BirdDog and the Journey with NDI; Fujifilm Unveils First Filmmaking Camera; Sony Cinema Camera Updates; ARRI’s Alexa 35 Live.
Racing Victoria Brings Riedel Before the Stewards; Grass Valley Boosts Small to MidTier Live Productions. 15
OPERATIONS
Dalet and the Future of Newsroom Workflows; Avid and Wolftech Empower Newsroom Collaboration.
19
PRODUCTION
The future of remote collaboration; Memoir of a Snail Finished in DaVinci Resolve Studio; V-Ray 7 for 3ds Max; Boris FX Brings Greater ML Power to Continuum.
21 MEDIA IN THE CLOUD
Videocraft Launches Pro Cloud; Spectra Logic Rio Media Migration Service; Archiware P5 Version 7.3; New Standard for VC-3 Codec in IMF.
23 AUDIO, RADIO, PODCASTING
Sennheiser Gives Filmmakers Sound Support; Shure Wireless In-Ear Monitoring; Audient ORIA iPad App and Dante Card; TASCAM Bridges Analogue and Digital; Glensound Vittoria 64 Network Bridge; RØDE Wireless Micro Mic for Smartphones; Sound Devices A20-HH Wireless Mic; Krotos RealTime Crowd Sound Creator.
27 CONTENT DELIVERY
STRA and Magna Tap Appear Head-End for VAST Rollout; Navigating the Challenges of Monetising FAST Channels; Ateme Deploys Titan with NVIDIA Holoscan; Secure KVM Remote Controllers; NETINT and Akamai Partner for VPU-Powered Encoding; Brightcove Unveils ‘Brightcove AI Suite’;
The Evolution Continues
By Phil Sandberg
WELCOME to our last issue for 2024 and, as always, we thank you, our readers and advertisers, for your support. It has been another year of challenges for the media and entertainment industry, and that list of challenges is long, indeed.
Despite this, it can be said that media businesses, and in particular “legacy media” businesses, have been adapting to a world where content may still be king, but data is the ace card.
A great example of this is Australian audio entertainment company, NOVA Entertainment. Nova is aligning its advertising options with those of other platforms with the launch of CTV Plus, a digital audio product using TV data and measurement which enables brands to extend TV campaign reach across live radio streaming and podcasting.
Launched in partnership with Samba TV, a provider of TV technology for audience data and omniscreen measurement, CTV Plus leverages Samba TV’s first-party viewership data and measurement to give brands deeper insights into content consumption and campaign performance.
Samba TV gathers its data using automatic content recognition (ACR), a technology that identifies and measures what content is being viewed on a device. Its ACR technology is embedded in the Smart TVs of 24 manufacturers, including Sony, Hitachi, Magnavox, Luxor, TCL, JVC, AOC, Telefunken, Toshiba, Westinghouse, Element, Digihome, Sharp, Sanyo, Finlux, Beko, Philips, Seiki, Vestel, Techwood, Panasonic, Polaroid, Grundig, and Regal.
This enables brands to extend their TV reach to high-value, incremental audiences across NOVA’s extensive digital ecosystem of live radio streaming and podcasting. With this new solution, brands can enhance their omniscreen strategy, boost the reach and frequency of TV campaigns, and measure the incremental impact that digital audio can provide at a fraction of the cost of TV.
Since the launch of CTV Plus, NOVA has partnered with MG Motors, Kaboodle Kitchens, Tegel Foods, and JEEP, who have taken this innovative approach of using digital audio to complement their omniscreen activity and increase overall campaign reach.
It is a strategy that makes complete sense for companies without the cross-platform reach of a Nine Entertainment or Seven West Media and will hopefully lead to the evolution of more diverse media ecosystems.
CHANGE AHEAD IN 2025
Adaptation also continues here at Content+Technology. Since 1999, with the launch of the Broadcastpapers.com website, we have been constantly looking at and trialling out-of-
the-box ways to engage with our readers and deliver knowledge they can rely on.
As part of the changes at C+T in 2025, our parent company, Broadcastpapers Pty Ltd, will formally morph into Content Plus Events Pty Ltd. The events component of the new entity will include management of the ABEShow, Content Live 2025, industry “De-Briefs” and more. The content component will, of course, include this magazine, our website https://content-technology.com, our weekly ANZ and Asia newsletters, The Media Shrink podcast, as well as our new Media Merch newsletter and a range of new E-books on hot industry topics.
Next year will also mark a change for the online version of Content+Technology. This year we have reached a tipping point with those readers consuming C+T via digital platforms now in the majority. In response, we are revamping the digital version of the magazine to give it more functionality, interactivity and grassroots industry coverage. Rather than an animated facsimile, the digital version of C+T will be even more of an essential resource.
Naturally, we can’t talk about change without mentioning artificial intelligence. It may surprise some, but C+T has been using AI for over two years now. We’ve used it to edit press releases, format html, create generic images, create marketing material and update our internal databases - no actual writing as yet, it still has a way to go. In 2025, we’ll be bringing AI to bear on video content, allowing visitors to interrogate our website deeper than ever before, and more. Look out for it.
Lucy Madsen - Farewell
Lastly, we come to perhaps the biggest change for our C+T family, the departure of Co-Founder Lucy Madsen. Lucy has been on the C+T journey since the founding of Broadcastpapers in 1999 and has been a true pillar of the company, keeping the engine room running (and the rest of us in check). Over 25 years, she has excelled in helping to make C+T what it
FEBRUARY 2025
is today. Unfortunately, for us, she also excels in her primary career, that of clinical research in orthopaedic and sports medicine. While C+T readers may know her as the face of our events, or ace photographer at industry functions, Lucy holds an Adjunct-Professorship, is author and co-author of a slew of research papers, and has presented her research findings at numerous international conferences. She will now devote her time fully to her clinical research. We wish her all the best.
“I feel very fortunate to have had the opportunity to work with the wordsmith and entertainer Phil and the many personalities in the Broadcast industry over the past 25 years,”she says. “I am confident Phil and Adam will lead the charge in broadcasting media and events into future decades. So long and thanks for all the fish!”
Thanks for reading and best wishes for 2025., Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811
Editorial Submissions: 24-01-25
Ad Bookings: 24-01-25
Ad Artwork: 31-01-25
For more information www.content-technology.com +61-(0)414 671 811
Email: papers@broadcastpapers.com
End of an era. C+T bids farewell to Lucy Madsen
NEWS + PEOPLE
RNZ Picks PAT and Lawo for Auckland and Wellington
PROFESSIONAL AUDIO has announced that RNZ (Radio New Zealand) has chosen Lawo mc²36 MKII audio consoles, associated I/O devices, and Arista switch fabric for its recording locations at Auckland’s Town Hall and Wellington’s Michael Fowler Centre. Following a rigorous tender process that included A/B testing and careful evaluation of various console manufacturers, RNZ awarded the contract to PAT’s Auckland office, recognising Lawo’s and PAT’s expertise in delivering high-quality broadcast solutions. RNZ’s decision to upgrade its broadcast technology was motivated by the need for a robust, future-proof system to support its role as a producer of high-quality recordings and live broadcasts. The replacement project’s primary goal was to identify a solution capable of delivering exceptional audio quality across the entire audio signal chain, from stage connectivity and preamplification to digital encoding, processing, and final recording for production.
