality, spatial AR, animation and more. Unbnd’s immersive campaigns have been executed across different fields, including advertising, marketing teaching, training, selling and
“With the AR and VR industry set to reach a value of $20 billion in 2019, we know MIA will really appeal to fans and open doors for brands looking to attract and retain consumer attention,” said Antony Arena, CEO and Founder of Unbnd. “As a big fan of the game, this
www.content-technology.com/sportscasting
partnership with the NBA is a huge deal for me on a personal and professional level, and we’re excited to take fans from being spectators to actively engaging with the content in a meaningful, relevant and exciting way.” “As content consumption continues to evolve, the NBA has been at the forefront of technological innovations that enrich the viewing experience, and this partnership with Unbnd will allow us to provide another next generation viewing option to our fans,” said Ramez Sheikh, NBA Asia Head of Global Content and Media Distribution. “By combining NBA content with Unbnd’s enhancements, we will deliver an immersive and unique experience to further engage fans of the NBA.” The MIA app will be available before the start of the 2019-20 NBA season across iOS, Android and all compatible virtual reality headsets. Visit www.unbnd.com.au and www.nba.com and www.missinginaction.com.au
Blackmagic Powers Baseball Tracking System in Japan
Qoncept (concept) is a research and development venture company from Osaka University established with the aim of enhancing image processing technology from research level to practical level. Focusing on AR (Augmented Reality), Qoncept offers image processing technology such as markerless tracking for AR, machine learningbased tracking and self-localisation. The company also provides real time composite, data analysis, and player and ball tracking in sports competitions. Baseboy can analyse the movement of balls from baseball pitching and batting and make real time composites using analysis result which is 3D image data. It will be installed in many
broadcasters, baseball stadiums and sports federations in Japan.
For the Samurai Japan Series 2019 match, a Blackmagic Micro Studio Camera 4K was used to shoot baseball in play with its feed sent to Baseboy via a Blackmagic DeckLink SDI Micro. Baseboy then analyzed the camera feed and produced real time composited graphics, overlaying CG which shows the path of the ball thrown by the pitcher. These images were then sent to TV Asashi for broadcast. “I was able to miniaturise Baseboy thanks to this small card which allowed me to build it so that everything can be processed without an operator. The single DeckLink SDI Micro handles capturing and playback simultaneously. Input feed is processed for marking a ball’s path using Intel’s NUC, then output via the DeckLink SDI Micro. There is no other choice than DeckLink SDK Micro which is capable of capture and playback simultaneously up to 1080p60 with such a small size. If you have this small a box in your equipment booth in the relay site, you can add something more creative to your program. Without the DeckLink SDI Micro, Baseboy 2D couldn’t be born,” said Kenichi Hayashi, CEO of Qoncept. Hayashi continued: “Blackmagic Design allows
me more flexible product development because they offer an open SDK. As the SDK supports Mac, Windows, Linux, I can develop a system on various platforms, it is easier to develop softwares. Also, with DeckLink’s software update, I can do more new things which greatly expands our product development possibility.” “We’ve been used many Blackmagic products. I can say, without Blackmagic Design, we could not succeed as a company,” Hayashi concluded. Visit www.blackmagicdesign.com and https://qoncept.co.jp
SPORTSCASTING
BLACKMAGIC DESIGN has announced that its DeckLink SDI Micro is being used for capture and playback with the baseball pitching tracking system “Baseboy,” a newly announced system by Japanese company Qoncept Inc. which is capable of visualising a ball’s path and interlocking with a camera feed. Baseboy was first used, in conjunction with a Blackmagic Micro Studio Camera 4K, in the recent Japan/US international baseball match, Samurai Japan Series 2019, broadcast by TV Asahi as Japan’s first real time baseboy analysis system.
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SPORTSCASTING
Sky Racing Gets SMART with LAWO ST2110 Technology
LAWO HAS ANNOUNCED that Australia’s Sky Racing channel has entrusted its ST2110 media network monitoring to LAWO’s SMART (System Monitoring and Realtime Telemetry) system.
The system, which is supplied by LAWO’s ANZ distributor Professional Audio & Television (PAT), will be rolled out in the coming months to provide Sky Racing’s engineering team with this cutting-edge IP network monitoring tool specifically designed to bridge the gap between IT and Video engineering. In addition to SMART, Sky Racing have also contracted PAT to supply LAWO V_matrix equipment – LAWO’s video processing platform for encap, decap, streaming and distributed Multiviews, LAWO ruby audio consoles and processing engines, V__pro8s and a significant expansion to their nation-wide VSM IP control system. LAWO’s System Monitoring and Realtime Telemetry Dashboard (aka smartDASH) is a vendor-agnostic enterprise software suite designed to provide full network and media visibility across an all IP, all SDI or hybrid WAN/LAN broadcast infrastructure. Strategically positioned to bridge the gap between IT and Video engineering, smartDASH straddles both sides of the operation to provide a comprehensive view of what the network is doing and how the media streams flowing across the network are behaving. Based on a UNIX OS, this software defined networking solution incorporates a powerful and robust database to document and rapidly search any aspect of the operation, from a simple cable ID number to seeking the journey of a multicast across a transnational multi-hop WAN. By leveraging a vast library of hardware communication protocols, the system automatically interrogates live and dormant path connections to create the most intuitive and data rich presentation layers of a COTS-hybrid infrastructure. With its award-winning deep packet inspection microservices, the SMART solution also supports monitoring and decoding a wide range of media formats, from low bitrate OTT/ABR streams, to
uncompressed ST2110 studio production flows. It can also characterise the packet pacing off the delivery network. This approach brings a deeper dimension of operational visibility by unifying network telemetry and mixed media flow into a single glass view. smartDASH users have a zero-footprint installation and can be deployed on-premise, private or public cloud with HTTP accessibility from a browser or mobile device. This vendor-agnostic state-of-theart software solution is an essential component to the conscious operation of any IP-based broadcast installation. Tabcorp’s Senior Manager Technology (Media Division) – Dennis Dovale commented, “SMART made perfect sense for our ST2110 Media network roll-out to provide our engineering department with the monitoring and telemetry tool kit to easily identify and locate specific issues in the network. As this is the first install of SMART in Australia, Tabcorp are early adopters of this technology, but this is nothing new to us as we continuously look at improving our business of which the Media Network is a crucial part.” Sky Racing will be rolling LAWO’s System Monitoring and Realtime Telemetry software out for its newly built Ann Street facility network in Brisbane before expanding it into Frenchs Forest and Belrose in Sydney, and Melbourne as the network expands over the next 12 to 18 months. LAWO’s Senior Director of Product Management Tony Zare was delighted with Sky Racing’s announcement. “We know that SMART will play an integral part in ST2110 broadcast facilities in Australia and the rest of the world,” he said. “Still, I would like to personally thank Sky Racing for their trust in our technology and we are looking forward to a close cooperation with the Sky engineering team to make their new facility a shining reference site for ST2110 installations around the world.”
Mr Dovale continued, “Our audio network is migrating from DANTE to RAVENNA and the ruby consoles provide us with the perfect audio processing engine that can connect to our aging DANTE infrastructure, while also being the bridging device that connects to our hitless merge RAVENNA AES67 network. The fact that the ruby engine is fully compliant with SMPTE2110-30, while also offering a gateway to our DANTE network and controlled via VSM through EMBER+, made this the perfect audio engine to see us into the future.” Visit www.lawo.com
New Chairman for ABU Sports Group
REAL TIME 3D BROADCAST GRAPHICS DEVELOPER RT Software has announced the fully featured launch of their ‘Tactic Advanced’ sports telestration and analysis system.
THE RECENT 64TH ASIA-PACIFIC Broadcasting Union Sports Group Conference and Associated meetings saw renewed calls from broadcasters to enhance further cooperation. The conference acknowledged that sports broadcasting continues to evolve, often posing serious challenges to broadcasters in terms of increasing rights fee especially, the premium sports and events.
Tactic Advanced has already been available to the Sports Professional market for a year, with orders from some of the best-known sports clubs and federations around the world. Now, with SDI i/o and the ability to control external replay servers, Tactic Advanced supports full broadcast workflows for highlight packages, post- or pre-match segments, and even live events.
SPORTSCASTING
In addition to LAWO’s SMART monitoring and telemetry system, Sky Racing is also relying on LAWO’s IP processing platform V__matrix for encap, decap, multiviews and of course streaming between facilities. LAWO’s already deployed VSM IP control system will significantly grow to take charge of Sky’s new IP media network. Part of the technology migration to a fully ST2110 compliant AES67 audio network are LAWO’s ruby consoles for the production studios with various 16 and 32 fader consoles replacing aging, end of life equipment.
Sports Analysis Solution from RT Software Previewed at NAB 2019, Tactic Advanced is RT Software’s next generation sports graphics solution, allowing sports producers to tell compelling stories around team tactics by inserting informative graphics into clips of sporting action.
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LAWO’s SMART (System Monitoring and Realtime Telemetry) system.
Features include automatic keying and camera tracking, editable motion paths, composite graphic creation and the ability to change styles of graphics to match their in-house brand. The full release of Tactic Advanced adds further functionality, such as line calibration to provide metric graphics (speed, distance run etc.) and custom touchscreen interfaces for on-camera presenter control. Visit www.rtsw.co.uk
The meeting called for the need to work closely with the union, share information and enhance communications. The conference also highlighted the relevance of not just a national pool, but even regional one to help address the challenges and concerns. The Conference elected the Head of Sports of KBS Korea, Mr Kimoon Lee as the new Chairman of the ABU Sports Group. Mr Lee, who replaces Mr Jiang Heping, the Controller of the China Global Television Network at CGTN, will serve for a two-year term. One of the major highlights of the 64th ABU Sports Group and Associated conference in Nur-Sultan, Kazakhstan was the signing of the ABU/FISU distribution contract for the next three years. The agreement was signed by the ABU Secretary General, Dr Javad Mottaghi and the Secretary General of the University Sports Federation (FISU) Mr Eric Saintrond. The three-day conference was hosted by the QAZSPORTS. The 65th Sports Group Conference and Associated meetings will take place in Tokyo Japan in November on the sidelines of the ABU General Assembly. Visit www.abu.org.my
SPORTSCASTING
disguise Powers Longest Ever AR Broadcast for Pakistan Super League THE PAKISTAN CRICKET BOARD started the 2019 season with something truly spectacular. Right before the first match, an awe-inspiring opening ceremony took place at the Dubai International Cricket Stadium - but this was unlike any event ever seen in the tournament’s history. Broadcast to over 50 million people around the world, the 60-minute Pakistan Super League opening ceremony combined mindblowing augmented reality graphics with live performances from global acts, including iconic 70’s funk band Boney M, Pakistan’s Junoon and solo stars Fawad Khan, Young Desi, Aima Baig and Shuja Haider.
“With an annual global audience of 50 million people, our goal each year is to keep this an exciting and engaging component of the tournament, and to push the creative vision for both the television audience, and those in the stadium” stated Samer. “AR was something that we had wanted to try for this event, but it was always going to be a risk – this duration of realtime AR rendering had never been done before. We worked with ITW, explaining they would be the first hosts ever to orchestrate an opening ceremony of this kind, and once they gave the green light, it was all systems go!” The opening ceremony featured eye-catching elements of AR throughout the live broadcast. Bringing the event to life and working in collaboration with Musketeer were content generating experts, Bild Studios and Studio One. David Bajt and Scott Millar from Bild Studios technically produced and supplied all the equipment for the show, with Urs Nyffenegger, from Studio One, providing the AR animation elements. The teams used disguise gx 2 servers, designed for unparalleled generative content capacity, to render the AR content for the several artists performing, as well as the added spectacular elements. Creative Producer Urs Nyffenegger said, “The Notch and disguise combination was essential for the success of the PSL Opening
Ceremony due to the adaptability, flexibility and unparalleled real-time workflow capabilities. Everything we were able to accomplish on this project was only possible because of disguise.” A project as ambitious as this came with a host of its own challenges. Not only did the teams have a short turn-around time of just 45 days, but they had only 15 minutes to remove the stage from the Cricket pitch. “We have to take care of the pitch area and we have very limited time to take care of it,” said Samer. “Every time we ran a rehearsal, we could not pinpoint the stage exactly, so to calibrate with disguise and the stYpe Cameras during setup within an hour was amazing.” To add to the already complex event, the main headliner for the Opening Ceremony pulled out the day before, leaving the team to reconfigure the content with just 24 hours’ notice. With such a short turnaround, Scott Millar from Bild Studios chose Notch and disguise because of the proven compatibility and solid combination, meaning it would be delivered on time. To overcome the artist issue, a virtual DJ was flown out for the Opening Ceremony last minute. The user-friendly features of the disguise server meant the DJ content was immediately integrated with the compiled show. “With disguise we were able to composite all six cameras feeds, with camera delay, with AR, and with the graphics on top to present that composited output to the vision mixer to the camera returns, and we were able to do that for two cameras per server. This is a huge benefit over other systems. In the world of live events, with disguise, you are really able to send ‘stuff’ everywhere,” said Scott.
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The disguise servers made calibrating the cameras prior to the show simple and managed all the input from each camera. stYpe was the partner in camera tracking and provided custom tracking heads and third-party software to allow accurate tracking of the project for all six-camera involved. They were able to pull off all tracking on time, with an 80% increase in the clarity and quality. “I cannot imagine being able to pull this show off, with any other system. I have used a lot of products on the market, and to do the change of adapting over 15 minutes of show content, 24 hours of the show, for a Virtual DJ (VJ) we flew in was remarkable. We were able to plug in the VJ’s content, without issue and integrate the AR, to a live camera,” remarked Samer. “We built virtual cubes with LEDs to accompany the music set for the headline artist, and without the VJ they would have been black. Integrating his content was so easily assimilated I was amazed, it just worked with the disguise hardware, and in theory it is not so easy to accomplish,” added Urs Nyffenegger, who alongside the Studio One team provided the AR animation elements. The PSL Opening Ceremony featured a disco scene, flying F16 jets, a 30-meter trophy, a robot that landed on stage, and more. The end result was a 45-minute live show with 12 different AR scenes achieved using disguise, Notch, and Stype technology, combining AR and VR with live broadcast to over 50 million people around the globe. This accomplished the longest ever duration of an AR centered broadcast. Visit www.disguise.one
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SPORTSCASTING
Event management company ITW Trans Group collaborated with specialists in large scale opening ceremonies, concerts, and events, The Musketeers. Having coordinated the creative vision behind the last three Pakistan Super League opening ceremonies, Creative Director Samer Feghali wanted to push the envelope of live entertainment boundaries.
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SPORTSCASTING
Autonomous Cameras Lead EVS’ Lean Production Push
AT IBC2019 (STAND 8.B90) EVS WILL PRESENT its future lean production solutions offering live production standards accessible at lower operational costs. Full IP interoperability and integration with third-party tools are also inherent in all new EVS solutions and updates.
highlights and dynamic live productions quickly and cost effectively. With X-One’s intuitive user interface, a single operator can do live switching, create replays, control audio, create and insert graphics, play back content and now create highlights.
IBC attendees will see the launch of a new automated multi-camera positioning and framing system that analyses the images of robotic camera feeds in real time and guides these cameras toward the live action with the appropriate zoom. Designed and tested to precisely mimic the movements of human camera operators, the solution uses machine learning enabled by VIA Mind, EVS’ AIdriven functionalities and assistance component that assists operators to focus more creatively through the automation of certain tasks.
New Centralised and Flexible Ingest Solution
The new solution integrates with the EVS X-One unified production system for ‘lean production’. X-One ingests up to six camera feeds, no matter the source - humanly operated cameras, autonomous cameras or a mix of both - enabling low-cost, broadcast-standard live productions of small and mid-sized events.