The chosen Lawo setup includes a pair of 32-fader mc²36 MKII consoles, one for each location, equipped with Lawo A__stage64, A__ mic8, and Lawo Power Core devices, which serve as I/O extensions. The Lawo Power Cores also serve as MADI and DANTE converters, providing
ABC International Turns 85
THE AUSTRALIAN Broadcasting Corporation (ABC) is celebrating 85 years of international services.
On 20 December 1939, just after the start of WWII, Australian Prime Minister Robert Menzies launched ABC Radio Australia, then called Australian Calling, to counter disinformation and propaganda from enemy forces. Since then, ABC International has undergone many changes. Today, it is engaging audiences in Asia and the Pacific and supporting media across the region through the work of two teams – ABC International Services and ABC International
RNZ with a versatile, high-performance networked audio infrastructure that supports the latest in AoIP technology. To enable these systems to scale with RNZ’s future requirements, PAT will also configure and install a set of Arista 710P compact, fanless, cognitive PoE switches into both locations. These Arista switches will be responsible for the transport of SMPTE 2110-30, low-latency audio on the red and blue ST2022-7 redundant media networks.
Mike Heard, Senior Solutions Architect of Professional Audio & Television, commented: “The Lawo mc²36 MKII consoles and accompanying I/O extensions provide RNZ with an advanced, modular platform that supports their commitment to producing live recordings of the highest quality.”
Jamie Annan, Operations Manager at RNZ, said: “We are looking forward to installing these new Lawo consoles at our live recording venues. This upgrade will allow us significantly to increase the number and types of audio sources, providing our audiences with a rich audio experience.”
RNZ’s selection process focused on assessing
each system’s audio fidelity, intuitive operation, and flexibility to adapt to the fast-paced demands of live recording environments. Lawo’s mc²36 MKII consoles were chosen not only for their sound quality and robust build but also for their compatibility with technologies like AES67, MADI, and DANTE.
Visit https://www.proaudiotv.co.nz and https://www.lawo.com/
Development.
ABC Radio Australia and international television service ABC Australia reach nearly 11 million people each month, and digital platforms ABC Pacific and ABC Asia are also experiencing rapid growth. Meanwhile, media capacity building activities, funded by the Australian Government through DFAT and managed by ABC International Development, continue to expand, promoting public interest journalism in the Asia Pacific.
ABC International Head Claire M. Gorman said: “I am incredibly proud of ABC International’s legacy
as the trusted and independent Australian voice for 85 years in the Asia Pacific region. As we take this moment to reflect on our journey, we also look to the future as we continue to grow our international audiences and deepen our connections, championing regional storytelling and a robust and independent media landscape.” ABC International has launched an interactive storytelling platform, the Indo-Pacific Media Map, which portrays the ABC’s activities, audiences and impact across the region.
Visit https://indopacificmediamap.abc.net.au/
RNZ engineers put Lawo’s mc²36 MKII audio console through a listening test. [L-R] David Houston (Senior Concert Producer/Audio Engineer), John Neill (Audio legend), Adrian Hollay (Senior Audio Engineer), Darryl Stack (Senior Audio Engineer), Steve Burridge (Production Team Lead, Senior Audio Engineer), and Mike Heard (PAT).
Nine Takes Out Best Olympic Programme at Golden Rings Awards
The 9Network’s coverage of the Olympic Games Paris 2024 has been named as the best in the world at the prestigious International Olympic Committee’s (IOC) Golden Rings Awards, held at Olympic House in Lausanne, Switzerland.
THE GOLDEN RINGS are the most coveted awards in Olympic broadcasting and the 9Network was recognised with three medals for its record ratings coverage of Paris 2024, which reached nearly 20 million Australians across the two week event.
With more than 100 submissions from around the globe across 12 Golden Rings categories, the 9Network won Gold for Best Olympic Programme. The award recognised the 9Network’s entire 24/7 coverage.
The 9Network was also awarded Bronze in the Best On-Air Promotion category, with the stirring Tones & I version of Land Down Under winning praise. The patriotic promo was used in the lead up to the Games and utilised the Australian landscape as a background for the athletes training for their shot at Olympic glory.
A Bronze medal was also awarded to the 9Network in the Best Athlete Profile category for its feature on gold medallist BMX rider Saya Sakakibara. The inspiring segment captured Saya’s bond with her brother Kai, her determination and resilience in the face of adversity to live out her dream of chasing Olympic gold in the BMX event. In total, the Awards recognised 10 Olympic Media Rights-Holders (MRHs) with awards across 12 categories, reflecting innovation, creativity, and excellence in Olympic broadcasting.
Yiannis Exarchos, CEO of Olympic Broadcasting Services (OBS), highlighted the exceptional work of the MRHs in sharing the Olympic Games Paris 2024 with the world, with the winners representing the best of Olympic storytelling and innovation.
“The Golden Rings Awards celebrate the exceptional creativity and dedication of Media RightsHolders,” he said. “Through their innovation and storytelling, they not only showcase the extraordinary achievements of the athletes, but also deepen the connection between the Games and the viewers, inspiring billions with the Olympic spirit.”
The 2024 Olympic Golden Rings Awards winners included:
Best Athlete Profile:
• Gold – France Télévisions – “Les Paris de Leon”
• Silver – CMG Group – “Becoming Quan Hongchan”
• Bronze – Nine Australia – “Saya Sakakibara”
Best Content to Promote Gender Equality and Inclusion:
• Gold – Globo – “Olympic Stories: Women and the fight for gender equality”
• Silver – Livemode – “Laís Souza Returns to the Olympic Games”
• Bronze – CMG Group – “Women Break Through to the Olympics”
Best Digital Offer (Web and App):
• Gold – NBCUniversal – NBC Olympics and Peacock
• Silver – CMG Group – CMG Mobile Olympic Tab
• Bronze – WBD – Eurosport: every moment of the Olympics on Max
Best Director:
• Gold – NBCUniversal – “Paris Titans”
• Silver – CBC/Radio-Canada –“Paris 2024: Make or Break”
• Bronze – CMG Group –“Champions at Home”
Best Film:
• Gold – CBC/Radio-Canada –“Running a Revolution”
• Silver – France Télévisions –“L’album des Jeux Olympiques : Pour tout l’Or du Monde”
• Bronze – BBC – “Paris 2024 – BBC Closing Montage”
Best Innovations (AI/Technology):
• Gold – BBC – BBC Paris studio
• Silver – France Télévisions – The Torch Relay live broadcast
• France Télévisions Olympic Ceremonies broadcast team
Commenting on the win, Nine’s Director of Television, Michael Healy, said: “I am immensely proud of what our television teams have achieved this year. Being the Olympic Rights holder in Australia is a privilege and seeing our broadcast recognised on the international stage further highlights the incredible dedication, professionalism and passion of our people that brought the Games to viewers. Congratulations and well done to everyone involved.”