Through an intuitive HTML 5 web interface, the solution controls and schedules live feeds ingested directly into the XS-NEO server, shortening production cycles and increasing productivity. The solution natively writes onto third-party storage as well as to the Avid Interplay production management workflow solution, so content can be edited in post-production during recording and as a multi-camera sequence with easy-to-find
The latest version of EVS’ unified production system X-One enables a single operator to produce
Leveraging EVS’ new XS-NEO software-defined server and IPD-VIA Ingest app, one of the first applications for the VIA platform, the new solution provides fast, simple ingest with dynamic, concurrent support of multiple formats, codecs and frame-rates. The software-based server is hosted on EVS’ reliable PMR processing module and embraces all of the benefits of IP connectivity, while supporting SDI-based productions and also delivering EVS’ loop recording technology to users.
metadata that reduces search time. EVS will also unveil the latest iteration of its Dyvi software-defined switcher which now features a PMY processing module that supports both SDI and IP for hybrid SDI/IP connectivity and operation in multiple formats, including UHD-4K and 1080p. Demonstrations on stand 8.B90 will highlight how the XT-VIA and XS-VIA live production servers offer more capacity and greater flexibility to produce content in multiple formats including Full HD 1080p, UHD-4K and HDR, as well as enabling the upscaling of 1080p content to UHD-4K for playout. And with the new Multicam 16.2 software engine, which the servers run on, users now also benefit from an onboard SDR/HDR multiviewer that provides them with greater clarity and control. Both the XT-VIA and XS-VIA servers have passed the JT-NM SMPTE ST 2110 tests. The EVS servers have also seen their capabilities extended with the introduction of XNet-VIA, EVS’ high-speed ethernet-based media sharing network. This new network facilitates ultra-fast and bidirectional sharing of high-resolution and super motion content between both XT-VIA and XS-VIA servers. Visit https://evs.com
Tedial to Launch SMARTLIVE MULTI SPORT Configurations TEDIAL, THE INDEPENDENT MAM technology solutions specialist, will unveil new features to its sports and live events solution, SMARTLIVE, on stand 8.B44 at IBC 2019. The company will also unveil upgrades to its Tedial Version Factory 2019 for the first time in Europe. New for IBC 2019, SMARTLIVE will feature MULTI SPORT configurations, which allow users to generate automatic highlights or auto-clipping for any genre of sport quickly and easily. Agnostic to all data feeds, Tedial’s metadata engine makes it simple to add new configurations to the system as and when required. In addition, SMARTLIVE and Tedial’s Evolution MAM now includes a new module that allows all types of content to be published to any social network in just one click. Enabled by the system’s capability to create social publishing campaigns directly inside the MAM, content includes clips, highlights or historical media etc. Tedial will also highlight its technology
partnership with Speechmatics. By integrating Speechmatics’ Automated Speech Recognition (ASR) technology with SMARTLIVE, operators can search for comments made during a sporting match or live event, automatically create file locators and import a file or drop it into a watch folder and manually generate the speech-to-text from the commentary track.
Using the company’s Version Factory and HYPER IMF, its end-to-end IMF workflow now supporting 2018 SMPTE IMF standards, Tedial can easily support existing and new platforms, delivering content in the correct format with audio tracks and subtitles in the correct language, as well as any additional components required (artwork/trailers etc.).
The company will also show Tedial Version Factory 2019 upgrades for the first time in Europe. Tedial Version Factory is a single efficient and cost-effective workflow that supports millions of file inputs, transforming them to delivery configurations, ready to be distributed to multiple platforms from a single operator screen. Updates include, managing ‘on-the-fly’ assembly of unique versions, including pre, post and midroll insertions; matching contractual distribution requirements for timely deliveries; enabling IMFcompliant low-resolution proxy edits on media and templates, so seasons of episodes can be managed with a single configuration.
As part of Tedial’s Evolution MAM demonstration the company will also show new features to its Evolution aSTORM content management solution, which transparently manages various tiers across departments and locations or in the cloud. aSTORM now includes numerous costsaving features including, optimising transfers between sites for reduced transfer costs; and improved tape migration workflows between technologies for increased resource efficiency resulting in lower migration costs. aSTORM also now supports Oracle cloud storage.
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NEWS OPERTAIONS OPERATIONS www.content-technology.com/newsoperations
Bangladesh’s News24 Streams Live with Sony BANGLADESH’S NEWS24 THRIVES on innovation and speed. The 24-hour channel, launched in 2016, has quickly become one of the key players in Bangladesh with its impartial news coverage and current affairs programmes. To stay ahead of the competition, News24 which is part of the East West Media Group, has embraced wireless live streaming to enhance its production workflow and programming capabilities. “Bangladesh is in transformation mode,” said Abu Ali Farmidi, Manager, Broadcast and Engineering, News24. “Our wireless connectivity across the country is improving. Mobile operators are rolling out 4G progressively and this has given us the confidence to step into the wireless world of live streaming.” After careful consideration and field tests, the station purchased Sony’s wireless workflow-enabled PXW-X70 XDCAM camcorder, as well as the PWS-100RX1A and PWS-110RX1A Network RX Stations. “We evaluated other brands but Sony stood out because it offered a complete wireless ecosystem – Wi-Fi 4K-ready XDCAM camcorders, dependable Network RX Stations and Sony’s unique and cost-efficient QoS wireless technology,” Farmidi explained. Sony’s PWS-110RX1A Network RX Station provides News24 with cost-efficient live streaming of 1080i video and audio direct from the PXW-X70 XDCAM camcorder using 4G/LTE and Wi-Fi networks. Sony’s PXW-X70 is a palm-sized camcorder packed with all the network functions including QoS Streaming or MPEG2-TS for higher quality transmissions of 1080i over 4G/LTE or Wi-Fi without the glitches or dropped frames typical of other streaming solutions. It also provides Wi-Fi/NFC (Near Field Communication) with Content Browser MobileTM software. The PXW-X70 is part of Sony’s commitment to make wireless workflow a standard feature in XDCAM camcorders. A key advantage of Sony’s Network RX Station is that they can simultaneously control two SDI outputs: these can be used to live stream from two locations at the same time. Multiple systems can be added for greater input and output loads. “Bangladesh has a big rural population. Instead of investing in expensive OB vans to expand our reach, Sony’s wireless live streaming gives News24 a cost-efficient route to capture events as they unfold and broadcast excellent HD content within seconds,” Farmidi added.
News24’s Manager, Broadcast and Engineering, Abu Ali Farmidi.
Beside its wireless workflow functionality, News24 selected the PXW-X70 XDCAM camcorder as it can easily be upgraded to shoot in 4K. Although News24 is a long way from broadcasting in 4K, the station saw it as an investment for the future. “Sony played a crucial role in helping News24 get off the ground. Our new wireless live streaming has redefined our ENG capabilities and will give us an edge in the ever-changing media scene in Bangladesh,” Farmidi concluded. Visit http://pro.sony
AJA Gear Greases the Wheels for India’s Janta TV
Janta chose to use AJA gear after carefully evaluating its options because of the solid performance and high-quality output it showed during tests. “Making AJA gear the backbone of our news channel has been one of our best decisions yet. It’s been so stable, easy to use and saves us a lot of time, especially because with LAN interfaces on most products, and built in webservers, you can easily configure and control your devices through a web browser on any platform from just about anywhere,” shared Deepak Sengupta, Group Technical Head, Janta TV. Both the satellite and social feeds are powered by a three-camera studio setup including chroma screens and a Real Set Recording Studio with fixed backgrounds. Camera signals are first fed through an AJA KUMO 3232 router in an on-site production control room (PCR). KUMO is connected to a four-port ingest system and an AJA Ki Pro Rack recording/ playback device
for PCR program monitor (PGM) ingest, as well as a video switcher using six AJA OG-3G-AMA openGear 3G-SDI analog audio embedders/disembbeders with DashBoard support. The OG-3G-AMAs then pass the signals through AJA OG-3GDA openGear 3G-SDI reclocking distribution amplifiers and the outputs are run though a master control room (MCR) switcher, with AJA KONA I/O cards involved in two MCR playouts and the PCR PGM connected via a WASP 3D graphics solution. The WASP outputs are then run through OG-3GDAs, and the signals are sent through an AJA FS frame synchronizer and encoder for the satellite feed and through the AJA HELO real time streaming device for the Facebook Live stream. Guest interviews are also integrated into each broadcast using a combination of Skype, an AJA U-TAP SDI USB 3.0-powered ingest device and an AJA ROI Mini-Converter for generating a stable signal and frame rate from the Skype interface. All footage is recorded and cut in Apple Final Cut Pro X and then stored and archived. Janta balances the workload between a technical and IT team five people strong and 10 cameramen, with up to 35 people contributing to editorial and 15 working on graphics. “Not only is AJA’s gear fantastic out of the gate but also AJA’s warranty program is amazing. Setup and operation were simple from KUMO 3232 and its companion KUMO Control Panel through to the openGear cards, U-TAPs, HELO, Ki Pro Rack, FS devices and Mini-Converters. We look forward to enjoying many years of use with our new gear,” concluded Deepak Sengupta. Visit www.aja.com
NEWS OPERATIONS
NEW DELHI-BASED 24/7 NEWS channel Janta TV keeps Hindu-speaking audiences apprised of the latest current events via a satellite feed on networks likes Tatasky, Hathway and DEN. The channel has also recently up leveled its social streaming strategy, growing its subscriber base across YouTube and Facebook Live to a collective 100K subscribers (and counting). To help keep pace with the demands of its growing audience, Janta TV recently moved into a new, larger studio. Simultaneously it overhauled its technology infrastructure, selecting a host of gear from AJA, including KUMO routers, Ki Pro recording/playback devices, streaming tools, FS frame syncs, openGear converter cards and Mini-Converters.
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NEWS OPERATIONS
Trust, Fatigue and Smartphones Feature in Reuters Institute’s Digital News Report THE REUTERS INSTITUTE HAS RELEASED its Digital News Report for 2019. Authored by Director of the Reuters Institute, Rasmus Kleis Nielsen, Senior Research Associate Nic Newman, along with Institute Research Fellows Richard Fletcher and Antonis Kalogeropoulos, the report is based on a survey of more than 75,000 people in 38 markets. The Institute also worked with Flamingo, an international market research company, to look in detail at the habits and behaviours of younger groups in the United States and United Kingdom. The methodology included tracking actual online behaviour of 20 participants for several weeks, indepth interviews, and small group discussions with their friends. Insights and quotes from this research are used to support this year’s Digital News Report but will also form the basis of a separate report to be published in September. The findings of the Digital News Report 2019 include: • A small increase in the numbers paying for any online news – whether by subscription, membership, or donation. Growth is limited to a handful of countries mainly in the Nordic region (Norway 34%, Sweden 27%) while the number paying in the US (16%) remains stable after a big jump in 2017. • Even in countries with higher levels of payment, the vast majority only have ONE online subscription - suggesting that ‘winner takes all’ dynamics are likely to be important. One encouraging development though is that most payments are now ‘ongoing’, rather than oneoffs. • In some countries, subscription fatigue may also be setting in, with the majority preferring to spend their limited budget on entertainment (Netflix/Spotify) rather than news. • In many countries, people are spending less time with Facebook and more time with WhatsApp and Instagram than last year. Few users are abandoning Facebook entirely, though, and it remains by far the most important social network for news. • Social communication around news is becoming more private as messaging apps continue to grow everywhere. WhatsApp has become a primary network for discussing and sharing news in non-Western countries like Brazil (53%) Malaysia (50%), and South Africa (49%). • People in these countries are also far more likely than in the West to be part of large WhatsApp groups with people they don’t know - a trend that reflects how messaging applications can
be used to easily share information at scale, potentially encouraging the spread of misinformation. Public and private Facebook Groups discussing news and politics have become popular in Turkey (29%) and Brazil (22%) but are much less used in Western countries such as Canada (7%) or Australia (7%). • Concern about misinformation and disinformation remains high despite efforts by platforms and publishers to build public confidence. In Brazil 85% agree with a statement that they are worried about what is real and fake on the internet. Concern is also high in the UK (70%) and US (67%), but much lower in Germany (38%) and the Netherlands (31%). • Across all countries, the average level of trust in the news in general is down 2 percentage points to 42% and less than half (49%) agree that they trust the news media they themselves use. Trust levels in France have fallen to just 24% (-11) in the last year as the media have come under attack over their coverage of the Yellow Vests movement. Trust in the news found via search (33%) and social media remains stable but extremely low (23%). • Worries about the quality of information may be good for trusted news brands. Across countries over a quarter (26%) say they have started relying on more ‘reputable’ sources of news – rising to 40% in the US. A further quarter (24%) said they had stopped using sources that had a dubious reputation in the last year. • The news media are seen as doing a better job at breaking news than explaining it. Across countries, almost two-thirds feel the media are good at keeping people up to date (62%), but are less good at helping them understand the news (51%). Less than half (42%) think the media do a good job in holding rich and powerful people to account - and this figure is much lower in South Korea (21%), Hungary (20%), and Japan (17%). • There are also significant differences within countries, as people with higher levels of formal education are more likely to evaluate the news media positively along every dimension than the rest of the population, suggesting that the news agenda is more geared towards the interests and needs of the more educated. • The smartphone continues to grow in
importance for news, with two-thirds (66%) now using the device to access news weekly (+4pp). Mobile news aggregators like Apple News and Upday are becoming a more significant force. Apple News in the United States now reaches more iPhone users (27%) than the Washington Post (23%). • The growth of the smartphone has also been driving the popularity of podcasts, especially with the young. More than a third of the study’s combined sample (36%) say they have consumed at least one podcast over the last month but this rises to half (50%) for those under 35. The mobile phone is the most used device (55%) for podcast listening. • Voice-activated smart speakers like the Amazon Echo and Google Home continue to grow rapidly. Usage for any purpose has risen from 9% to 12% in the United States, from 7% to 14% in the UK, from 5% to 11% in Canada, and from 4% to 8% in Australia. Despite this, the report found usage for news remains low in all markets. For a free download of the full report, visit https://www.reuterscommunity.com/topics/ audience-development/reuters-institute-digitalnews-report-2019
Pond5 Partners with Reuters on Royalty-Free Editorial
NEWS OPERATIONS
VIDEO MARKETPLACE POND5 has announced the launch of a royalty-free Editorial collection, featuring timely footage from the worlds of current events, sports, and entertainment, plus video from citizen journalists.
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The new royalty-free model for this content gives filmmakers and creators worldwide access to footage in the collection which starts at US$79 a clip. To build the new collection, Pond5 has partnered
with global news agency Reuters. Pauliina Hepola, Global Head of Channel Partners, Reuters News Agency, said: “Reuters is committed to delivering trusted, independent, and impartial news from around the world. We’re excited to share this content with newsmakers and content creators in a new way by partnering with Pond5.” Other partners include Cover Video, which offers celebrity and entertainment video content,
and Newsflare, known for user-generated breaking news videos, with more partners to be announced in the coming weeks. Through these partnerships, Pond5 is both expanding its collection of valuable archival footage and presenting buyers with royalty-free options for video relating to timely topics and current events, with thousands of new clips added to the collection every day. Visit http://pond5.com/editorial
NEWS OPERATIONS
5G-Enabled Solutions from LiveU AT IBC2019, LIVEU will present its portfolio of 5G-enabled solutions for live newsgathering and dynamic sports coverage for every type of event. Looking towards the 2020 games in Tokyo, LiveU is already gearing up to support hundreds of customers with its award-winning HEVC technology. LiveU’s flagship LU600 4K HEVC portable transmission solution’s latest HEVC 4K-SDI edition facilitates professional 4Kp50/60 streaming for topquality production, supporting VR and 360 applications. The compact, robust LU300 HEVC unit for live streaming. The LU300 can also serve as a standalone video encoder or be used as a LiveU DataBridge mobile hotspot for general connectivity in the field. The 1U 4K HEVC rackmount LU610 encoder is designed for vehicles and fixed locations. Based on LiveU’s LU600 4K HEVC technology, it offers the a hybrid solution for SNG trucks, point-to-point and point-to-multipoint distribution. LiveU is also showcasing the latest Remote At-Home Production applications for sports and live event producers, including: • Tally Light – bringing the ease of the live studio experience to the field, this important new tool enables field reporters to know instantly when they’re live on air via a red-light indicator connected to a LiveU unit. • LiveU Graphics – an easy-to-use professional cloud production tool for adding dynamic graphics to live streams. Users can simply select from ready-to-use graphic templates or create their own design and stream directly to any social media or CDN. • AV sync and support for up to eight audio channels • LiveU Control – enabling simple remote control of LiveU units via smartphones With precision measurement of end-to-end delay, LiveU’s Remote At-Home Production allows more events to be covered with simplified logistics and reduced costs. Multi-camera live events can be produced from a centralised studio control room instead of costly on-site production and satellite trucks. Meanwhile, LiveU AI offers a story-centric AI service for global newsgathering. The complete service, powered by newsbridge, offers a comprehensive set of contribution and AI-based video indexing tools for enriching, searching and accessing live or file-based content. Operating within the LiveU Central cloud management platform, LiveU AI will enable editors to search and find their required footage faster than ever, easing their daily workload and making real-time production much more efficient. LiveU will also be demonstrating its new LiveU Central feature, Single Sign On (SSO) for secure user management, integrated with the customer’s active directory or Identity as a Service (IDaaS). Lastly, LiveU Matrix is LiveU’s next-generation IP video distribution platform, recently selected by CBS Newspath. Matrix provides a highly efficient content curation service, empowering newsroom managers to quickly and easily give hundreds of affiliates unparalleled access to live feeds from LiveU units in the field and other sources without any interruption, additional resources, or expensive fees. Matrix is also ideal for sports producers looking to live stream events easily and costeffectively to multiple destinations and TV stations.