Nine’s Director of Sport, Brent Williams, said: “At Wide World of Sports we are honoured by this recognition from the IOC and our fellow Olympic broadcasters from around the world. It is a great acknowledgment of the dedication and passion of hundreds of people involved in Nine’s coverage of Paris 2024. A special thank you to the record breaking Australian athletes who not only delivered so many unforgettable moments in their chosen sports but granted us incredible access to help tell their inspiring stories to the whole of the country through our broadcast.”
Visit https://olympics.com/ioc
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COVER STORY COVER STORY
A New Era for Telstra Broadcast Services
A changing of the guard at TBS as new CEO Karen Clark takes the reins.
IT’S A LONG-ESTABLISHED axiom that to really know a business is to work your way to the top. Incoming Telstra Broadcast Services CEO Karen Clark has done just that. The former CEO of content logistics company VisionBytes, Clark took on the role of Commercial Manager with Globecast Australia before its acquisition by Telstra before moving on to ANZ Head of Sales, Head of ANZ, Head of APAC & ANZ, and Chief Revenue Officer.
Now, with the departure of former CEO Andreas Eriksson, Clark takes the helm of Australia’s largest media network solutions provider, boasting a team of over 250, based in 10 countries, and supplemented by teams from parent company, Telstra.
“My career has been somewhat of a winding journey by design,” she says. “I am quite a generalist, but I’ve deliberately held very technical and creative and project management and ops management and sales roles throughout my career because I love a challenge and it’s an opportunity to develop a skill set or a muscle that I haven’t yet grown. So, I’m delighted to be in the CEO role to be able to use that breadth and to be able to work with our team and our customers on the end-to-end solutions.”
What is the breadth of TBS operations now?
“We’re offering media network solutions. So, leveraging Telstra’s telecommunications infrastructure across Australia and internationally with the subsea cable networks and the satellite earth stations, for example. And we provide fit-for-purpose transmission solutions for the media and entertainment industry globally. And that is a combination of fibre and satellite and Internet and cellular, increasingly, 5G.
“Then we look at what are the services, what are the workloads that our customers are putting over those networks and where would it make sense for us to provide a secure value-added bundle, if you like. And those managed service areas that we have been offering over the years will include the master control and bookings capability. It will include broadcast operations, including
content prep, media management, increasingly so cloud production, many years of remote production and then working with key strategic partners to ensure that there is that, essentially, the one-stop shop where our media and entertainment customers can reach their fans and viewers and provide experiences to drive that return on investment investments.”
What are you seeing in terms of the types of services that people are asking for?
“So, let’s start with the media networks space, because I really do see that as our right to play. As we see the evolving trends of transmission technologies, we are really increasing the use of our Internet delivery network solution, which is providing that managed service, but leveraging the public Internet, getting content from A to B or to multiple destinations. And the Internet services can be very complementary to or a replacement for some of the
more traditional transmission technologies like fibre and satellite. So, that’s an area of growth, absolutely. The other area is huge demand for 5G services in our space, particularly for mobile live contribution at congested stadiums for live sports use cases or the roving reporter type of use cases. And then on the managed services side, I mentioned cloud production and cloud playout. That’s certainly an area that we’re seeing more and more of. And the last one I would probably add to that would be security and ensuring that all of these services are secure.
“I think we’re fortunate here in TBS that, you know, being a wholly owned subsidiary of Telstra, that we do get to benefit from, significant investments. Just in FY24, for example, Telstra invested $5 billion in infrastructure just in Australia, in the networks, fibre intercity rollout, mobile spectrum, et cetera. That’s phenomenal. So,
we’re very fortunate to be able to leverage those investments, the subsea cable network, owned and operated 400,000 kilometres subsea cables that we’re able to leverage.
“That’s our job at TBS, to really marry up Telstra’s investments and capability with the entertainment industry and the use cases and the evolving trends and the demand and ensure that we’re advocating for those use cases and those requirements inside of Telstra. And, likewise, making sure we’re packaging that up, ensuring it’s fit for purpose.”
You mentioned security. How big an issue is it? What are the challenges involved?
“ We partner with the likes of Akamai, for example, for security services. However, where we fulfil a really important role is our media network fibre solutions are private. They are uncontested private fibre solutions. So, we are offering a secure service to our customers on those networks.
Telstra Broadcast Services CEO, Karen Clark.
And then, particularly for Internet delivered services, we leverage key partners such as Akamai to ensure that both the services that we’re providing to the market are robust and secure.”
So, I guess what we hear about, really, is the larger media organisations sort of outsourcing a lot of what you would have considered traditional engineering operations to the likes of TBS.
These days, is there an increasing move towards outsourcing operations?
“What we are seeing is a global expectation from media customers to provide greater cost efficiencies and greater ROI on their content investments. With declining linear television revenue, for example, it’s not always feasible for the traditional broadcasters to continue to maintain the significant in-house teams and infrastructure stack. So, that is absolutely an opportunity that many of our global customers have brought to us and continue to bring to us. ‘How can I leverage your scale to reduce my CAPEX and OPEX commitments around those broadcast operations, engineering, content management types of workflows?’
“I see that as an area that is increasing because of the macroeconomic pressures that are on these organisations. And, I would suggest that some of these services have become quite commoditised and it is allowing those organisations to focus on what’s their true competitive differentiation here, content and customer, and focusing on innovating in those areas whilst we take care of that back-end factory or engine and leveraging the scale by doing so for multiple customers.”
Are you seeing non-traditional players coming to you for these types of services?
“Absolutely, particularly because some of these non-traditional, more contemporary types of players don’t want to go down a traditional route and invest in a stack of industry-specific investments, for example. They want to leverage the COTS, the cloud, the scale solutions that we can provide. They don’t want to have armies of people on their books. They want to have the flexibility to scale up, to scale down, to experiment, work with us on expanded reach, increased monetisation opportunities, virtual advertising, for example. Where are these new customers coming from?
“We’ve got new customers
coming out from production, wagering and gaming, from OTT, streaming challenges, esports, audio, for example, challenging the traditional radio, for example. Many segments.
Where do you see growth coming from over the next five years?