DEJERO IS SHOWCASING ITS LATEST 5G-ready solutions, SMPTE 2110 support, return video solutions, CellSat blended connectivity, IronRoute for media content distribution solution, and GateWay connectivity at the upcoming IBC2019 show, stand 11.C15. The latest version of Dejero’s EnGo mobile transmitter, which is now 5G-ready, features more processing power to deliver unique content adaptive encoding technology and HEVC compression to provide even better picture quality in a wider variety of scenarios. Dejero EnGo now automatically adapts to content complexity as it is captured and supports up to 20 Mb/s bitrate for live transmissions and 1080p 50/60. Additional enhancements to Dejero’s mobile transmitter line-up will be made at the show. Dejero’s CuePoint 100 low-latency rack-mounted return feed server simplifies talent cueing, production and confidence monitoring, and real-time teleprompting in the field. With as little as 250 milliseconds of latency, CuePoint keeps teams at the broadcast facility and remote location synchronised, by sending video and audio, alongside teleprompting feeds, to production teams in the field to facilitate the creation of compelling live content. Up to eight return video and teleprompting feeds from the broadcast centre can be seen in the field by the talent on a tablet or dedicated monitor above or below the camera, or on multiple mobile devices by camera operators, field directors and technicians. The Dejero WayPoint 204 receiver makes the IP transition easier for broadcasters embracing the SMPTE ST 2110 suite of standards. As the first Dejero product to support SMPTE ST 2110 standards for professional media industries, WayPoint 204 reconstructs video transported over multiple IP connections from Dejero transmitters, decodes HEVC or AVC, delivers four channels of balanced IFB, and provides four outputs supporting SMPTE ST 2110. IronRoute offers a robust solution tailored to the needs of broadcasters and media organisations by combining the link diversity, service quality, and centralised management benefits of software-defined blended connectivity, with the flexibility and scalability benefits of a cloudbased workflow for cost-effective global distribution. IronRoute blends broadband, cellular (3G/4G/5G), and satellite connectivity from Intelsat’s global network. The cloud-based solution also simplifies the simultaneous distribution of live and file-based content to multiple locations anywhere in the world, whether it be network affiliates, station groups, or to other broadcasters and media organisations in point-to-point, point-tomultipoint, and multipoint-to-multipoint scenarios with a simple drag and drop interface in a web browser. Access to reliable connectivity has become even more critical for contribution and distribution. New features added to the Dejero GateWay solution include reliable connectivity on any type of IP connection and faster file transfer methods. Dejero will also show how the GateWay solution can be used for backup connectivity as part of a disaster recovery plan, and other use cases that solve first- and last-mile connectivity challenges of broadcasters and media organisations. Visit www.dejero.com
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MEDIA IN THE CLOUD, STORAGE & MAM Tennis Australia Chooses Spectra Logic and Digistor for Australian Open TENNIS AUSTRALIA IS THE ONGOING HOST BROADCASTER for the Australian Open and, as part of this year’s event, was seeking a solution to store over 180TB of host content generated during the tournament. After a comprehensive evaluation process, Tennis Australia chose the Spectra Logic Black Pearl solution supplied and installed by Digistor.
As John O’Neil, Technical Manager - TA Productions at Tennis Australia, explained, “We have an enormous amount of content and needed a permanent, cost effective and scalable solution. We knew what we had today and what we would need in the future and wanted to develop a partnership that would grow with our needs. Digistor played a major role in the deployment of the Spectra Logic solution, and worked with us to refine the requirements and options, as well as providing the necessary quotes and timelines to enable the purchase to be approved and acquired.” Tennis Australia’s requirements for the new storage solution were extensive. They needed a solution that guaranteed them reliability, scalability, robustness, connectivity and came with comprehensive support at the right cost. O’Neil continued, “We needed a reliable solution that could cope with a number of challenges, as well as grow with our needs, including the ability to archive content to other storage media and thus removing the need to be adding more spinning disks. We also needed a product that could take 188TB of content in 14 days, the duration of the Australian Open. We have a massive data spike when the Australian Open is in progress and then for the remainder of the year, the storage is used to access content. We needed a product that would work with our existing EVS infrastructure to fully realise that investment. Finally, we wanted to have support and critically, we could get this locally via Digistor and globally via the Spectra Logic team.”
addition. The Spectra Logic storage integrated into our EVS infrastructure without any significant work required. The storage is fast and responsive to any media requests. Each Australian Open generates more than 180TB of data made up of approximately 2,100 files. It’s clear to see that we have significantly large files as they are the full record of a tennis match, which can sometimes be many hours in duration. We needed a solution that could handle such large files without issue, which the Spectra Logic has more than done.” During the Australian Open, everyday content was pushed to the Spectra Logic via an integration into Tennis Australia’s Host Broadcast EVS network. As a guide, in the first four days, there are 64 tennis matches per day and some matches have three versions - Clean, Scored and Virtual. In addition, there are press conferences, match highlights, ultra-slow-mo compilations, full day records of the World Feed coverage and the World Feed highlights programme.
The Spectra Logic solution delivered and installed by Digistor met all of Tennis Australia’s requirements presenting them with a robust storage solution that enabled them to migrate all of their data from their temporary storage solution without any data loss or issues.
The amount of work and storage required to make all of the above run seamlessly and reliably is not lost on John O’Neil who added, “In the past, the push of the content to our storage solution was never completed before the bump-out of the Host Broadcast operations. This often meant that we did not have a complete copy of all the content generated and needed to wait until the storage used by the Host Broadcast Technical Partner was active again, copies were made to external devices and sent to Tennis Australia. This could take several months. For 2019 Australian Open, we had all the content on the Spectra Logic storage and the end of the tournament. At the beginning of the final day, the Men’s Final, the only content that we didn’t have was the upcoming Men’s Final. This is first time that this has occurred, and as a result we consider the Spectra Logic solution supplied by Digistor to be an outstanding success.”
O’Neil said, “We added extra storage prior to the Australian Open and it just worked. It was seamless
The Spectra Logic solution supplied by Digistor to Tennis Australia not only improved the organisation’s
efficiencies, critically it also saved them money as O’Neil explained, “We have dramatically reduced our costs post-Australian Open with the implementation of Spectra Logic. We had all our content on the Spectra logic and we didn’t need to employ people to copy data post event or wait for external drives to arrive months after event. We had the full tournament immediately after the final match which has enabled us to generate new content straight away. This is a very welcome and major cost-saving bonus for Tennis Australia. “Digistor’s sales and service has been outstanding. They listened to what Tennis Australia was trying to achieve, the need to integrate into existing infrastructure and brought to us a vendor in Spectra Logic who could deliver on our needs and requirements.” Visit www.digistor.com.au
MEDIA IN THE CLOUD, STORAGE & MAM
Oracle Divests Itself of Digital Media Solutions and DIVA Content Management
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ORACLE HAS ANNOUNCED it has completed the sale of its Digital Media Solutions business and DIVA Content Storage Management product line to EcoDigital, a privately-held company based in Atlanta, Georgia, with previous experience in digital archiving technologies. Oracle acquired the DIVA Content Storage Management product line as part of its September 2014 acquisition of the platform’s developer, Front Porch Digital. According to a statement issued by Ajay
Srivastava, Senior Vice President, Oracle Operating Systems and Virtualisation, “We see this new development as a positive improvement for the two organisations, our mutual clients, and the industry. “A seamless experience for all of our customers, partners, and vendors is our top priority. To ensure business continuity, Oracle will continue to operate the business on behalf of EcoDigital during an interim transition period. For day-today operations, please continue to contact your
current account teams across sales, support, and other business functions. Oracle and EcoDigital will provide notification well in advance of any changes in contact information and processes. “In the meantime, please contact Rino Petricola and Geoff Tognetti with any questions you may have about this exciting combination. Please note that all contracts and renewal orders executed by Oracle following this notice are being entered into on behalf of EcoDigital.” Visit www.goecodigital.com
MEDIA IN THE CLOUD, STORAGE & MAM
Quantum Launches Distributed Cloud Services & Cloud-Based Analytics Software Quantum Distributed Cloud Services are designed to enable customers to redirect valuable IT and engineering resources to focus on meeting business goals, improving the overall user experience and maximizing the return on investment for storage, while maintaining the control and security of an on-premise infrastructure. These services are powered by Quantum’s new Cloud-Based Analytics (CBA) software, which serves as a central hub where Quantum products are designed to connect to send log files and other telemetry data about their environment, making them part of the Quantum Distributed Cloud. Quantum’s global services team is then positioned to proactively manage the customer’s environment, either as an operational service or as a pay-per-use Storage-as-a-Service offering. Leveraging and capturing value from digital data has become central to the success of many businesses today, which are increasingly challenged to create more, study more, and develop more with fewer IT and engineering resources. These businesses are looking to others to manage their data storage infrastructure so they can focus on their core mission. Quantum Operational Services, a new line of proactive managed services, are designed to provide cloud-like simplicity with the benefits of on-premise control. Using Quantum Operational Services, Quantum works with its customers to manage day-to-day storage operations, with the goal of providing better uptime via proactive monitoring and analysis. These services can create a better user experience for internal and external customers. Key benefits include: • Eliminate the burden storage management places on IT and engineering resources
delivered with a pay-per-use subscription service, Quantum is also introducing a new line of Storage-as-a-Service offerings. Leading Quantum products can now be purchased via a predictable, pay-per-use pricing model with no data access fees. Key Benefits: • Reduce upfront acquisition costs • Reduce operational and administrative resources and costs by only paying for storage used • Eliminate unplanned capital spend and forklift upgrades • Improve control and security with an on-premise infrastructure • Avoid data access fees or unpredictable charges • Reduce downtime and achieve better performance QUANTUM CLOUD-BASED ANALYTICS SOFTWARE At the core of Quantum’s new services is CBA software. Quantum designed CBA software to enable customers, partners and Quantum’s support team to proactively manage and monitor their environments across the globe from a central hub. Many of Quantum’s largest media customers, enterprises, and some of the world’s largest service provides are using this software to actively manage their Quantum products and technology today. Customers who opt to send data to Quantum’s CBA software can choose to monitor their environments themselves, or Quantum can proactively monitor and manage their environments for them via the Distributed Cloud Services.
• Maximize storage ROI
Quantum Operational Services and Storage-as-a-Service Offerings are generally available today. Cloud-Based Analytics software is available today across most of Quantum’s product lines, and customers can start sending data to CBA software today and access their content via a web-based portal at no charge.
For customers who want all the benefits of Quantum Mediaproxy_Ad_C+T_Asia_2019-02-04.pdf 1 4 Feb 19 6:03:53 pm Operational Services,
Visit www.quantum.com
• Reduce downtime and improve the user experience • Maintain the control and security of an on-premise infrastructure
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MEDIA IN THE CLOUD, STORAGE & MAM
QUANTUM CORP. HAS ANNOUNCED DISTRIBUTED CLOUD SERVICES, a new line of operational services and storage-as-a-service offerings.
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MEDIA IN THE CLOUD, STORAGE & MAM
How Broadcasters Can Relieve the Headache of Storing Archive Footage Tim Jobling, CTO, Imagen
WITHIN THE WORLD OF VIDEO AND FILM PRODUCTION, archive footage has a hugely important function – allowing media production companies and broadcasters to build previous events and interviews into new programming in order to create a more compelling story. For instance, in the build-up to a Grand Prix, broadcasters will often use historic content from previous Formula One races to add to the excitement, create a narrative and, sometimes, to ensure the programme is long enough to fill the time allocated to it. However, many broadcasters experience significant challenges when trying to access archive footage, saved in different places across disparate systems or, most frustratingly, just being unable to find it. What obstacles does it present? Frequently, broadcasters have facilities in several locations, causing storing and sharing content amongst themselves and with other organisations, along with multiple users, to become a sizeable headache. Often, a number of databases or file sharing platforms are in use and content can’t be found easily. This content may then be impossible to recreate, or if it can be, it’s at a large cost to the business. Similarly, with employees for an organisation often spread out across the globe, there are ineffective systems in place to store and share content and once a person leaves the business, they also take their knowledge of where content is located with them. Additionally, with so much new content being created on a daily basis, the amount of archive material held by broadcasters is only increasing. While they may be able to overcome the issue of storing that footage, finding it again can present a whole new series of problems. For instance, how is it organised, what format is it in and how can they find specific video clips at any given time? With such a vast library, pinpointing a certain piece that contains a particular goal from the 1998 World Cup can become a mammoth task. So, how can broadcasters overcome these challenges and calm the headache the storage of archive footage presents?
opportunity to monetise content. As we have seen with nearly every major broadcaster, a wealth of programmes or footage stored online creates the potential for VOD services. Or, in the case of the BBC, it allows broadcasters to add another element to their existing services. As while BBC iPlayer has been around for more than a decade, it wasn’t until 2017 that the BBC added a ‘From the Archive’ section to the platform. This move saw the broadcasters add existing content, some of which dated back to 1946 and hadn’t been aired since it was first broadcast, to its existing platform. This allowed the BBC to add an extra element to its service and play into the growing trend of consumers going back to re-watch old boxsets or programmes, even if they’ve seen it before. This is something we have seen with the addition of the ever-popular Friends series’ to Netflix in the UK and the subsequent revelation that it had become the most popular show for streaming. While the majority of broadcasters won’t have a back catalogue on the same scale as the BBC, moving to a single, digitised catalogue of content can allow them to create platforms showcasing their content on a smaller scale and therefore create new revenue streams. Furthermore, opting for a single digital solution may give broadcasters the push they need to digitise archive footage which may currently only exist on film or video and which is therefore easily lost, damaged or destroyed. This is something most of us can relate to in our personal lives, with many of us likely to have old photo albums from our childhood or video tapes containing camcorder footage stored in shoeboxes or at the back of a cupboard. However, with so much sentimentality often attached to this content, most of us are willing to pay for a cloud solution that will allow us to digitise and store all this content in one place, giving us assurance of its long-term security. This idea also applies to broadcasters but on a much bigger scale and for them, the risk
Implementing a solution
of footage getting lost or damaged could create major problems. While it won’t
As the creation of new content builds, this has meant the amount of older material created by broadcasters and media companies has also increased. As a result, the size and scale of the problem they are dealing with in terms of the management and storage of content will grow only in tandem. To alleviate this, these organisations must look to implement a more robust cloud-based solution which will ensure their digital assets are not only protected but also reusable for the future. While this will require a small initial investment of time and money to implement, it is a low-risk, high-reward option which will allow broadcasters to safely store, search and share content internally and has the potential to provide a number of significant benefits.
have the same sentimental value, it will have a large monetary value and may
An additional advantage provided by a video management platform is the
Visit https://imagenevp.com
be impossible to recreate. In no uncertain terms, broadcasters that fail to address the challenge of storing existing content will only see the problem worsen with its effects likely to hit the quality of their output which, given the competitiveness of the broadcast industry, could prove dangerous. Media organisations must, therefore, arm themselves with a single solution to manage their growing content library more effectively, ensure it is preserved for future use and reap the additional rewards that a more efficient system can offer.