“I think, if I come back to the media networks, our investments in 5G are really going to pay off, allowing so much more content to be surfaced, lower tier sports, for example, some of the content that doesn’t quite have the same financial backing. So, I think that’s one area that we’re really going to see growth on. I think growth continues around reach.
“We formed a strategic alliance with BT Media and Broadcast around 12 months ago, which is really allowing our global media network footprint to significantly increase. It’s a win for all of our media customers in terms of the network effect. Once you’re on net, you can reach something like 2500 POPs (points-of-presence), 1500 venues, stadiums around the world, for example. So, I think that’s an area for growth. And then, coming back to your comment around outsourcing of broadcast operations, I think with the pressure that our industry is under to do things smarter, cheaper, more efficient, it’s forcing a lot of organisations to explore scenarios that they may not have previously done so. So, just giving them a compelling reason to reach out. So, I can see that trend increasing.”
What role do you see AI playing in TBS going into the future, if any?
“Where we are productising a service and there’s a predictable, repeatable pattern, if we can use AI tools to automate those mundane factory-like processes, then A, we’re reducing the burden, we’re reducing the risk of human error and we are freeing up our precious staff to be focusing on the higher order stuff, making the more challenging, nuanced decisions, the strategic relationship development, etc. So, that’s absolutely an area. And then, of course, my team in the product development and R&D space are absolutely aggressively exploring opportunities to leverage AI technology in our solution mix.”
TBS has a presence in North America, Asia, Europe. How is growth in those areas compared to the home market?
“I’m going to come back to our parent company and being able to leverage the investments that Telstra International is making with the subsea cable networks,
POPs, data centres, landing stations, earth stations, etc. We’re very fortunate being able to continually tap into those ongoing investments. In terms of areas where perhaps Telstra does not have a significant presence, we will absolutely partner. In terms of our own experience and capability.
“A couple of years ago, we acquired assets from Deluxe Media Cloud, which included a master control room in London, which we have since relocated inside a Telstra data centre at Canary Wharf in London. That site and team continue to grow organically. We spun that up during COVID and that is now a very busy 24-7 operation.
“Our Internet delivery service is particularly successful in the European market and where we’ve really focused on live sport contribution and live sport distribution. So, that’s an area of growth for us. We’ve also been very successful in what I call the major events space, so major sporting events, whether that be Olympics, World Cups, etc. I think we’re unique in that space because we can offer the Tier 1 sporting codes and event organisers the global reach, plus the managed service, that is required for that level of event. And I think with, and those events don’t decline, right? We’re on the runway. We’re on the green and gold runway to Brisbane 2032 and that is very, very exciting.”
Brisbane is a goal in sight, but what impact do you think losing the Commonwealth Games has had on the industry locally?
“I’m sure that, particularly for local providers, it has had a devastating impact. We, as a global provider, can offset that impact and we very much hope to be at Glasgow 2026, for example. But, I do empathise particularly with some of the smaller local providers who may have been counting on that injection into our local industry.
So, I think it’s really sad. But, it also highlights the challenges that we’re all facing as an industry and the economic challenges.
“When FIFA came to Australia and New Zealand for the Women’s World Cup, that was the first time they had ever delivered an event over multiple countries. And I recall, I had breakfast with their executives the morning after the Grand Final. And they said, as this was such a success, I think we’re going to see just more and more of that, where the financial burden of hosting such a massive event like a World Cup or an Olympics or a Comm Games, if it can be spread across multiple entities, countries,
regions, etc, then that can really assist ensuring that the financial cost, the burden is not unduly appointed to one sort of state or country.
With Brisbane, I’m assuming planning’s already begun on your end?
“Absolutely. Along with my colleagues in the telco side of the business, I’m working with government and the organising committees to ensure that there’s significant investments over the next, what is it, eight years.
Even at this early stage, will you offer visiting media or domestic media, new innovations or services?
“Absolutely, and our doors are always open. We welcome any visitors from our industry and do so regularly. I am in our Pitt Street facility in Sydney. We also have our managed services team over at North Ryde. We also have our satellite earth station at Oxford Falls. So, I think there’s plenty of innovation that we’re happy to demonstrate and always keen to particularly work with our customers to understand their challenges, their requirements, ensure that we’ve got their buy-in into our road map and to ensure that we are actually hitting the brief. Because, we can’t afford to be complacent. None of us can in this space. So, it does require constant collaboration and a lot of listening.”
Lastly, there aren’t many female CEOs in the media tech business. How do you see yourself in a sea of male CEOs, many of whom have very healthy egos?
“My whole career has been in enterprise technology, which is, and always has been, a maledominated environment. So, I’m absolutely used to being surrounded by a sea of males. Fortunately, I have been supported by so many fantastic male leaders in my career. I don’t mind the egos. I think there’s, you know, everyone’s different. But I certainly do feel honoured and privileged to be able to lead this business for the next chapter. And I think we all appreciate that diversity is critical for success. The research is quite black and white on that point. So, if this is an opportunity for me to support more diversity in the up and coming leaders as I can and potentially be a role model, then I think that’s fantastic. And, I’m honoured and privileged to do so.”
Speaking at the recent ABEShow in Sydney, BirdDog Co-Founder and CEO, Dan Miall, described the journey the company has been on with NDI since its launch.
2025 MARKS 10 years since the launch of Network Device Interface (NDI), a software specification that has empowered whole new tiers of productions and content creators. It also provided the growth engine for a range of new technology developers, including Australia’s own BirdDog.
“Over the last nine years, we’ve been on quite a ride, it’s been pretty exciting,” says Co-Founder and CEO, Dan Miall. “And I think we’ve been defining, alongside NDI with Bird Dog, quite a lot of new workflows and things. And, I really genuinely think we’re just getting started. It was really, in a lot of ways, the first IP format that gained scale in applications around live production, but also then moving into more of that hybrid type productions as well, whether that’s with COVID, with all of the AV kind of integrations that we need to have for remote productions, or actually even into hardcore AV as well.”
In its early days, did NDI have some element of science experiment to it?
“Look, I think there’s only, speaking from my personal experience, there’s only a few opportunities I’ve sort of come across where there’s been an apparent change in how things are going to happen, which opened up an opportunity to try something new.
“Obviously, when you’re in the middle of a technology that’s started to be applied and started to roll out, it’s really hard to get any attention or to try and do something new. But when there’s a crack that’s where the opportunity is. And that’s really where I saw the opportunity with NDI is it’s a different way of doing things. Look, I mean, there’s new things that are coming out as we sort of talk now as well with different formats, but I think having those moments in our industry, which happen every decade or so, really create the spark to make new types of companies, new types of technologies, new workflows”.
The promise of early NDI was video over gig ethernet. So, any building that had a socket was a potential distribution point.