MOG Integrates NewTek NDI into mxfSPEEDRAIL
MEDIA IN THE CLOUD, STORAGE & MAM
MOG TECHNOLOGIES HAS ANNOUNCED full support on NewTek’s NDI standard for transporting video, audio and metadata over 1Gb Ethernet networks.
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The integration means that MOG’s central ingest solution can now support NDI input/output for recording and live production with mxfSPEEDRAIL’s new mediaNDI, a software application specifically designed to support NDI video gateway to record four streams of NDI in Avid, OP1a, QT, MP4, XDCAM, XDCAM EX, XAVC, FLV, HLS, MPEG-DASH, WebM, MPEG-DASH WebM, MPEG-TS, Matroska, and IMF formats. The solution guarantees the most efficient streaming video production possible, with no need for satellite trucks or RF infrastructures. Additionally, mxfSPEEDRAIL’s mediaREC, mediaLIVE, and mediaPLAY will also fully integrate NDI’s standard protocol, guaranteeing the maximum flexibility for the customer’s production environment: • mediaREC is an NDI / IP / SDI Video Recorder for content production, post-production, finishing, and distribution, up to 8K resolution. mediaREC is
a powerful and flexible multi-format SDI recording system that can capture baseband and IP Live signals. • mediaLIVE can encode NDI, RTMP, HLS, MPEG-TS and other live video streams in real-time and compresses it for distribution to viewers, delivering the highest video quality at minimum bitrates with low latency. With multiple social media streaming outputs like Facebook, YouTube Live, Twitch or Periscope. • mediaPLAY is a channel playout solution fully tailored for NDI / IP / SDI channel origination, management, delivery and play-on-air with master control switching with clip playback and enables multi-format and multiresolution, up to 8K. MOG Technologies mxfSPEEDRAIL offers a centralised solution that allows customers to improve their workflows for recording and streaming video without being limited to high-end workstations with complex infrastructures, making the ingest process easier and simple. Visit www.mog-technologies.com
MEDIA IN THE CLOUD, STORAGE & MAM
EditShare Powers Modern Media Operations at Singapore’s Hoods Inc Productions EDITSHARE, THE PROVIDER OF intelligent scaleout storage, AQC and media management solutions, has announced that Singapore-based Hoods Inc. Productions (Hoods Inc.) has designed its nextgeneration media operation around EditShare media solutions, putting XStream EFS scale-out shared storage, Flow production asset management and Ark archiving and backup at the core of its media production operation. Known for award-winning projects and popular programs such as City Sharks, Knockout, Double Trouble and Yolo Pronto, Hoods Inc. replaced its legacy sneakernet set up with EditShare’s connected infrastructure. The futureproof setup eliminated the production inefficiencies with a connected and collaborative workflow that gives Hoods Inc. more time to focus on the creative aspect of their growing list of projects. “Hoods Inc. has created some of Singapore’s most innovative children’s programmes and their outstanding content has led to a busy schedule. To keep pace with the productions, Hoods Inc. must leverage technology that manages the nuances of today’s file-based workflows with the flexibility to grow into the future,” says Peter Lambert, APAC sales director, EditShare. “EditShare provides a highly efficient, scalable production infrastructure with collaborative tools that allow companies like Hoods Inc. to eliminate redundancy and tap into a larger pool of creative content producers and ultimately thrive as a business in what is a very competitive and fast-moving market.” Esan Sivalingam, CEO and Co-Founder at Hoods Inc. comments on the value of the investment, “With the legacy set up, staff was often tied up with duplicating rushes and other content then consolidating back to finalise projects. It was just inefficient. Now with EditShare as the media foundation, we have been given back the valuable commodity of time into our production schedule.” Deanna Tan, Head of Post Production at Hoods Inc. adds, “With EditShare, the media is connected to the right staff moments after it arrives at the facility. We can sit down at any workstation and use Flow to review the rushes and provide feedback to editors
who can collaborate with colleagues easily through project sharing. But the most important aspect is that EditShare provides the flexibility to expand. Should we need more storage or need to move into the cloud, it’s as simple as adding a node or module. This is critical for our business as we grow.” Flow production asset management provides Hoods Inc. a clever media management layer across storage and archive pools with tools to search, browse, view metadata, log, create sub-clips and add markers. Producers and assistants can quickly assemble storyboards or organize media into projects, folders, and sequences, which can then be retrieved by editors with a simple drag and drop of files into their NLE. Advanced project sharing capabilities of the XStream EFS shared storage platforms enable editors to collaborate on projects and quickly evolve narratives. Ark rounds out the end-to-end workflow with integrated backup and archiving for a fully connected workflow from ingest to final output. Tan comments on the benefits of having a tiered storage environment where the archives are part of the production, “With Ark, we can move the content off our XStream EFS server and recall it fully or partially at any time. This is crucial when it comes to managing rushes. Before Editshare, we’d always
have two copies of rushes stored on two different hard disks (as backups). We kept track of the media contents in a spreadsheet. To pull content from the archive, our editors would have to look at an excel sheet and then manually search the hard disk that contained the project or rushes, and then copy the media to the main storage. Today is completely different. Once filming is completed, we can input our rushes into the system and schedule it for scanning into Flow and onto the EFS shared storage solution so everyone can browse the content. We can also simultaneously schedule it for Ark, giving us that backup copy immediately. Unlike before, all of the media is indexed and metadata captured automatically making content searchable across Flow, EFS, and Ark.” Sivalingam concludes on the benefits of the connected workflow, “It’s a digital transformation that has accelerated our productions significantly.” In addition to media management, security was another key factor in selecting EditShare solutions. In past, Hoods Inc. would have to manually copy content onto individual drives to restrict access. The rules-driven approach of EditShare lets administrators control who can access what content and when, enhancing the level of security. Visit www.editshare.com and www.hoods-inc.com
Mediaproxy’s Path to Next-Gen Logging and Monitoring MEDIAPROXY will be highlighting recent upgrades to the LogServer IP logging, monitoring and analysis system during IBC 2019 on booth 7.B44 in Amsterdam’s RAI Centre from 13 to 17 September.
Interactivity is now a major consideration for broadcasters and service providers, particularly as social media is now how many people access video. Outlets such as Twitter, Facebook and YouTube have different specific requirements for how material is prepared and Mediaproxy has incorporated dedicated tools for this into LogServer. These include features for cropping the image and altering the aspect ratio to make it
better suited to mobile devices, in addition to the capability for inserting ad bumpers. LogServer also supports SMPTE standards ST 2022-6 and ST 2110 (uncompressed media over IP formats). Both of these have been deployed in the field to service the growing use of new uncompressed IP formats. Mediaproxy is offering end-users greater flexibility using those formats even in virtual environments and at scale. LogServer also now fully supports the Ember+ control protocol, which further enhances monitoring automation and offers increased redundancy. Another upgrade is the ability to work with Mediaproxy’s Monwall IP interactive
Another new feature for LogServer, in addressing the needs of network operators running multiple stations and playout streams, is a live source comparison tool. This identifies mismatched content in realtime and can compare one or more live sources using video material. An alert is sent to operators immediately if irregularities are detected. “IBC is an important show for us as well as for the industry in general,” Otto says, “As an engineeringdrive company we lead through innovation. Mediaproxy is to-date one of the few companies that are able to work with uncompressed IP formats on virtualised platforms. LogServer has become the trusted solution by broadcasters worldwide to ensure that the right content is at the right place at the right time and complies with the latest standards and regulations.” Visit www.mediaproxy.com
MEDIA IN THE CLOUD, STORAGE & MAM
IBC is a major showcase for the latest and most innovative broadcast technology. Mediaproxy is a regular exhibitor not only because of this but due to the conference that runs alongside the exhibition focusing on the emerging topics in TV and streaming.
multiviewer.
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POST PRODUCTION www.content-technology.com/postproduction
NZ’s The Rebel Fleet Picks Quantum for Remote Post-Production
QUANTUM CORP HAS ANNOUNCED that New Zealand-based The Rebel Fleet has deployed a Quantum StorNext storage solution to meet the rigorous digital workflow service demands of a large-scale film project. The Quantum Xcellis and QXS storage solution enabled The Rebel Fleet to support real-time processes involving highresolution content in the field while maintaining a small footprint. It also was configured to be used in a mobile rig, rendering 150 frames of footage per second in three different formats and supporting real-time colour grading.
The Rebel Fleet provides a wide range of digital workflow services for television and film production crews, including on-location colour correction and quality control, archiving, content delivery, and more. When a major Hollywood studio was recently preparing for principle photography for a live action film project set in New Zealand and China, The Rebel Fleet proposed a full range of digital workflow services, including conducting initial colour grading and quality control, archiving content to digital tape, creating mezzanine and proxy formats for post-production, and uploading clips to the web for immediate review by the director and other stakeholders. The solution had to be mobile, and therefore dense from the perspective of both performance and capacity.
The Rebel Fleet’s remote production rig on location.
“In the past, we had used direct-attached storage as part of our rigs,” says Michael Urban, founder and managing director at The Rebel Fleet. “But to manage the digital workflows for this new film, and to support onset processing of high-resolution media, we needed higher-performance shared storage.” To evaluate various technologies, The Rebel Fleet turned to Factorial, a Quantum partner with expertise in designing digital workflow solutions for broadcast and post-production studios. “When The Rebel Fleet team started to look at the next performance level up for their unique needs, we suggested they take a look at Quantum storage,” said Tim Benson, director and technology evangelist at Factorial. “Instead of focusing on capacity or bandwidth, we talked about workflow. And that discussion centered on the benefits of the Quantum StorNext platform.” The Rebel Fleet chose Quantum Xcellis workflow storage with Quantum QXS hybrid storage systems for online and nearline storage. High-performance storage based on the StorNext file accelerated colour grading. This ultimately made the entire production process run much more efficiently. “Our colourist has been working on large-scale projects for years, and he had never experienced the performance he achieved with this environment,” says Urban.
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High-performance storage also enabled fast rendering.
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“With the Quantum solution, we were able to crank out 150 frames of footage per second in three different formats while also supporting real-time colour grading,” says Urban. “Overall, this
Rebel Fleet remote production rig archictecture.
online environment delivered 6 GB per second of throughput. It was very impressive, and it helped us meet tight turnaround times.” The StorNext platform enabled the Factorial team to scale the ingest volume, doubling its size from 200 to 400 TB, without interrupting the shooting schedule. When the production team started shooting more than they had planned, Factorial was able to add storage without disturbing previously ingested data still residing in the environment. System reliability is particularly important on a remote location where support personnel are miles away, and the Quantum system exceeded The
Rebel Fleet’s reliability expectations. The positive experience with Quantum storage on the major studio film led The Rebel Fleet to acquire additional Quantum systems. The company deployed another Xcellis system for television and commercial workflows, and it has standardized on StorNext and Xcellis for all high-performance needs going forward. “StorNext has changed the way we work,” says Urban. “It provides the performance we need plus the flexibility to support a wide variety of creative tools and processes. With StorNext, we are completely unconstrained.” Visit www.quantum.com and www.rebelfleet.co.nz
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Red Giant’s VFX Suite for Adobe After Effects RED GIANT’S VFX SUITE is the company’s latest suite of keying, tracking, clean-up and visual effects compositing tools which can be used all right inside Adobe After Effects, part of Adobe Creative Cloud. Comprised of nine tools in total, Red Giant VFX Suite offers a powerful toolkit for realistic VFX composites, automatic chroma-keying, lightning-fast and accurate planar tracking, object replacement/removal, photo-realistic glow effects, beautiful prismatic displacement effects and camera-inspired lens flares for visual effects and motion graphics. All plugins come with a GPU-accelerated engine. The toolkit includes: • Supercomp, a compositing environment that makes it easy to create complex, seamless composites. In Supercomp, light and atmospheric effects interact with all layers and elements of a scene in a far more natural way, and with far less pre-composing in After Effects than before. Supercomp includes more than 15 GPU-accelerated context-aware tools for integrating all of your elements into your final shot, such as Light Wrap, Volumetric Fog, Optical Glow, and more. • Primatte Keyer, a powerful tool for fast, automatic chroma-keying.
• King Pin Tracker gives users fast, accurate planar tracking, right inside Adobe After Effects. King Pin makes it simple to place signs or objects into a shot, even if they aren’t simple rectangular shapes. With powerful ‘To’ and ‘From’ pins, and the ability to offset and rotate in planar space, artists can pin whatever they want, wherever they want it. • Spot Clone Tracker, a tool for lightning-fast, simple object removal with a built-in tracker for moving footage. • Optical Glow, a photo-realistic glow effect for use in professional visual effects and motion graphics. • Chromatic Displacement uses one layer to displace the pixels of another, while smoothly separating out the colours. Unlike the Displacement Map effect in After Effects, Chromatic Displacement uses the displacement image as a height map, which gives users organic results. Chromatic Displacement was designed for creating professional visual effects, such as force fields, heat ripples, light refractions, cloaking effects, and more, but can also be used for motion graphics.
SGO’s Mistika Workflows with FRAME.IO Integration
SGO HAS PRE-RELEASED A NEW UPGRADE of its all-new software solution, Mistika Workflows, which the company says will provide faster, smarter and easier content deployment and delivery.
Currently in the Open Beta, a significant highlight of the latest release is Frame.io node integration. “Based on valuable response since the initial
launch, we have decided to include the integration of Frame.io to Mistika Workflows. Thanks to responsive and very efficient support from Frame. io team we were able to do implement it on a very short notice,” said Miguel Angel Doncel, CEO at SGO. “The reaction from those already using Mistika Workflows has been incredibly positive and we will continue to add features and functionalities as the product evolves.”
AJA HDR Image Analyzer Update
AJA HAS RELEASED THE FIRST free firmware update for its HDR Image Analyzer, introducing a slate of new monitoring and analysis features. New features include: a new Web UI; Remote Desktop support; a UI improvement for HDR/ PQ display over DisplayPort; automated color space switching over SDI for SDR/PQ/HLG; out of gamut MAX warning; frame average Light Level (LL) bar; and Vectorscope and TC bypass enhancements. AJA Video Systems announced HDR Image Analyzer v1.1, a free firmware update for its powerful, real-time HDR waveform, histogram
and vectorscope monitoring and analysis solution. Developed in partnership with Colorfront, HDR Image Analyzer v1.1 introduces feature updates that help high dynamic range (HDR) productions deliver more engaging content with deeper colour and greater luminosity. HDR Image Analyzer allows users to remotely configure and control the device from multiple machines, make updates over Ethernet, download logs and screenshots, and interface HDR Image Analyzer from within popular applications. It also adds new HDR monitoring, analysis and other features designed to help
• Knoll Light Factory. Designed by John Knoll, Chief Creative Officer at Industrial Light and Magic, Knoll Light Factory creates camerainspired, photo-realistic lens flares that render fast, thanks to new GPU acceleration. Using the intuitive Lens Editor, artists can create their own flares from scratch, or customise one of the 200 included pre-sets inspired by some of the most iconic films of the past few decades. • Shadow is a plugin for After Effects that makes it easy to add a perspective shadow in front of or behind a layer, based on its alpha channel, brightness, and more. • Reflection is a plugin for After Effects that allows users to add a reflection to their layers. Controls include softness, distance fade, length and more. All of the tools work in Adobe After Effects CC 2018 and later. Knoll Light Factory, Primatte Keyer, Optical Glow and Chromatic Displacement also work in Adobe Premiere Pro CC 2018 and later. All tools work on both Windows and Mac. Visit www.redgiant.com
Further developments in this new release of Mistika Workflows include updated Copy, Move and Trash Nodes, newly added Checksum node, quality parameter to H26X and non-GPU H264 Codec for macOS without Nvidia card. In addition, many performance improvements have been made throughout the application. Visit www.sgo.es
production professionals achieve their artistic visions. The HDR Image Analyzer supports PQ (Perceptual Quantizer) and Hybrid Log Gamma (HLG) for 4K/UltraHD/2K/HD workflows. HDR Image Analyzer takes in 4K sources across 4x 3G-SDI inputs and loops the video out over 4x 3G-SDI spigots to continue the video chain to wherever desired, allowing for analysis at any point required in the workflow. Visit www.aja.com
Cinedeck Receives Patent for File-based Insert-Edit
POST PRODUCTION
CINEDECK HAS ANNOUNCED the issuance of a USPTO patent for its Insert-Edit technology, confirming that it is “a unique and patentable technology”.