“NDI as a concept when it first came out, it was broadcastable quality with low latency that worked on a regular computer network. And that’s probably the biggest thing, as you say, is working on a regular computer network. Even today, trying to shoehorn in high-end, highvolume productions into computer networks is tough. Ten years ago or nine years ago, that was much tougher. And to be able to have infrastructure that was commoditised, that was already rolled out at scale, that was compatible, is a really attractive opportunity. I think at some stage it was spoken about in the early days, it’s just plug and play, it just works on your network. We all know there’s different levels of networks and different ways that can work. And over the intermediate years, things have grown up a lot about how NDI works, but the fundamentals still remain the same, that instead of having a separate network to do your video production or your video distribution, having something that’s unified is actually still very attractive and really relevant.
When the company started, what did you see as the opportunity? And how’s that met your expectations?
“I’ll talk about the business one first. What kind of got me thinking, and I still remember the moment I thought about this, is what we need is a camera back that’s NDI. So, we can take an existing studio camera, click something on the back that kind of puts everything you need in a video production into a little box that can click onto the back of the camera. So that’s everything that we now do, which is video encoding, of course, to send that over computer networks, but tele, audio intercom, power to do everything all just over a single cable. And so for me, what
I wanted to do was really take existing cameras and turn them into something that was next generation.
“I was doing a lot of work in Blonde Robot at the time, and I was thinking that’s a product that we would love to sell. Now, of course, with any new technology, it takes time for that to come out. So ’how hard could it be?’ I thought. I found out. I’ll tell you now, but at the time it seemed like it was a relatively easy thing to do. And I’m very glad that we did. I think it did help shape what NDI could be, and it was a really good opportunity there.
“But I think to answer the other side of things, what opportunities NDI kind of have in terms of the technology? It really is showing that computer networks can be used in mission-critical environments. They can be used at scale. They can be used for creative purposes more than just for post-production. The networking of post-production happened a lot earlier than live production because of the fact that it’s post. It doesn’t have a real-time element, but trying to get that sweet spot of high picture quality, low latency compatibility with the network, that’s something that took a bit longer to come in. The real advantage now is ultimately everything’s now moving into being IP-based, whether that’s NDI or other formats. But, NDI was certainly the trailblazer for that. Some of the unexpected consequences of doing this is we now make cameras.
“That wasn’t actually the original plan. But again, it’s one of those things where opportunities come along or logical steps come along with technology. And probably the best way to describe our process all the way has been that we handle anything that’s close to the glass. We want to be as close to the glass as possible. So as close to the lens in a camera, we ended up being in a camera, but
“The breadth, I think, that there is within the application of NDI, and broader video formats as well, is it can go anywhere from quite a low-budget production even into an influencer-type content as well where you want to have multi-camera production on a really low budget”
we also work with our converters and things as well. But also on the other side of things, being as close to the screen, which is all distribution. And at one point along the way, it became really clear there’s a lot more TV screens than there are cameras as well. So having that distribution piece nailed down is something that’s really quite important. And again, something that I think NDI does particularly well compared to some of the other formats.”
In places like Malaysia, there’s newsrooms that are built on NDI. And it doesn’t seem to have had the same sort of traction in ANZ. Why do you think that is?
“Well, actually, NDI is in a lot of different places. We’ve got many, many dozens, hundreds of studios around the world, everything from finance-type commentary studios, Ausbiz in Sydney, Ticker News in Melbourne. Anything that’s kind of
BirdDog Co-Founder and CEO, Dan Miall.
Fujifilm Unveils First Filmmaking Camera
FUJIFILM Corporation is in the process of developing its firstever filmmaking camera, the “FUJIFILM GFX ETERNA” (GFX ETERNA), with plans for a release in 2025.
The “GFX ETERNA” will feature a large format sensor, “GFX 102MP CMOS II HS”, which is approximately 1.7 times larger than a 35mm sensor, and the high-speed image processing engine “X-Processor 5”, enabling filmmakers to capture rich, trueto-life visuals and have enhanced flexibility in post-production.
Both the “GFX 102MP CMOS II HS” sensor and “X-Processor 5” are the latest technologies featured in the mirrorless digital camera “FUJIFILM GFX100 II”, which delivers extraordinarily high image quality with its 102 million pixels. Fujifilm recently showcased the “GFX ETERNA” as a reference exhibit at Japan’s InterBEE show.
The “GFX ETERNA,” currently in development, will leverage Fujifilm’s expertise and experience in the field of filmmaking, and combine the capabilities of Fujinon lenses with the advanced technology of its “GFX series.”
In addition to the development of the “GFX ETERNA”, Fujifilm is also working on the development of a power zoom GF lens that is optimised for this G mount camera, planned to have an actual focal length of 32-90mm, and a mount adapter from G to PL mount lenses, widely employed in film production.
According to the company, as the demand for producing various types of videos such as feature films, short films, documentaries, and web content continues to grow, there is a growing need in the film production industry for high-quality videos that can be produced quickly and
Sony Cinema Camera Updates
SONY USED THE RECENT EnergaCAMERIMAGE 2024 film festival in Poland to showcase the latest updates to its Cinema Line cameras at EnergaCAMERIMAGE.
VENICE 2 Version 4.0 will be available from August 2025, and will add support for the EL Zone System, created by Ed Lachman, ASC. Displaying exposure values by using stops instead of IRE values like standard false colour tools will simplify exposure reading by operators. The EL Zone System comes in addition to the existing tools in VENICE 2.
Other additions include display frame lines in different colours for simplifying the shooting of images for different purposes or formats.
Sony also announced that Version 5.0 will be made available in 2026 and Version 6.0 in 2027.
For Sony’s FX6 camera, Version 6.0 will come in February 2026, with key new features including a new “BIG6” simple UI that allows filmmakers to check and adjust key items, similar to CineAlta cameras like VENICE or BURANO, ensuring consistency of operation across cameras. Other additions
inexpensively. In preparation for the launch of the “GFX ETERNA”, Fujifilm will conduct rigorous field tests, while expanding its product lineup to enhance the “GFX system”.
A demo unit of the GFX ETERNA is expected in ANZ following NAB2025.
Visit https://www.fujifilm.com.au
Multi-Screen 21.5” Cinema Production Monitor
include a black frame in the output monitor to highlight the On-Screen Display (OSD) information more clearly, FX6/FX9 supports for SDI RAW Output for Blackmagic RAW recording with Blackmagic Design’s Video Assist recorder.
Also announced were FX3 Version 7.0 and FX30 Version 6.0. These two cameras will also see feature updates from September 2025, including:
• A new “BIG6” simple UI, allowing filmmakers to check and adjust key items, as with the FX6.
• Addition of anamorphic desqueeze 1.5x, offering flexibility with anamorphic lens usage among cinematographers.
• Capability for HDMI RAW Output for Blackmagic RAW recording with Blackmagic Design’s Video Assist recorders.