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“We are pleased to strengthen our IP offering with this USPTO patent for our core Insert-Edit technology,” states Charles Dautremont, CEO of Cinedeck. “We have consistently sought to expand and improve uses of cineXtools in both the U.S. and global film industries by creating workflows that are both inventive and direct. With this patent, our Insert-Edit technology is IP ready for technology partnerships.”
Prior to Cinedeck’s creation of cineXtools’ Insert-Edit, any small adjustment to a file required the editor to reopen the project in editing software to correct the mistake then re-export the entire file, often taking hours or even days. Using File-based Insert-Edit, users can make a revision while avoiding the timeconsuming process of re-exporting and re-QCing. Cinedeck presents Insert-Edit technology in several of its principal offerings. cineXtools enables users to directly edit video, audio and closed captions in the exported flat files as a stand-alone application which can be used interchangeably on either PC or MAC. cineXplugins allow insert-edit directly
from Avid Media Composer or Adobe Premiere in a familiar plugin architecture. Finally, cineX-API is a RESTful API for cineXtools functions allowing for interoperability and integration with any Media Asset Manager. Cinedeck’s Insert Edit allows efficiency breakthroughs for post workflows. Cinedeck has also added comprehensive finishing tools to the IP, including workflows for Closed Captioning, Audio Versioning, VFX Pulls and Metadata Editing, further simplifying file delivery processes. Visit www.cinedeck.com
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Flame Evolves with New AI Tools AUTODESK HAS INTRODUCED the Flame Family 2020.1 update for Autodesk Flame, Flare and Flare Assist, featuring new creative tools targeted at accelerating workflows, increasing productivity and streamlining organisation. Building on the recently released machine learning-powered Z Depth Map Generator and Human Face Normal Map Generator, Flame 2020.1 provides artists with more ways to isolate and modify common objects in moving footage for colour grading and compositing purposes, including new sky extraction tools. With Flame as the central hub for artist workflows, the 2020.1 update introduces more uses of AI for specialized image segmentation, new tools and customization in the Effects environment and easier access for Flame Python scripting capabilities. New creative tools include: • Semantic Keyer for Sky Extraction: Isolate skies in a single click for colour correction or compositing. Remove clouds, add treatments to sky backgrounds and more with the power of AI/machine learning algorithms for depth extraction. • 3D Selective 3D AOV Motion Vector Mode: Extract mattes from motion vector data. Apply effects selectively by feeding CG rendered or analyzed motion vectors directly into 3D selectives to combine with masks.
immediate comparisons and adjustments in Groups, a new visual organizational structure. • GitHub Repository for Python Scripts and Matchboxes: View and automatically download python scripts directly within Flame for easy access. Acquires scripts via the Autodesk GitHub repository with a new dedicated Flame family location. • AJA KONA 5 6G/12G Output: Preview video with AJA KONA 5 and AJA Io 4K Plus playout devices. 4K and UHD video rasters are now available with 6G SDI single cable transport for up to 30P framerates, and 12G SDI single cable transport is available for up to 60P framerates.
• Effects Environments | Layouts: Customize layouts by setting viewports, storyboard, media panel, timeline effects pipeline, manager and more as desired, for easy recall of personalized user interface layouts.
• IMF Export Support: Export content for distribution to broadcasters and video streaming services directly from Flame in Interoperable Master Format (IMF). .IMF export functionality is a purchasable 3rd party plugin provided by Fraunhofer IIS www. easydcp.com .
• Effects Environments | Groups: Filter the shots you want to focus on and make
• Nvidia RTX GPU Technology: Access Nvidia RTX GPU dedicated Tensor computation
Productivity tools include:
cores — for executing the intense Machine Learning computation. Whilst the processing does work on older certified hardware, we are seeing a dramatic speed increase in comparison to P6000 to RTX6000 — specifically for analysis / processing time of AI / Machine learning algorithms. Flame Feedback Improvements in Flame Family 2020.1 include: • Action Schematic Compass: View colour coded organizational areas with refined node tidying functions in the action schematic. • Bypass: Bypass batch nodes in more intuitive ways and choose what channels are passed through. • 16K Project Resolution: Experience the power of higher managed media resolution and compositing with a new 16K maximum limit for project resolution, individual nodes, action and file-based output. Flame 2020.1 is available now available for download. Visit www.autodesk.com/products/flame
Autodesk Releases Bifrost for Maya at SIGGRAPH 2019
Bifrost for Maya highlights include: • Ready-to-Use Graphs — Artists can quickly create state-of-the-art effects that meet today s quality demands. • One Graph — In a single visual programming graph, users can combine nodes ranging from math operations to simulations. • Realistic Previews — Artists can see exactly how effects will look after lighting and rendering right in the Arnold Viewport in Maya.
• Detailed Smoke, Fire and Explosions — New physically-based solvers for aerodynamics and combustion make it easy to create naturallooking fire effects. • The Material Point Method — The new MPM solver helps artists tackle realistic granular, cloth and fiber simulations. • High-Performance Particle System — A new particle system crafted entirely using visual programming adds power and scalability to particle workflows in Maya. • Artistic Effects with Volumes — Bifrost comes loaded with nodes that help artists convert between meshes, points and volumes to create artistic effects.
• Flexible Instancing — High-performance, rendering-friendly instancing empowers users to create enormous complexity in their scenes. • Detailed Hair, Fur and Fuzz — Artists can now model things consisting of multiple fibers (or strands) procedurally. Bifrost for Maya will be available for download and will work with any version of Maya 2018 or later. It will also be included in the installer for Maya 2019.2 and later versions. Updates to Bifrost between Maya releases will be available for download from Autodesk AREA. Visit https://www.autodesk.com/collections/mediaentertainment/overview
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AUTODESK HAS ANNOUNCED BIFROST for Maya, available now with Maya 2019.2. Bifrost makes it possible for 3D artists and technical directors to create serious effects in Maya quickly and easily using a new visual programming environment.
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Maxon Announces Cinema 4D Release 21
MAXON HAS ANNOUNCED Cinema 4D Release 21 (R21), the next generation of its professional 3D modeling, animation, and rendering software solution. R21 marks the introduction of one singular version of Cinema 4D that includes the complete feature set at an affordable price. Customers no longer need to choose between editions of the software and will benefit from all feature updates as they become available. A new global online store allows users to subscribe and immediately activate licenses. Feature Highlights in R21 include: • Caps and Bevel – The all-new Caps and Bevels system in R21 lets users extrude 3D logos and animate text effects quickly, easily and more accurately. Caps and bevels are integrated on all spline-based objects – lathe, loft, sweep, etc., for unlimited possibilities. Enhancements include improved constraints and internal bevels, Delaunay cap skinning and a new library of bevel presets.
• R21 integrates Intel Open Image Denoise, a library for high-performance, easy-to-use denoising filter solution to improve visual quality and reduce rendering times via deep learning techniques. The solution works and is available with Cinema 4D’s internal rendering solutions as well as ProRender. • Material Nodes – Numerous additional nodes and UI improvements to accelerate workflow include the new Node Space that defines which material nodes are available to the chosen renderer. Additionally, an API is now available for third-party developers to integrate render engines with the new material node system. Workflow and core improvements include: • Interface speed augmentations which increase performance in R21 for quicker modelling operations, particularly in demanding, fast-paced productions that require heavy keyframe scene creation.
• Field Forces – The new Field Force dynamics object in R21 allows users to optimise motion graphics workflow in the MoGraph toolset, offering flexibility and power to control dynamic forces in modelling and animation effects.
• R21 leverages the latest processor optimisations from Intel and AMD. Cinema 4D users can also directly import files to the Unreal Engine and Unity game engines.
• Mixamo Control Rig offers a quick and customisable way to implement character animation by giving users the ability to adjust Mixamo animations imported into Cinema 4D.
The Cinema 4D R21 UI features include improved colour, updated menus and defaults. Support for HiDPI on Windows and Mac provides optimised, antialiased display on high-end laptops and monitors, and more.
Rendering Improvements in R21 include:
Visit www.maxon.net
Shotgun Previews Cloud Enterprise Architecture for VFX & Animation
LUT Mixer for FCP X, Premiere Pro and After Effects
THE RECENT SIGGRAPH 2019 SHOW in Los Angeles saw Shotgun unveil a tech preview of a new secure enterprise architecture offering supporting network segregation and customer managed media isolation on AWS. Shotgun has partnered with the Independent Security Evaluators (ISE) – one of the largest, most trusted and highly-regarded security organisations in M&E – for quarterly audits to ensure its pipeline management platform is industry compliant and exceeds the tightest security standards for all customers. Over the past two years, Shotgun has worked closely with AWS to develop its new cloud offering, with support and feedback throughout the process from ISE. Animal Logic, one of the world’s leading animation studios with facilities across Australia, Canada and Los Angeles, has been an early beta tester of the new Shotgun cloud enterprise offering. “We are excited to work with Autodesk and AWS to push this next level of content security forward in our studios. The new enterprise platform supports our long-term objective of cloud-native solutions, while ensuring we meet the strict security requirements of our partners,” said Darin Grant, chief technology officer, Animal Logic. Visit https://www.shotgunsoftware.com
LUT MIXER IS A COLOUR GRADING plug-in for FCPX, Premiere Pro & AE that lets users combine and apply multiple LUTs (Look Up Tables) with automatic skin tone protection and no loss in quality. In most apps LUTs can only be applied one after the other. Since most LUTs are optimised to be applied to unmodified footage, it commonly happens that any LUT applied after the first one will not deliver the desired results since it is not applied to the original image but to one already altered by the first LUT. With LUT Mixer, all LUTs can be increased up to a maximum intensity of 150%. In addition, 2 of the 5 possible LUTs can be applied negatively. Therefore, a LUT which warms up the image can also be used to cool down the look or an individual saturation LUT can also be used to desaturate the image. Skin tones have an important role in colour grading and there is a dedicated section to the skin tones to protect them from the tint of the LUTs and to adjust them separately if necessary. For every loaded LUT, a selection switch can be used to determine whether it will be summed or applied as an average. All LUTs with their selection switch set to the sum icon will be added up. Colour shifts towards the same direction will add up while differing LUTs shifting the same colour in opposite directions will mutually weaken that colour. If several similar LUTs are loaded, summing them can result in colours that are too intense. The option “averaging” makes sure that users don’t have to adjust all LUTs if adjusting the intensity of one single LUT. When in averaging-mode, the intensity of all LUTs is not adjusted in absolutes. Their ratio is being calculated and then normalized to 100%. Therefore, the cumulative intensity within the averaging group plays no role anymore. Since this mode also normalises very low values to 100% the averaging-group has a separate master control. Visit https://fxfactory.com
POST PRODUCTION
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Sign up at www.content-technology.com
AUDIO Digital soundwaves
www.content-technology.com/audio
Pakistan’s AAP Media Network Installs Six Calrec Brio Consoles
LAHORE-BASED AAP MEDIA NETWORK has purchased six Brio36 consoles for live, on-air mixing for two of its news and infotainment channels – AAP NEWS and INDUS NEWS. AAP is also planning to launch an additional channel later this year with the Brios set to play a part.
Suhail Ahmed, Group COO at AAP Media Network, explained, “When we started working on these two new channels, I wanted to make sure that we were using consoles that would foster innovation and make mixing easy, and Calrec satisfies both those requirements. The Brios took our engineers only 30 minutes to configure and two days to learn; by day three we were up and running. They offer easy access to preamps and our studio resources can be accessed remotely via Dante. All of our engineers are Dante certified, and Dante is able to fulfil our networking needs at the moment. Though as we grow, we plan to deploy Hydra2.”
Tanvir Hussain, Head of PCR Operations at AAP Media Network, added, “The mic preamps are amazing and our audio quality has improved
drastically. We no longer use our external delay units because we have easy GPI triggers, which transition seamlessly to the built-in delay when we need it.” Four of the Brios are located in AAP Media Network’s main studio in Lahore. The fifth is housed in its studio in Karachi and the sixth in its Islamabad facility. AAP NEWS, an Urdu-language channel, and INDUS NEWS, an English-language channel, both reach local and international audiences. Programmes include Coffee Table, AAP
Taiwan’s TVBS In-Touch with Clearcom
TVBS, THE TAIWANESE COMMERCIAL BROADCASTER, has installed a complete Clear-Com system for all of its wired and wireless communication requirements in its Taipei City headquarters and on location. The newly upgraded system enables the broadcaster to take advantage of the latest technologies including IP, and to easily integrate additional third-party equipment. Having used Clear-Com Matrix Plus 3 system for over 10 years, TVBS’ existing combined wired and wireless system had reached the end of its useful life, though it has been retained as a back-up system. Andrew Chung, Engineering Department Manager, TVBS, said, “Our main criteria for upgrading to a new matrix system was security, stability and ease of maintenance. We compared various solutions from several intercom manufacturers and conducted POC and vendor planning and presentations. After comprehensive evaluation, Clear-Com was the clear choice.” The new solution is based around a Clear-Com Eclipse HX digital matrix which integrates the wireless devices and wired settings simply and securely. V-Series Panels, integrated into the system through IP-enabled LQ Series devices, are multilanguage and can display characters horizontally or vertically. TVBS’ OB vehicle is equipped with a FreeSpeak II digital wireless intercom solution, directly connected to the Eclipse HX system via an LQ device that integrates the signal and sub-control connection into the same system. FreeSpeak II enables production teams to roam freely while on location and is resistant to 4G interference. The Agent-IC mobile app allows handheld devices to become part of the intercom through Wifi or 4G LTE signals on mobile phones, partially replacing the production teams’ walkie-talkies and increasing flexibility of use. Agent-IC also provides administrator test signals, which is helpful for temporary scheduling. Visit www.clearcom.com
Janab, and AAP Kay Muqabil. AAP Media Network is a broadcast media house that broadcasts news and entertainment to millions in the region. “Our goal with this project was to get AAP Media Network up and running with the Brios quickly, and given the ease with which their engineers learnt the sophisticated features of the consoles themselves, this certainly proved to be the case,” said Anthony Harrison, International Sales Manager, Calrec. Visit https://calrec.com
Stagetec Asia Connects Sound Innovations with Riedel’s Bolero
SOUND INNOVATIONS SDN. BHD., one of Malaysia’s main players in event management and live sound, recently appointed Stagetec Asia Sdn Bhd to provide the company with an improved wireless intercom system for its operational use. Stagetec Asia is a Malaysia-based distribution company specialising in audio infrastructure network for the live sound and broadcast industries. Stagetec Asia is also an exclusive partner of Stage Tec GmbH, a Berlin based manufacturer of broadcast grade professional audio mixing consoles and audio/media router. In order to bring the best solution for Sound Innovation event operations, Stagetec Asia provided Riedel’s wireless intercom, an all-new wireless intercom system, it capable of supporting 10 belt packs per antenna and up to 100 antennas in a single deployment. Bolero features ADR (Advanced DECT Receiver) with multiple-diversity and Radio Frequency anti-reflection technology for greater Radio Frequency robustness and to overcome common multipath issues. On top of that, the belt packs are designed precisely for smoother, no-hassle and efficient operation, integrated with blue tooth connectivity, portable desktop key panel and Walkie-Talkie. For flexible movement each belt pack does not need manual registration, it only require ‘Touch & Go’ with the antenna for fast-way channel syncing. Visit www.riedel.net and www.stagetecasia.com
AUDIO
Jawad Ali, General Manager, Broadcast and IT at AAP Media Network added, “Calrec has given us a single system that covers and caters to all our needs and has allowed us to take away external third-party devices, reducing system complexity and deployment time. Our engineers are all Dante certified, allowing us to be the first channel in Pakistan to benefit from audio-over-IP using Dante.”
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AUDIO
Audio Compliance for Netflix Content
How to establish a quick, easy workflow for delivering content that matches Netflix requirements. By Emotion Systems. The Challenge: One Audio Mix, Global Distribution ALL OVER THE WORLD media is being created for global market consumption and that media needs to be versioned for multiple languages and delivery platforms. The implications for audio are that there are multiple Loudness compliance standards for each of these platforms. Europe uses EBU R128, North America uses ATSC A/85, Australia uses OP59, and so on. After discussing the challenges these deliverable requirements present with Post Production companies, Emotion designed a software product named ‘Eff’ (Emotion-file-finish) for measuring and correcting Loudness. The commercials that post houses were creating needed to be delivered globally and therefore needed to comply with the applicable global Loudness standards. When we extended these discussions regarding Loudness requirements to Broadcasters and content distributors, it became quickly evident that the much larger volumes of files to be checked for compliance and corrected dictated that automated workflows would become a critical requirement. This led to the development of our enterprise product – Engine. Our Loudness measurement and correction tools were designed to support a wide variety of both legacy and current requirements and our products have been progressively enhanced to provide solutions for any changes to existing as well as emerging various global Loudness standards. This resulting body of development has been carried out with extensive consultation and collaboration with customers and their evolving needs. With the rise of Netflix and their user base and global reach, it became evident to us through engagement with the PLoud discussion group that Netflix had created a notably different loudness standard. As our products are designed to be readily adaptable to changing standards, we engaged in conversation with Netflix and demonstrated our ability to quickly meet their standard, resulting in our solution being verified by their own engineers. If you’re looking to deliver content to Netflix and want to be sure it’s within acceptable loudness limits, read on to learn about the company’s specifications, why those specifications are important, and how you can adapt your workflow to simplify audio measurement and compliance. Why Did Netflix Change Its Loudness Specifications?
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Netflix has written an audio specification that’s designed to help engineers and studios mix content to achieve particular loudness targets in their deliverables. In many cases, however, mixing facilities already have a completed mix, and what they need is a smooth, reliable, and fast way of measuring loudness and understanding how audio must be adjusted in order to match the Netflix profile.
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One of the main reasons Netflix introduced new specifications was to ensure that its subscribers enjoy the best possible experience of content. At the
Emotion File Finish (Eff) ensures compliance with Netflix benchmarks.
same time, Netflix wanted to protect the creative freedom of filmmakers and preserve their creative intent through to subscribers’ viewing environment. Netflix opted to move away from the relative-level gate in BS.1770-4 (-2/-3) (and from main loudness delivery specs EBU R128 and ATSC A/85) because it found that this measurement method tended to overestimate the loudness of wide dynamic range content. More specifically, this method allowed titles with sub-audible dialog to pass spec if they also included loud FX and music content that balanced it out. Believing dialog to be the anchor element around which FX and music are mixed — and the audio element that audiences use to set their volumes — the company wrote a spec designed to support mixing with the same emphasis. (In doing so, Netflix effectively went back to BS.1770-1 and the Dolby Dialog Intelligence algorithm that was a precursor to the current BS.1770-based loudness workflows.) The shift to dialog-based measurement is intended both to simplify workflows for re-recording mixers, give creatives more dynamic range, and ensure consistent loudness for audiences. Because mixes that use the full dynamic range aren’t typically ideal for Netflix subscribers, the company also incorporated loudness range (LRA) guidance as a tool for optimizing an audio mix. What Are the Netflix Guidelines? The full set of new Netflix guidelines is available at https://partnerhelp.netflixstudios.com/hc/en-us/ articles/360001794307-Netflix-Audio-MixSpecifications-Best-Practices-v1-0. Here are the basics: • Average loudness must be -27 LKFS +/- 2 LU dialog-gated. • Peaks must not exceed -2db True Peak. • Audio should be measured over full program according to ITU-R BS.1770-1 guidelines. Why Do the New Netflix Specs Matter? The Netflix specs for loudness are important for one simple reason: Netflix won’t accept files with an audio mix that does not conform to its average overall loudness specification. Netflix will check levels on receipt of a title, and thus the responsibility
for ensuring compliance falls on the mixing studio that prepares audio for that title. In other words, if your audio isn’t compliant, you’re out of luck! Given the many complaints of streaming service subscribers about speech being too quiet, the renewed emphasis placed on dialog by Netflix is understandable. Now the responsibility for measurement and correction is up to mixing professionals, who must have the tools and knowledge to adapt their deliverables appropriately. How Can You Ensure That Your Files Are Compliant? You can use an automated solution to make your files compliant. We have reviewed the Netflix requirements and had discussions with Netflix to confirm that the Netflix settings available on our Eff (Emotion File Finish) and Engine loudness compliance products for file-based media are effective in measuring to spec. In fact, they fielded very accurate measurements in line with the Netflix benchmark. Loudness Compliance Software from Emotion Systems Eff, a cost-effective software application that ensures loudness compliance in file-based media, Eff complies with the latest standards based on ITU-R BS.1770 and BS.1771, ATSC A-85, OP59, TRB-32 and EBU R128, and the Netflix July 2018 specification. Eff supports AIFF, WAV, MOV, and (OP1a) MXF files, with 16-bit and 24-bit uncompressed audio, and up to 16 channels of audio. It supports MPG files with compressed MP2 audio tracks, and it also supports SD, HD, 4K and UHD video resolutions. Eff reads in an existing file, compares the audio levels in the file with preconfigured profiles, and adjusts the audio levels up or down to meet your Program Loudness target. Eff can also measure and correct for True Peak, LRA, short-term and momentary loudness, and legacy PPM. Eff runs on Windows, Mac and Linux computers. Download the complete guide via http://bit.ly/ netflix-compliance-guide
AUDIO
On-Hertz Debuts Artisto Software Audio Engine AT IBC (STAND 8.C96) VIRTUAL AUDIO
It also means that expensive DSP cards in
controlled with a fingertip from any device –
SPECIALIST On-Hertz will launch its Artisto
specialised racks, or the constant need to deal
including iPad and Android tablets – or location.
software audio engine, a complete solution
with dongles and converters to get one system to
designed for automating any workflow involving
communicate with another, can be a thing of the
sound. It eliminates the frustrations inherent
past.
in complex hardware infrastructures, and
Artisto also responds to user requirements for
control protocols. Artisto is fully configurable and controllable via a simple, open web API.
e.g. AES67, Dante or MADI inputs and outputs. It is compatible with all major computer sound card vendors and is planned to support NewTek NDI
the presenter to focus on interviews and on the content to be delivered without being concerned with mixing channels. Likewise, the playout can be simply controlled by pushing the ‘Next’ button. LUMO also provides a separate pre-listening player; a mix editor (including trimming and
Because Artisto is modular, it can be tailored for
out of the box.
the requirements of any audio application. Artisto
On-Hertz will also demonstrate Lumo, a
can be flexibly configured with an extensive
virtual radio studio solution designed to be
library of processing blocks such as routing,
complementary to existing infrastructure, and
level measurement, equaliser, dynamics, web
includes playout (playlist and jingle players), a
streaming, recorder, player and so on. These can
mixing console with full DSP and AoIP features
be virtually wired together to build a processing
for telephony and transmission. As Lumo is
channels from and to a sound card.
pipeline for the desired workflow.
web-native and touch-friendly, a studio can be
Visit www.on-hertz.com
Virtualised Mixing from Calrec ON SHOW FOR THE FIRST TIME AT IBC2019 is Calrec’s VP2 virtualised mixing system. VP2 has no physical control surface and utilises Calrec’s Assist software for setup and control. VP2’s 4U core comes in three DSP sizes; 128, 180 and 240 input channels, and incorporates Calrec’s powerful Hydra2 networking solution. Calrec Serial Control Protocol (CSCP) can allow the audio console to be completely controlled by an automation system. VP2 enables the station to reap many of the benefits of using a Calrec console, but without a physical control surface. Control and setup is via Calrec’s Assist software, which can be accessed from multiple locations via a webbrowser. The technical director/operator can be given basic control functions whereas an engineer can delve deeper to fine tune the setup or recall different setups as needed. Meanwhile, Calrec’s ImPulse core is a powerful audio processing and routing engine with AES67 and SMPTE 2110 connectivity. The ImPulse core is compatible with current Apollo and Artemis control surfaces, providing a simple upgrade path for existing Calrec customers. In addition, future scalable expansion will allow up to four DSP mix engines and control systems to run independently on a single core at the same time, providing the ability to use multiple large-format mixers
simultaneously in an extremely compact footprint. ImPulse provides 3D immersive path widths and panning for next generation audio applications, and has an integral AoIP router, which fully supports NMOS discovery and connection management, as well as mDNS/ Ravenna discovery. Calrec will also have on hand its H2-IP Gateway and the AoIP Modular I/O controller card. Both products are SMPTE 2110/AES67-compatible and expand the range of AoIP solutions Calrec now offers.
volume envelope edition) to fine-tune automatic crossover between rundown tracks; the ability to import playlists from other production system (including cues and mix points); and a routing matrix to flexibly route inputs and outputs
Keeping Up-To-Date with Dante AUDINATE, DEVELOPER OF Dante AV networking technology, has announced the availability of Dante Controller 4.2.3 with Dante Updater. Dante Updater is a new feature that makes it easy to update firmware in Dante devices. Firmware files are hosted by Audinate so they are always up-to-date. Dante Updater allows
The H2-IP Gateway provides an interface between a Hydra2 network and an AoIP network. It also awards an extra control level that allows audio labels to be passed in both directions between the two networks along with control data. This gives Hydra2 users the ability to control gain of Calrec AoIP mic inputs, and AoIP users can control gain of Hydra2 mic inputs.
product manufacturers to more easily bring
The 1U gateway can pass either 256 or 512 channels of audio in each direction and multiple gateways can be used to increase capacity or to connect with multiple networks. For full hardware redundancy additional units can be deployed as backups.
devices in a clear, unambiguous interface.
Visit https://calrec.com
critical updates to customers by making them available directly in Dante Controller with one-click installation. Dante Updater continues Dante Controller’s famed ease of use, automatically discovering and associating updates with connected Now users can take full advantage of new Dante features and capabilities without hunting for product-specific installers and can deploy updates to an entire system at once. According to Neil Philips, Product Manager at Audinate, “Audinate’s updater program allows manufacturers to include their specific firmware updates directly in Dante Updater for error- and headache-free deployment by end-users. Support costs are reduced, and users always have the latest features at their fingertips for the best possible Danteenabled product experience.” Visit www.audinate.com/dc
AUDIO
dispenses with the need for outdated, insecure
Its gain-sharing auto mixer, for example, allows
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RADIO The original broadcast media
www.content-technology.com/radio
MediaWorks Aligns with Orban By Blake Beale, Radio Engineering Manager, MediaWorks New Zealand
NEW ZEALAND BROADCASTER MEDIAWORKS RADIO broadcasts over 180 unique content streams via a network of just under 300 transmission points. MediaWorks broadcast nine national brands: MoreFM, The Breeze, The Edge, The Rock, The Sound, MagicTalk, MaiFM, George FM and Magic Music. Since its inception as a single station, Taranaki’s Energy FM in 1987, MediaWorks Radio, as it is now known, has pushed the boundaries of broadcast technology, being the first in NZ to use satellite delivery for music radio stations with closures enabling local insertion of commercials in 1996, a delivery method still used today. With this technology approach, MediaWorks Radio was able to take full advantage of NZ radio deregulation of the late 90’s and through acquisitions and mergers is now a national broadcaster, continuing to grow. Due to the unique way MediaWorks radio came to be through many years of acquisitions and mergers, there have been inconsistent technologies used from broadcast consoles, automation and transmitters, resulting in a difficult support model to maintain and stations that were once local, but now network brands sounding different in each market, e.g., MoreFM could have an Orban 8500 in one market and a 25 year old Unity2000 in another, creating a network which sounded different in each of the 28 markets the network broadcasts was delivered. A nationwide audit was undertaken with the primary brands and models that made up the network all being worthy options for comparisons. Our requirements were one processor supplier with the flexibility to sound great on an Oldies format to a CHR, Rock as well as a Dance format to mention a few. These comparisons resulted in our choice to partner with Orban, who were more than happy to assist with a long-term procurement schedule. Having the reputation of rock-solid reliability that we required for remote sites with difficult to access due to New Zealand’s challenging and volatile geography also played a part in our decision. Three models were chosen to rollout, depending on the size of the market. Metro cities like Auckland, Wellington and Christchurch would receive the 8600 (now 8700i), Regional cities the 5700i and small provincial markets the 5500i. Having the added extra of integrated RDS generators has enabled MediaWorks Radio to not only up the game sound wise, but also introduce RDS with an AF table that hands over seamlessly when transitioning frequencies from the next broadcast point.
A major milestone was reached just before Christmas 2018, when major stations in the MediaWorks Radio group were aligned with Orban technology, delivering a consistent sound and RDS frequency handover along 95% of New Zealand’s primary highway, from the top of the North Island to the bottom of the South Island, that is covered by MediaWorks Radio brands. This means along the primary route down New Zealand, all major brands mentioned now sound exactly the same at each broadcast point, resulting in the processed sound now being a part of the brand itself. More FM, a Hot AC, has some compression, whereas The Sound, a Classic Rock format is very open with wide stereo separation, making the most of the production techniques used at the time of recording. With studio automation, raw audio being linear and satellite delivery with limited compression, we have eliminated the listener fatigue that had plagued our brands for many years. Listeners can hear the difference, clients love the wide friendly quality of our broadcasts and listener TSL has risen for each brand in the markets where we have deployed the Orban processors, resulting in higher ratings. The partnership MediaWorks NZ has with Orban for this project has been second to none. The professionalism, the speed of support and the willingness to introduce enhancements based on our requirements has resulted in the decision to align with Orban becoming one of the most successful vendor relationships I have had the pleasure of working in and continue to work with as we continue the plan and work towards aligning the remaining markets in NZ by Q2, 2020 resulting in a 100% Orban processing solution across our growing FM Network. Visit www.orban.com and www.mediaworks.co.nz
GatesAir to Strengthen NOVA’s FM Transmission Infrastructure GATESAIR HAS WON A LARGE CONTRACT with NOVA Entertainment in Australia to upgrade six FM radio transmission sites within the continent. GatesAir will supply a total of 16 Flexiva FAX air-cooled FM transmitters, with in-country partner RaeAir conducting all site evaluations, installation, commissioning, and post-sales services. NOVA Entertainment’s national FM footprint first took shape in 2001 with the launch of Nova 96.9 in Sydney, followed by stations in Adelaide, Brisbane, Melbourne and Perth. The broadcaster will first upgrade these five metropolitan sites, beginning with the Melbourne and Perth locations. NOVA Entertainment will subsequently upgrade the remaining metropolitan sites, followed by a regional location on the NSW Central Coast.
RADIO
GatesAir won the contract in large part due to its growing presence in Australia, bolstered by the recent expansion of its in-country sales and support team. NOVA Entertainment also anticipates an attractive return on investment through GatesAir’s high-efficiency transmitter designs, which will reduce annual rental and utility costs at transmission sites.
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“The remarkable compact footprint of GatesAir transmitters will take up substantially less space than our existing transmitters, lowering our monthly expenditures and our long-term total cost of ownership,” said Matt
Steadman, Head of Technology, NOVA Entertainment. “We are also confident that GatesAir’s Australian presence, both through direct personnel and their partners at RaeAir, will efficiently guide us through the installation process and ensure excellent post-sales service and support.” NOVA Entertainment’s FM radio transmission project represents part of a broader strategic initiative that follows a recent upgrade of its studio Matt Steadman, Head of Technology, systems. GatesAir will deliver twelve NOVA Entertainment. 10kW and four 20kW models, with redundant transmitter configurations for all five metropolitan sites; and integrated IP-based control and monitoring across the network. NOVA Entertainment will also benefit from streamlined maintenance and the ability to share common spare parts across the network. Visit www.gatesair.com
RADIO
Comrex Ships ACCESS NX Rack COMREX IS NOW SHIPPING the newest addition to its ACCESS IP audio codec line, ACCESS NX Rack. Since it was released in 2005, the Comrex ACCESS Rackmount has become widely adopted. Now, it’s been updated to incorporate the technical advances from the last decade. ACCESS NX Rack includes AES3 or analogue audio I/O, along with AES67 compatibility. AES67 tested to be compatible with all major AoIP systems. It also features an entirely new hardware platform. ACCESS NX Rack can connect to Wi-fi and 4G modems, and supports a wide arrange of connection protocols and audio encoders. It’s driven via a new HTML5-based web user interface that is easy to use.
created to make it easy to make connections between Comrex IP codecs. ACCESS NX Rack is built around Comrex CrossLock technology. CrossLock features a proprietary suite of tools that solidify connections over IP networks, including forward error correction, ARQ, and an adaptive management engine.