Additionally, Version 2.0 of BURANO, set for a March 2025 release,was also showcased at the event. Version 2.0 includes new recording formats, a 1.8x desqueeze feature, and monitoring improvements.
Visit https://pro.sony/en_AU/home
FujiFilm’s GFX ETERNA camera, due for release in 2025.
CAMERAS & LIGHTING
a new, I guess, OTT-type channel, it’s really attractive to it. If you’re talking Studio One or Studio A, it’s almost a bit like incumbent technology manufacturers. You don’t want to jump on something too early in case it’s not the thing that takes off. So, I think in a lot of cases, the Tier 1 broadcasters have been a little bit slower in their primary studios to take up this technology. But, it does sort of bleed its way in. Very early on, one of the Tier 1 broadcasters here bought a couple of our products just to get video from one side of the building to the other. And within two weeks, it was used on air.“
In the early days of NDI, a lot of companies jumped on the bandwagon. but not all of them were fully compliant. Then NDI came out with a certification process. What are your thoughts on how that’s panned out?
“I’ll go a bit philosophical here with the concept of a format versus a standard. In the beginning, NDI was a format. You could argue a standard comes from a standards body that’s potentially got a whole group of people that will submit different ideas to be part of a standard. And, there’s obviously one that is in IP video as well.
“The issue that we had, I think, really with NDI is that the format was adoptable by signing a piece of paper and you get access to it, and you can put it into a piece of software, you can put it into a piece of hardware. In a lot of ways, that was the genius of how NDI scaled, because within a very short period of time, there were over 700 different devices and applications that worked with NDI. So, it really helped build that scale. “But without having the checks and the quality control in that, that format became a bit fractured. The whole view of having a format that was quite flexible, but defined, had to be sorted out. Over the last 18 months, this certification piece that’s happened with NDI really started to drag things in. In my view, the
way NDI is moving forward is less about what version of NDI you work with, it’s whether it’s certified or not is something that’s really important. You rightly mentioned there’s a bunch of different devices and products out there that jumped on NDI. Some of them worked really well, some of them maybe not so much. And probably the biggest thing is actually that interaction between the different products that are out there. And that’s where this certification side of things with NDI has really done a lot of work. And so we’re very much on board with that. And it’s allowed us to support a wider version of formats within NDI. We have various different iterations of NDI that are applicable for different products. And now that we have certification, a guarantee on performance on various types, that’s really helped it kind of become, I’d argue, more of a standard now than the format.”
And what impact has it had on your product development?
“From conception to getting it to market, the certification side of things, interestingly, for us, probably not a big deal. Our identity has always been around NDI. We’re a little different to other companies that have NDI products. We actually built our own technology that makes NDI. We have our own IP that processes that video. So, we’ve had to do a lot of those checks and balances along the way to make sure it’s compatible because we were building our own code to do that, whereas other companies could just drop in a library and get an existing product to play nice with the format.
“So, for us, as we’ve moved into this next generation of our cameras and products, they kind of followed a long suit with that, where we’re still very much close with the NDI team and making sure that that certification process is there. It hasn’t really changed a lot for the time to market for us. What it has produced is a lot of work for other people, though. And I know
there is a backlog of people trying to get NDI products certified, which is a good thing, I think, for the format.”
You mentioned cameras, but describe the breadth of how you’ve expanded?
“The breadth, I think, that there is within the application of NDI, and broader video formats as well, is it can go anywhere from quite a low-budget production even into an influencertype content as well where you want to have multi-camera production on a really low budget.
“It represents a really easy way to get into a broadcast-like production. And you can do that with really quite low-cost cameras. We’ve got a couple that retail for under US$1000 for robotic cameras. That’s quite easy to get into. But then you also have on the other side of things, you’ve got these broadcasters that need to have a genuine replacement for the quality they’re used to.
“I call all of that market that we have our content creation side of things. And it’s our core market. But, if you go a bit further afield than that, there’s actually quite a lot more applications. And we’re finding between medical and security-type applications, and then across into AV as well, there’s every bit of applicability of the NDI format there in the fact that you can run high-quality video, low latency with interaction points - be that controlling a camera, adding a tally light. There’s even lighting control systems that now work on NDI. There’s a huge amount of things.”
And education?
“Education, yes, absolutely. One of
the big things I found a few years ago now, is universities have three different video systems in there. If you’ve got a lecture theater, you’ve got the in-venue AV. Then you’ve got your remote students, and then you’ve got lecture capture. So, doing all of those three, there’s three different systems that need to be managed. And if one doesn’t work properly, or the video routing doesn’t sort of line up, it becomes a real problem, especially for university lecturers. So, one of the great things that we’ve been able to do is really unify that. So you have one system that’s lecture capture, that’s also plumbed into Microsoft Teams for remote students. It is also in-venue AV.
“From a user perspective with NDI, you can grow, you can have people that get into it with quite a low budget, low bandwidth, low entry into it, then you can grow up to whatever scale you need. And that’s anything from scale in terms of quality or scale in terms of volume.”
Visit https://birddog.tv and https://ndi.video
Contact Adam Buick adam@broadcastpapers.com or +61 (0) 413 007
BirdDog’s recently released BDX5UB PTZ camera.
ARRI Takes The Helm for Live Production
BRINGING CINEMATIC image quality to the world of live production, the ALEXA 35 Live - Multicam System combines the ALEXA 35 Live camera, the Live Production System LPS-1 (comprising a Fiber Camera Adapter and Fiber Base Station), the Skaarhoj RCP, and a slew of bespoke accessories.
After its launch at this year’s NAB Show, ARRI’s new live production system made its first landfall in Australia thanks to a partnership between camera rental company VA Hire and The HELM, a provider of technical and operational solutions for television and event production. They received their first delivery of 12 ALEXA 35 Live - Multicam Systems in early August, with another 12 on the way.
According to Warren Day, CEO of VA Hire, “The broadcast market has been wanting a truly cinematic option for a long time and there just hasn’t been a really good option until now. We have had great success with the ALEXA 35 in the TVC, TV drama, and feature market ever since its release and we can now offer the ALEXA 35 Live in the broadcast space to deliver the same awesome capture quality. It’s an exciting time and we’re delighted to be partnering with Josh and his team over at The HELM to deliver this to the market both locally and internationally.”
Josh Moffat and Paul Barrett from The HELM had been tracking the development of the ALEXA 35 Live for a while.
According to Moffat, “Our clients started asking for cinematic multi-camera solutions, and then last year we became aware of the direction ARRI was heading in. First, they showed us renderings and we discussed features with them, and then after seeing the system at NAB, we knew this product would be a winner and we immediately put in our order.”
Upon receiving and testing the ALEXA 35 Live camera chains, VA Digital and The HELM embarked on their first production, a two-day
in-person and online coaching event presented by Josh Phegan for real estate agents. Four ALEXA 35 Live systems were combined with Canon 50-1000, Canon 25-250, and Fuji 19-90 lenses for simultaneous live streaming and recording of the event.
Josh Phegan’s company produces hundreds of hours of pre-recorded content all year, shot by a professional cinematographer. But their live event content wasn’t to the same standards, and the footage looked cheap in comparison.
Josh Moffat, Co-founder and CEO at The HELM, elaborates: “When we put forward the possibility of using the ALEXA 35 Live system, it was instant excitement. We had a clear problem to solve and a client that valued his image quality. Like in many events, the first opportunity our client had to truly sit back and look at the camera output was at the end of the first day of shooting. The response can only be described as emotional. They exclaimed: ‘Look in the audience, there’s no light there, but you would never know!’, or marveled as ‘The office in the next building, outside, through the glass wall, is properly exposed, how is that possible?’, leading to the conclusion that ‘We can never go back to traditional cameras!’”
Jack Crombie, Technical Producer at
Endframe, who look after technical and content production for Josh Phegan, said that ARRI’s “Game Show” look, which is one of a number of Multicam looks built into the camera, provided such a good image that he could forgo the usual post production for further online content sales, translating into a real money saver on top of the significant improvement in image quality. The crew from The HELM were equally enthusiastic. Paul Barrett, Co-founder and CTO at The HELM, notes that “The combination of the ALEXA 35 sensor, dynamic range, and color science is second to none. In short, the picture looks amazing! To be able to bring that into a broadcast friendly package and functionality is a game-changer. ARRI have been phenomenal in initial workflow testing and training our teams. They are extremely responsive to feedback and embracing our broadcast perspective. Looking to the future, the system also provides unparalleled image quality for HDR and Dolby Vision multi-camera workflows. I am very excited about further developing the cinematic broadcast market in the APAC region.”
Visit https://www.arri.com
www.aja.com/kona-ip25
New SMPTE ST 2110 IP PCIe I/O card supporting bidirectional uncompressed video, with advanced capabilities:
• ST 2110-20 Video: Up to 2 Rx and 2 Tx
• Up to 3840x2160p 60 fps Uncompressed
• ST 2110-30 Audio: Up to 2 Rx and 2 Tx
• Up to 16 audio channels per ST 2110-30 stream
• ST 2110-40 Ancillary: Up to 2 Rx and 2 Tx
• ST 2022-7 Redundancy
• 2x SFP cages: 10 GigE or 25 GigE SFPs
• In -Band and Out-of-Band Control ST 2110
SPORTSCASTING SPORTSCASTING
Brought Before the Stewards: Racing Victoria Enlists Riedel’s Simplylive
With some 510 fixtures per year, Racing Victoria has been leading the field in outside broadcasts through its OB arm, Thoroughbred Racing Productions (TRP), but this is only half the story for the venerable sporting body that oversees the iconic Melbourne Cup..
IN ORDER TO ENSURE the integrity of its meetings, Racing Victoria also employs a small army of Stewards tasked with ensuring the conduct of each event on the calendar is safe and above board.
According to Stephen Dole, General Manager - Projects and Media Integration at Racing Victoria, “Every race, whether it’s the Melbourne Cup or the Echuca Cup or even a maiden at Echuca, RVL will ensure there’s Stewards in attendance and that race is watched and videoed. So, even though the Stewards will go out into the towers and view the race and view the race, not all of that can always be obvious to the naked eye up in the Stewards’ towers. So, generally, straight after the race, they’ll come back into the Stewards’ room and they’ll go and bring it up on the screens, and they’ll shuffle back and forth through the race and view it like any sort of VAR that you see in sports around the world at the moment.”
Complementing the on-course Stewards are betting integrity staff located at Racing Victoria’s HQ in the Melbourne suburb of Flemington who will remotely review races and pass any observations onto the Stewards.
Against the backdrop of an ageing, bandwidthinefficient review system, Racing Victoria engaged Chris Law, Managing Director of Surge Productions, to implement a flexible system more suited to the TRP fleet with improved video compression to bring back higher quality vision back across its media data network (an extension of Telstra’s DVN-2 network) back to Racing Victoria’s headquarters at 400 Epsom Road, Flemington. The vision also had to be suitable for archiving.
“We had to assess not only the current delivery of what was happening,” says Law, “we had to assess the steward requirements to understand exactly what they wanted, what they’ve had, but what they wanted going forward.”
After considering alternatives, Law’s team settled on Riedel’s Simplylive Production Suite, a software-driven live production platform running on a common backend using commodity hardware. Compatible with SDI, NDI, etc., it can also be migrated to IP and cloud environments. A range of application layers are available, including slow motion replay, master recording, streaming or referee review to an All-in-One production solution.
Riedel Simplylive Refbox Workflow for Stewards Review.
According to Chris Johnson, Director Oceania with Riedel Communications, “At its core, the Race Victoria system uses these live production tools and, specifically, the RefBox application. So this is taking those standard video workflows and really designing them for use by non-technical users in a review type of scenario.
Architecturally, the concept is that there are servers that live close to the video sources, they ingest all the sources, and then there are users connected to those servers, and we can customise the UI for those users depending on the workflow
After considering alternatives, Law’s team settled on Riedel’s Simplylive Production Suite, a softwaredriven live production platform running on a common backend using commodity hardware. Compatible with SDI, NDI, etc., it can also be migrated to IP and cloud environments.
Grass Valley Boosts Small to Mid-Tier Live Productions
AIMED AT THE evolving needs of low-to-mid tier productions, Grass Valley used this year’s IBC show to launch the K-Frame VXP Video Processing Frame, Karrera V2 Switcher Control Panel, and introduce Sport Producer X.
The K-Frame VXP is the newest addition to Grass Valley’s K-Frame XP family, offering enterprise-grade production switcher capabilities in a compact 5RU chassis. Suitable for venues, stadiums, houses of worship, fly packs, smaller OB vans, and small to mid-tier production events, K-Frame VXP delivers the full power of Grass Valley’s advanced video processing technology without compromising on format flexibility, processing power, or I/O capacity when moving between HD and UHD productions.
The company also announced upgrades for the current K-Frame V-Series:
• Up to 48×24 Native UHD I/O: Supports UHD 4K 2160p, HD, and 1080p 3G formats for consistent, high-quality production across all resolutions.
• Choice of VPE Board type: Configurable with either maximum 4M/Es, each with 4
Keyers and 2D DPM, or maximum 3M/Es, each with 6 Keyers and 2D DPM with perspective.
• Internal ImageStore: Up to 64GB of storage for stills and movies with audio.
• Comprehensive I/O Conversion: Conversion on all SDI inputs and outputs, with frame syncs on all inputs, ensuring seamless integration and superior performance, including custom LUT HDR-SDR conversion.