ACCESS NX Rack is also compatible with all Comrex IP audio codecs as well as the Comrex FieldTap smartphone app.
ACCESS NX Rack also includes HotSwap , which allows users to designate a wireless network as a backup that will only engage when the primary network has failed.
ACCESS NX Rack comes with Switchboard Traversal Server which was
Visit www.comrex.com
Orban Introduces OPTIMOD 8700iLT FM Processor ORBAN, THE DEVELOPER OF audio processing solutions, has announced the release of the OPTIMOD 8700iLT FM processor. Replacing the 8600 FM/HD, this new processor offers a feature set close to that of Orban’s top-of-the-line OPTIMOD 8700i, including dual redundant power supplies, which are fully monitored and alarmed. The OPTIMOD 8700iLT also fully supports DMPX in 192/384 sample rates, and provides failsafe relay
bypass with analog, AES3 digital, and composite connections.
President. “The 8600 has been Orban’s most
For customers requiring Dante/AES67 I/O or IP streaming capability for remote monitoring and processor adjustment, an easy upgrade path to a full OPTIMOD 8700i is available.
some big shoes to fill. We think it does this easily.
“We’re pleased to be able to offer this exciting new product at the same price point as our OPTIMOD 8600 FM/HD,” said David Day, Orban Labs
popular processor, and this new product has Additionally, it comes with our full 5-year warranty, the best in the industry.” The OPTIMOD 8700iLT will be shown at this year’s IBC show in Amsterdam on stand 8.D93. Visit www.orban.com
StreamGuys APIs for Enterprise-Class Streaming announced a comprehensive new Application Programming Interface (API) for the company’s SGrecast live stream repurposing and podcast management system. The new API gives developers programmatic access to SGrecast’s extensive stream recording, content publishing, media player creation and rebroadcasting functionality, thus enabling broadcasters and content providers to seamlessly integrate StreamGuys’ services into their existing enterprise systems. StreamGuys will highlight the integration possibilities enabled by the new API at the upcoming IBC2019 exhibition. StreamGuys will co-exhibit with technology partner ENCO in stand 8.A59 at the event. “While our SaaS solutions provide very
powerful functionality on their own, large media enterprises such as radio station groups often have an established fabric of workflows spanning their production and publishing operations,” said Kiriki Delany, President, StreamGuys. “By offering APIs for SGrecast and other StreamGuys solutions, we are making it easier to tie our offerings into those customers’ current systems and bringing our services into their ecosystems. This creates more opportunities for automation, while enabling users to access our robust capabilities from within their current tools without needing to separately open our standard user interfaces.” The comprehensive, cloud-based SGrecast platform lets broadcasters record, repurpose, replay and rewind their live streams to improve audience experiences and effortlessly create revenue-expanding side channels and podcasts. The new API enables clients to programmatically
manage recordings, create new content in the system via uploads, edit content and metadata, list and view all content in the system, generate embeddable content players, request contentrelated information such as metadata and delivery URLs, and much more. As a RESTful API with OAuth 2.0 authentication, the SGrecast API is standards-based. StreamGuys will also introduce new APIs for its analytics and monitoring tools in the coming months, including the SGmon real-time listener and bandwidth metrics service and the SGreports logging and analysis service. Longer-term, APIs for additional solutions in StreamGuys’ endto-end SaaS suite for producing, managing, monetising, and delivering live and on-demand streaming media will be introduced based on customer demand. Visit www.streamguys.com
RADIO
SAAS-BASED PODCAST AND STREAMING solutions innovator StreamGuys recently
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RADIO
Radio - the Bionic Plan EVOLVING FROM THE PHONEBOX call handling platform, and its add-on products Virtual Director and OASIS (On Air Social Interaction Server), Broadcast Bionics’ Bionic Studio is a family of products which includes Bionic Talkshow (call handling), Bionic Director (camera control), Bionic Social (social media curation), and Bionic Contest (which, as the name suggests, manages listener contests). Like the technology used in the classic TV series, The Six-Million Dollar Man, Bionic Studio is designed to make the radio broadcaster better … stronger … faster … According to Duncan Smith, General Manager of Broadcast Bionics, the Bionic Studio is more than just a family of products, it’s an overarching concept of how the modern radio studio should operate. “It’s trying to create a smart studio,” says Smith. “So, a studio that understands or allows the people working in the studio to understand what’s going on in the outside world because a lot of that communication is usually not available. Traditionally, you’d go into a studio, you’d close the door and it’s sort of like being put in a prison cell for four hours in that you know nothing about what’s going on in the outside world. However, with the advent of social media, it’s now possible to look through the different types of messaging and see what’s going on with certain target groups of people. “What we’re doing with our social media module is we’re trying to filter down the types of messages that you’re seeing from that huge pipe of data that’s coming into the building, So, we allocate the relevant social media feeds to your show login and so then we’re filtering what you can see from that perspective. We’re also looking at messaging that’s going on relating to the people that like and follow you, who in essence are representative of your listener group. It gives you a hint at what sort of conversations they’re having, both mentioning you and with you, but also with other people that they communicate with. It gives you kind of a different perspective on what your listener group might be interested in. “Social media has geolocation tags in it. So, in one of our features, it’s called a Smart Cue. You can set a location up as part of a Smart Cue. We’ve just had the Glastonbury Festival in the UK, Radio 1 has a Glastonbury show. There’s lots of content on the radio about it. They obviously know the people that are there, the artists, their colleagues, so they can easily find posts that are coming from those parties. But what they don’t know is the conversations that are going on in the crowd, so from a geolocation tag, you’re suddenly picking up messaging from that place, from that event that’s relevant to that event, so it gives you a whole different dimension about how people are feeling, what their sentiment is, what sort of things they’re talking about. That can also be the case for news items as well.
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“There are other types of things we can do to help discover messaging. So, we have a link in with the playout system in the studio. Bionic
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Social is seeing the ‘now playing’, the ‘next playing’ and the ‘next plus one playing’ from the music playout system. If we have a Rihanna song that’s just been played, then Bionic Social will bring you up a queue of all the authenticated social media feeds from Rihanna, so they always look at the artist for that ‘now playing’ song. So, as the song plays out, then there’s some real good, tangible knowledge and information that the presenter has at his fingertips that he can share with the audience.” RADIO WITH PICTURES Along with social media, recent years have seen radio studios transformed by the use of point-ofview cameras. Designed to integrate into existing workflows and compatible with a wide range of POV systems, Bionic Studio’s Bionic Director module automatically handles switching of these cameras based on who is talking at the time. According to Duncan Smith, “The opportunity with cameras in the studio is to find a way of making all that really good radio content that you have more shareable and discoverable. So, the way we do that is by pasting pictures and images to really good audio content. If you post a short audio form clip onto something like Facebook or Twitter, then it’s not likely to get that many likes, views or people listening to it. One or two people might click on it because it maybe says something interesting in the title. “However, a social media post is 75% more likely to be looked at, viewed and shared if it has an image or a video attached. That’s one way of taking this great content that we’ve had for years and making it more visible and more shareable and more discoverable to the audience at large. “The way that the system works is when you open the faders, it starts recording that link. When you close the fader, then that link is available to use for whatever purpose you want. “Simply having the cameras in the studio when people are talking allows you to capture video and image content of things that you would never have captured before. Therefore, the amount of content that you’ve got to share is also increased and a lot more available and accessible.” Broadcast Bionics is also working to make its technology accessible to more budget-conscious
broadcasters such as community radio, as well as podcasters. “For a number of years,” says Smith, “we had a product called PhoneBOX Solo. We’ve now retired that in favour of a new product called Caller One. Caller One runs as a service in your studio, but the interface that’s on the PC is in a web browser, a very light, thin client. All of the audio is done using WebRTC (realtime communications) and the OPUS codec. It’s a pure, simple software only solution. And it’s a self-install product, so it means that the community radios can manage it themselves.
“Simply having the cameras in the studio when people are talking allows you to capture video and image content of things that you would never have captured before. Therefore, the amount of content that you’ve got to share is also increased and a lot more available and accessible.”
“If I made a podcast from my living room at home, it’s not necessarily the sort of product that you would have there, but if you had a set of studios that were used for people to come in and rent to make their podcasts, or someone like Southern Cross Austereo, if they had a programme, a podcast that they do, then having a number of studios set up for specifically those purposes, then it’s the sort of product that would be in there. “It comes in a 12, a six-line or a three-line set-up and it’s very simple and intuitive to use. The other possibility with it, too, is that because it’s running in a browser, because it’s all HTML5, then you can use it on a different device other than your PC, so the opportunity to use it in more creative environments or creative production spaces. Caller One is currently in Beta and it will be ready and released for IBC.” Visit https://www.bionics.co.uk
CONTENT DELIVERY Terrestrial, Mobile, Broadband
www.content-technology.com/transmission
QVC Japan Selects DataMiner to Manage IP SMPTE ST-2110 4K
Indonesia’s BeritaSatu Upgrades to PlayBox Neo Channel-in-a-Box
SKYLINE COMMUNICATIONS HAS ANNOUNCED that its AI-powered DataMiner network management and orchestration platform has recently been deployed at shopping channel QVC Japan. The operation in Japan follows the same path of QVC US, UK and Italy, as those facilities have already successfully deployed DataMiner.
PLAYBOX NEO HAS COMPLETED installation of a Channel-in-a-Box playout system for Indonesian high-definition television broadcaster BeritaSatu. Integrated into the network’s Jakarta headquarters, the new installation replaced earlier third-party equipment as part of a technical modernisation program.
The DataMiner System at QVC Japan in Makuhari is the end-to-end management platform across all five areas of their in-house production infrastructure, touching all their infrastructure elements supplied by many different manufacturers. The facility recently underwent a huge transformation, both with the migration from HD to 4K and from SDI to IP. Such an IP-based 4K facility can unlock many potential business opportunities, but at the same time gives rise to many new challenges. That is why QVC Japan also needed to invest in a new sophisticated network management system, one that is capable to support them both during and after these technology innovations. DataMiner and its cutting-edge solutions are definitely up to that task.
BeritaSatu is an Indonesian talk channel established in 1998. Much of its content is targeted towards Indonesia’s decision makers. The channel mostly features talk shows and infotainment programs related to business, economy, politics, lifestyle, and entertainment. BeritaSatu works in association with many content providers to provide programming suitable for regional viewers. The network operates in association with many TV stations in the provinces of Indonesia. “We made a careful study of the various playout solutions currently on the market and identified PlayBox Neo as the clear front-runner from both operational and engineering perspectives,” comments BeritaSatu TV’s Head of Projects Akhmad Asaillah. “PlayBox Neo worked closely with us, providing excellent support from the initial planning stage right through to installation and system commissioning. Our playout staff find the system very logical to populate and operate, including the ability to work in fully automated mode with the freedom to switch to live content at the junction of any consecutive files.”
QVC Japan’s viewers were shifting en masse to UHD television. As a result, they had to reshape their entire organization in order to be able to produce 4K content. The aim was to fully comply with the SMPTE ST 2110 standard for the delivery of uncompressed video, audio and metadata over IP networks, ensuring interoperability across QVC Japan’s entire ecosystem. The choice for DataMiner was rather a logical one, since it has already been successfully deployed at other facilities of the QVC family. “As a multi-vendor, AI-powered network management and orchestration platform, DataMiner truly orchestrates services end to end across any technology boundaries, no matter the protocol, vendor or technology. That is why our solutions are a perfect fit for QVC Japan,” said Yohann Guilloux, Regional Account Manager for the APAC region at Skyline Communications. “On top of that, QVC already experienced the strategic value of DataMiner first-hand at their facilities in the US, UK and Italy. That means QVC Japan can also benefit from the long-standing experience of those teams, on top of the DataMiner training they recently received.”
“The system specified for BeritaSatu TV comprises two servers in classic main and backup configuration,” adds PlayBox Asia Pacific General Manager Desmon Goh. “The primary server is one of our 3U CIAB heavyweights backed up by our compact 1U model. Both servers incorporate TitleBox Neo graphics preparation software which provides channel branding, titling, on-screen text and teleprompter feeds. Switchover between the two servers, on the extremely rare occasion that it is needed, is automatic.” Visit www.beritasatu.com and www.playboxneo.com
Visit www.skyline.be
Consolidation for TV Transmission Down Under
SCA’s Chief Technology Officer, Stephen Haddad, said: “The outsourcing is a logical step for SCA, consistent with the group’s strategy of delivering content and media platforms and moving away from asset intensive activities that can be delivered by specialist service providers. With the transition of television playout to NPC Media, the use of Telstra’s DVN network for distribution and this outsourcing of transmission services to BA, SCA has created a streamlined and efficient service that minimises the cost of delivery of broadcast radio and television to SCA’s licence areas.” Broadcast Australia is the long-term manager of transmission broadcasting services to the ABC and SBS, and recently took over as transmission provider for the TEN Network’s free-to-air broadcast
channels: 10, 10 Bold, and 10 Peach. TEN’s transmission services were previously handled by TX Australia (a joint venture transmission services company established by the TEN, Seven and Nine networks). The move has seen a restructure at TX Australia with TEN exiting the joint venture company. Meanwhile, Australia has completed a series of DVB-T2 trials in Queensland, originating from the TX Australia-managed Gold Coast transmission site at Mount Tamborine and the TXA Brisbane transmission site at Mount Coot-tha. The Queensland tests followed trials in the Sydney area in 2018 and utilised an ENENSYS DVB-T2 Gateway to feed an existing UHF transmitter that had been upgraded to support DVB-T2 with a Teamcast TwisterII modulator. The trial assessed the performance of DVB-T2 transmission modes in the Australian environment, utilising the UHF band for transmissions in both MFN and SFN configurations. While no migration plan has been formally announced, DVB-T2 is being considered as a 2nd generation DTT technology to replace the current DVB-T standard. Visit www.enensys.com
CONTENT DELIVERY
AUSTRALIA’S SOUTHERN CROSS MEDIA GROUP LIMITED has become the latest network Down Under to move its television and radio broadcast transmission services to Broadcast Australia (BA), formerly part of Arqiva. Under the agreement, SCA will transfer transmission assets to BA, and BA will provide SCA with managed and maintenance services for over 500 radio and TV transmission services around Australia. The agreement is for an initial term of 15 years. SCA previously announced outsourcing of its television playout operations to NPC Media (a joint venture between the Seven and Nine Networks).
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Brightcove – on the Upstream Charles Chu, Chief Product Officer with Brightcove, speaks to C+T about Ooyala integration, AVOD, SVOD and the challenges of bandwidth. By Phil Sandberg. FOLLOWING ITS ACQUISITION OF OOYALA’S online video platform business in early 2019, Brightcove has been busy integrating both Ooyala’s technology and customers into its own platform. According to Charles Chu, Chief Product Officer with Brightcove, the company continues to focus on its traditional market segments around OTT and broadcasters, as well as expanding into the digital marketing area. As well as picking up Ooyala customers in Latin America, South America, and Europe, there are certain Ooyala technologies which will find their way into the Brightcove platform. “There are close to two dozen capabilities that Ooyala has that we will now put on to the Brightcove platform,” says Chu. “Our strategy, fundamentally, is to have a unified platform, the underpinnings of which are the traditional Brightcove platform and then to layer on those capabilities on top of the Brightcove platform.” What sort of capabilities are we talking about? “So, things that are appropriate in an OTT environment. A great example is something like Rights Locker. Ooyala Rights Lockers is a way to manage subscribers, all the complexities around subscriber management and entitlements. People are moving from an AVOD supported model where I just want to capture who’s coming into my service to 30-day free trials, basic premium levels of service, people are experimenting with a mix of AVOD (Advertisement-based video on demand) and SVOD (Subscriptionbased video on demand). So, that’s an example of a capability that Brightcove did not have previously that we’ll be bringing over from Ooyala and putting it on to the Brightcove platform in a unified manner. “On the Brightcove side, we continue to work on a lot of structural elements in today’s environment, so things like greater stability in the platform, flexibility that expresses itself often times in live events which are dramatically more volatile than classic VOD. “And along the lines of volatility, especially when it comes to live, our publishing customers care a lot about being able to handle late-breaking news. There was one of our customers who was sort of idling along at average daily volumes of 70-80,000 concurrent viewers and there was a late-breaking newsworthy event in that country. In the span of 24 minutes we went from 70-80,000 viewers up to 3.4 million.” What involvement have around the Tokyo Olympics? “We will support the Tokyo Olympics. It’s an interesting challenge for us because all of our customers have their own stream and want to stitch in their own set of ads. It’s not one single stream coming in that we then now pump out to 150 and some-odd countries, it’s multiple streams per broadcaster per country which presents an interesting challenge for us to scale uniquely for each of those environments. And, of course, to overlay geo-restrictions in order to serve each of those customers.” What other challenges are you attempting to solve?
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“There are a couple. One is more technical and the other is more of a business challenge. A little bit on the technical side that bridges over into business is this whole issue around audience reach. A decade or two ago, there was one stream coming in, going to everyone’s set-top box and there were universal standards, every television had to work a certain way. Today, some people want to be reached through their mobile device, some people want to be reached through their gaming console where the content comes through a smart TV set or Roku or Firestick, on and on.
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“So, for us, the OTT flow-off ring solves sort of like this intermediate problem which is, above and beyond a platform that serves video, you want subscriber management, you want to handle payments, that sort of thing
Chief Product Officer with Brightcove, Charles Chu.,
but the real challenge for our customers is when - how do I reach an audience when there are 14 smart TV manufacturers in the world, when there are halfa-dozen gaming consoles, when there are multiple set-top boxes?” And different flavours of operating system. “Different flavours of operating systems. And while we talk about generically IOS and Android, there are 20-some odd standard screen sizes for mobile devices, right, and ensuring that you’re delivering the best experience across all of that is a huge challenge for our customers because their addressable market is the worldwide population and, unfortunately, that worldwide population now breaks down into, according to our count, over 60 some-odd different operating systems and devices.” What’s your feeling for bandwidth issues around the world? “It is probably the number one issue in terms of effective content delivery. There was a recent study that showed that over the next five years, the worldwide total minutes viewed is going to stay flat. It’s a little bit of math, right? There’s only so many people and so many hours in a day that these people can be watching. “However, the shift of viewership is significant because on a worldwide basis we’re going to go from roughly 15% consuming their video content via some sort of non-traditional, linear TV to 30%. So, that’s huge and that plays very much into the bandwidth issue that we all face. Compound that by the fact that bandwidth is going to go up by 30% because in the process of cord cutting, all of that traffic shifts over to the internet. And with 4K and 8K, you can watch exactly the same piece of content and now you’re consuming 20 times more bandwidth just because of the resolution. There’s an expected consolidation of network operators as well, isn’t there? “Yeah, absolutely. I think the management of how you deliver that content though CDNs and a mix of CDNs is going to be awfully important because with our operators, with our broadcast customers, a lot of them are starting to manage more complex relationships, right? So, in certain countries, one of our customers may own both traditional landlines, delivered pipes and they want to shape the traffic so that it only goes through their CDN. And they may also have a wireless property. So, if a device comes in through a certain device type, they want to steer that traffic to their wireless network or to their proprietary CDN and let traffic flow to other CDNs. So, the task >> continues p46
CONTENT DELIVERY
Looking Above the Clouds to Deliver Multi-Screen, High Quality Content By Thomas Wrede*
SAT>IP enables a totally seamless multi-screen TV experience, including 4K content, without the need for a high-speed home broadband connection. The technology takes a conventional satellite TV signal and converts it to an IP based data stream. This can be transmitted across a standard wired or wireless IP network in the home, and viewed on a multimedia and IP compatible devices, such as smart TVs, PCs, tablets, gaming devices and smartphones. The applications for SAT>IP technology extend globally, its benefits to operators in the APAC region are immense, for pay-TV providers and also the hospitality and travel industries. As the adoption of UHD TVs becomes more mainstream, the demand for 4K sports matches, movies and top series is creating a huge opportunity for satellite providers to demonstrate a compelling advantage. The ability of OTT services to deliver premium, linear 4K content is still limited by the lack of FTTH and other high-speed broadband technologies. Even in Australia, the average broadband speed is 25.88 Mb/s (according the The Ookla Speed Test Global Index). This makes satellite, with its downstream bandwidth of up to 500Mbps, an attractive option for the delivery of 4K premium content to every subscriber, irrespective of local broadband availability. Having multiscreen functionality is also extremely valuable as consumers are reaching a tipping point where more video content is viewed on a secondary screen or device that is not the main TV within the household. SAT>IP is able to deliver advanced, multi-screen services even to locations where broadband is not reliable enough to handle live, high-definition video. Using SAT>IP in areas of low broadband speed will democratise access to high quality, multi-screen TV experiences, guaranteeing high quality video services to customers globally. Multiple OTT subscriptions in single households across Australia and New Zealand are very common. Using SAT>IP will enable operators to move subscriber authentication into the device so they can offer the same kind of flexible, personalised subscriptions. This could include offering individual subscriptions in a housing
development or office, or to temporary rental properties such as the family bach. Another alternative would be offering personalised access to content for different family members - for example, a kids TV bundle on a iPad and premium sports for the big TV in the lounge. By moving to a IP / DRM based approach, satellite providers can unlock this potential for multiscreen based subscriber options. SAT>IP also helps to enable satellite service providers to make the best from premium sports content rights. The English Premier League is carried by 80 broadcasters in 212 territories worldwide, and an average game is watched by over 12 million people. The vast majority of these viewers are watching live via satellite, which offers the best experience for content at true 4K quality. However, these same consumers also crave the modernity of modern services that allow flexible viewing options across a range of devices. SAT>IP enables operators to offer these experiences. Thousands of hotel operators across APAC are increasingly looking at ways to differentiate themselves to potential guests, especially in the face of the rival 10 million properties now listed on sharing economy services such as Airbnb. One of the ways that both groups can increase guest comfort is through improved TV services that offer a ‘better than at home’ experience. Access to high quality premium content such as sports has been a major benefit of satellite TV services, and with SAT>IP, hoteliers now have a simpler way of increasing the reach of these service to guests own personal devices such as laptops and tablets. SAT>IP can also simplify room refurbishment projects by integrating live premium TV alongside VoD services delivered over a single IP network to anywhere, within the resort. Remote holiday island resorts in the Pacific, where high bandwidth internet infrastructure is too expensive to deploy can also offer guests access to high quality movies and TV shows with SAT>IP – all without the need to install cabling. Any hotel needs an IP network anyway, so why not deliver a reliable, high-quality, branded TV service? Within the travel industry service, providers are increasingly offering on-board video entertainment but access to premium, live content is still challenging over terrestrial TV networks.
Satellite TV has proven the best option for many of these modes of transport, but delivering flexibility such as personal viewing on portable smart devices is still a major technical hurdle. The arrival and wider adoption of SAT>IP offers the potential to offer exciting new mobile TV services within mass public transport systems, as well as reducing the cost and complexity of building reliable viewing systems. The SAT>IP Alliance membership (Arcadyan, Eutelsat, HISPASAT, Irdeto, MaxLinear, NAGRA, Panasonic, SES, Verimatrix and Zinwell) has created a whole ecosystem of easy to deploy, flexible, solutions from over 40 manufacturers. SAT>IP can be delivered using satellites covering 95% of the globe, potentially reaching over a billion viewers. Combining satellite with an in-home IP network offers service providers, operators and broadcasters the best way to deliver low latency content across multi-screen, multi-device experience with ease. This enables satellite providers to guarantee true 4K quality across multiple screens in the home, and allows them to clearly differentiate their 4K offerings - especially when compared to OTT services which cannot guarantee 4K quality over broadband networks. The rush to 4K could be a tipping point for satellite providers to truly differentiate their services. The combination of satellite and IP can be the ideal route to showing what a premium 4K experience can be, regardless of broadband network capabilities. * Thomas Wrede is President of the SAT>IP Alliance and VP New Technology & Standards at SES Video. Visit http://alliance.satip.info/
CONTENT DELIVERY
HIGH QUALITY VIDEO CONTENT DELIVERED ACROSS any multimedia device in the home is a regular expectation for modern-day TV consumers. The OTT revolution has drastically changed the way in which audiences consume video, but increasing demands for high quality content across several multi-screen devices are placing a huge strain on broadband bandwidth and impacting internet speeds. This often results in poor-quality viewing experiences. The solution to delivering high quality live content to any screen lies, quite literally, above the clouds with the new industry standard, SAT>IP.
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CONTENT DELIVERY
GatesAir Expands TV Distribution and Transmission GATESAIR (STAND 8.D60) will unveil a broadened family of TV transmitters at IBC2019 resulting from the company’s recent acquisition of ONEtastic, operating from now on as GatesAir S.r.l. in Brescia, Italy. The expanded portfolio both strengthens GatesAir’s low-power TV range and introduces several engineering innovations that will be new to GatesAir customers. While GatesAir has long offered low-power UHF and VHF air-cooled solutions through its Maxiva Compact series, the acquisition fills important power level gaps in the low-to-medium DTV product line. This includes ultra-compact 1RU transmitters at six power levels from 15 to 150W, 2RU systems up to 400W, 3RU systems up to 700W, and 4RU systems up to 1100W, with all systems available for analogue TV. At IBC, GatesAir will demonstrate the highefficiency 1RU and 3RU systems, along with a new outdoor pole-mounted DTV solution that can house multiple UHF or VHF transmitters and/or remux up to four satellite feeds into a single transport stream for transmission. The high-efficiency, DC-powered pole-mount design eliminates all moving parts and air filters, dissipating heat to the pole’s surface. The tower becomes the heat sink, eliminating the need for fans and cooling systems – making it a true outdoor solution. The transmitter is completely sealed by a telecom-grade weatherproof enclosure, ensuring continuous operation even in the harshest outdoor elements. GatesAir will also show a new ‘intra-mast’ transmitter, designed for installation inside a cylindrical tower. It comprises a very compact chassis which and can house up to six 70W UHF or VHF transmitters. Each transmitter can also be individually configured as a transposer or on-channel gap filler, offering customers a broad variety of options to fulfil all requirements for regional and national networks. These new design innovations and feature sets to the GatesAir transmitter family include no-cable, plug-in architectures that accelerate assembly and maintenance, reduce clutter and maintenance, and increase system reliability. Furthermore, these
transmitters expand configuration options with extensive modularity, including plug-in input cards to support satellite reception, ASI, IP and other transport streams. GatesAir will also demonstrate its existing range of medium-to-high power ULXTE (liquid-cooled) and UAXTE (air-cooled) transmitter families. These transmitters, along with the expanded low-power range, including cutting-edge echo cancellation and optimised modulation error ratio (MER) technologies that far outperform competitive solutions. The two technologies deliver a more robust broadcast signal for viewers, providing better reception in regions with challenging terrain. GatesAir has also added a new application to its Intraplex Ascent transport platform to support reliable and secure video over IP transport alongside audio. The new Ascent SRT Gateway will suit broadcasters managing contributed video and/or audio content for point-to-multipoint distribution. The application’s video support also brings Ascent into the television market, with an exceptional value proposition for national broadcasters feeding many destinations. Ascent will now provide transparent support of any real-time, IP-based broadcast video protocol, with applicability to ATSC 3.0 and DVB-T/T2. GatesAir introduced Intraplex Ascent as a next-gen Audio over IP platform at the 2019 NAB Show in April. Intraplex Ascent represents an evolution in broadcast and IT convergence, and is GatesAir’s first Intraplex system to live on a COTS x86
server. Ascent provides broadcasters with a highly scalable, redundant and cloud-based transport platform for multichannel contribution and distribution. Designed for centralised control and maximum interconnectivity, Ascent is compliant with the AES67 standard, today’s leading AoIP networking solutions, and most Intraplex Audio over IP codecs. Ascent offers two key differentiating factors for IP transport: an ability to manage many Secure Reliable Transport (SRT) streams on a centralised platform, and its integration of GatesAir’s unique Dynamic Stream Splicing (DSS) software. The latter diversifies SRT data across redundant networks, and adds protection against packet losses and network failures. At IBC2019, GatesAir will demonstrate how the Ascent SRT Gateway supports reliable and encrypted transport of video content both in point-to-point and point-to-multipoint configurations. The addition of DSS software will support duplication of SRT streams with video and embedded audio over separate network paths, leveraging a single stream-splicing buffer for hitless protection against errors and failures. The core Intraplex Ascent platform is available in two form factors, each of which supports up to 32 audio channels (AES3, AES67, analog). Both versions will be on display at IBC2019: a 1RU server, with configurable options for physical and AES67 channels; and a software-only solution that operates in a virtualised container. Visit www.gatesair.com
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>> from p44
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of managing 2X more over the next five years and also, by the way, shaping that traffic and steering to proprietary properties just makes it all the more interesting.
the world versus multiple locations is not dissimilar to a supply chain problem.”
“The third variable that exponentially compounds the problem is traditionally we’ve counted on CDNs to be smart about the content that they catch, right, how often they keep it fresh. In a world where increasingly our customers want SSAI (Server-Side Ad Insertion), caching becomes a problem because I now have to track how much what you’re watching as differentiated from your ten neighbours, right? It’s no longer one single piece of content that I can cache, but now it’s 10. Optimising for all of those is a research project that we have going on in our labs right now. We think of it as a variant of a supply chain problem, not unlike the physical world where something gets produced. In our world it gets transcoded, it gets stored in a factory and then it gets shipped out, this is somewhat similar to that. Does it make sense for me to manufacture it in different parts of the world instead of a single place in the world, the economics of shipping that one product. If I only have a single factory around
“What we are seeing is this proliferation of everyone can have their own channel if you will. We have a customer who owns content rights to Broadway shows. They are in the tens of thousands of paying subscribers per month and we are their back office and they literally have a little less than a dozen employees full-time. So, that gives you an idea of where we feel like our place is to provide the platform, whether it’s the infrastructure or CDN management or the OTT middle layer but that’s what we’re seeing. Half a dozen people can secure content rights to something and within a very short amount of time all of a sudden have tens of thousands of paying subscribers. I think that’s the way the world is going quite frankly. People talk about the long tail, I think OTT is a technology environment that enables the long tail from video content.”
What are you seeing in terms of other industry verticals, non-traditional content producers?
Visit www.brightcove.com
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SAVE THE DATE
4 – 6 November 2019 Visit www.asiavideosummit.com for more information
50 YEARS OF INNOVATION. STRONG PARTNERSHIPS. SUCCESSFUL SOLUTIONS. LASTING RELATIONSHIPS. For the last 50 years we have been safely navigating our clients through an ever-changing landscape of broadcast media and telco technology. From analogue through digital to the cloud, we’ve stayed ahead of and embraced these changes, gathering the knowledge and expertise required to provide the very best solutions and positive outcomes for our clients. But most importantly, along the way we’ve formed many strong, lasting relationships with partners and customers alike and evolved a culture based on quality, experience and trust. And we just love to make people smile.
Meet the Magna Systems team at IBC 2019. To make an appointment, set a meeting or arrange a demo of one of the solutions we represent at the show contact your local Magna office today. Sydney +61 2 9417 1111 | Auckland +64 9520 1582 | Hong Kong +852 2563 4453 | Jakarta +62 8181 43923 | Singapore +65 6282 3613 | sales@magnasys.tv | www.magnasys.tv