• Internal Multiviewers and optional 3D DPMs
• The K-Frame VXP supports all K-Frame control panels, including the new Karrera V2 surface.
Grass Valley’s Karrera V2 Control Panel is available as either a 2-stripe or 3-stripe surface, Karrera V2 panels are designed to drive any of the K-Frame Video Processing Frames, offering a familiar, highend user experience at a more accessible price point.
Upgrade highlights include:
• New 8-keyer transition module, as found in the new Kayenne surfaces, including tactile buttons and an intuitive
touchscreen interface.
• The same menu display and MCU processor unit as the Kayenne panel.
• The Karrera V2’s versatility makes it ideal for venues, stadiums, and other mid-tier production settings, or tighter control room desk environments, offering high-end production value in a more affordable package.
Sport Producer X
Sport Producer X is the latest AMPP application solution that combines production switching, replay, graphics, audio production, and multiviewers into a single, intuitive interface. Designed for small to mid-tier live productions, Sport Producer X provides the power and flexibility needed to streamline production workflows, all within a single operational seat.
Key features include:
• Single-Seat Production Interface: Intuitive, gesturebased control for switcher operations, replay, and graphics, with fully end-user customisable layouts to fit the production needs.
• Comprehensive Workflow Integration: Integrates with both software and tactile surfaces, plus macro recall capabilities for seamless replay wipes and synchronised recall.
• Flexible Deployment: SaaS model, format-agnostic, offering agility and scalability for seasonal and event-based productions.
The K-Frame VXP and Karrera V2 control panels are available to order now. The K-Frame VXP will ship in April 2025 while the Karrera V2 control panels will ship in January 2025. Sport Producer X is due for launch in the AMPP App Store this year.
Visit https://www.grassvalley.com
Produce high-quality live content in the cloud
they’re working on. And, so, RefBox is just one of the applications that can run on the system. It could, in fact, run some kind of backup live production switching system, and could also handle some broadcast replay workflows as well as these kind of review replay workflows. And, as is evidenced by the way it’s deployed in this system, is really built to be compatible with today’s kind of remote production workflows.”
Another advantage of the Simplylive system is it also integrates into TRP’s Riedel-based comms system and MediaNet signal distribution architecture.
As Chris Law explains: “What we looked at first was just how we could actually utilise the existing infrastructure to help out, one, getting multiple signals back in low latency, broadcast quality, and also the return path was crucial given the DVN2 video circuit is the signal path of delivery. Telstra were great. They came on board with that. We have upgraded 26 tracks to 100 meg across the media data network. That’s allowed us to get up to 12 cameras back in individual broadcast-quality streams. That allows the Simplylive system that we brought in to not only work together between OB truck and the remote bunker, but also have the capability to archive back at Racing Vic Headquarters.
“It’s made the Stewards a little bit more independent and not reliant on TRP for a lot of the fault finding. Because of the user interface that the Riedel team have customised for the system, the Stewards can operate this without too much technical know-how. So they’ve been able to get up to speed very quickly.
“They’re able to use their own jog shuttle, create their own clips and infractions and select cue
points on their own machine at Racing Victoria. And the guys at the Stewards’ room on-course can do the same, but yet they’re appearing on both machines so that they are a little bit more interactive than what they have been previously.
“We also have communication now between the Stewards’ room on-course and the remote bunker. We’ve increased that significantly. Previously, they were using Microsoft Teams, which was, as you’d imagine, sort of dropping out, with loss of audio at times. And, I think, we’ve been able to make them feel like they are part of the room.”
ARCHIVING
Simplylive, along with the boost in connectivity, has also allowed Racing Victoria to modernise archiving for its Stewards. Previously, review footage from a track would be handled by the TRP van on-site for that particular race meeting causing delays in access.
“The Stewards were relying on the vision coming back from TRP,” says Chris Law, “but sometimes that could be up to a couple of days by the time the van gets back from, say, Ballarat back to the warehouse and then uploaded in the system and sent across to Racing Victoria. There could be an inquiry that’s been held up by a couple of days, just purely based on the fact that they can’t review the system.
“The Stewards vision, the individual streams of all the Stewards’ cameras, that’s now ingested by the Simplylive units, and that’ll just sit on a 20-terabyte hard drive in the Commons room at Racing Victoria headquarters.
“What we have done as well, thanks to Riedel, is set up an independent, Simplylive system in
the inquiry room so the archive vision could be brought in in real time, but also the archive could be dragged in at any time, so people can view it and treat it as a live review. There’s also the ability for a steward or chief steward to remote in, if necessary.
“I’m hoping by this time next year, that we’ve got a number of our race meetings that we can do remotely with race calling, and that we improve that whole workflow to give more flexibility, even around the officiating of the meeting with the Stewards and help them with their workflows.
Detailed overview of the Racing Victoria workflow. Simplylive, along with the boost in connectivity, has also allowed Racing Victoria to modernise archiving for its Stewards. Previously, review footage from a track would be handled by the TRP van on-site for that particular race meeting causing delays in access.
“Also, if you start looking at the editorial benefits that Racing.com can get from this, too. We’re bringing back 12 cameras which we could pass onto them quite easily. which they can use for their own edits, rather than relying on the TRP team, who are there to do a world feed predominantly. So yeah, it’s been a terrific exercise and one that we’re extremely grateful for.”
Visit https://www.riedel.net/en/
NEWS OPERATIONS NEWS OPERTAIONS
Dalet Competitive Upgrade Program
DALET IS EXPANDING its Competitive Upgrade Program to include legacy news systems. Launched in 2023, the Dalet program provides financial incentives, expert workflow consultation, migration, and training services to help customers modernise their media operations and significantly reduce total cost of ownership (TCO). Under the expanded program, organisations with legacy news systems migrate to Dalet’s award-winning story-centric workflow solution featuring advanced automation and AI capabilities.
The expansion of the popular upgrade program coincides with Caretta Research’s upcoming report, “The Future of Newsroom Workflows,” prepared in partnership with Dalet. The report found 45% of news operations experience significant challenges with legacy systems, specifically outdated tools and fragmented workflows that limit access to content from the field and require users to jump between multiple systems to complete tasks.
“Working with outdated systems is a challenge we recognise at RNZ,” states RNZ News Officer Mark Stevens. “Our dedicated team has worked wonders with legacy systems, including one
that dates back to 1999. However, as new ways to plan, create, and distribute stories emerge, the limitations with these legacy tools increase. We need to provide our storytellers with modern solutions so they can concentrate on delivering quality content to our audiences, not managing the growing technology gaps.”
Switching to Dalet gives customers a cutting-edge news workflow solution, leveraging the latest technology and backed by over twenty years of experience.
“In today’s climate of austerity and efficiency, continuing to spend on outdated newsroom systems isn’t sustainable. However, simply replacing a legacy system is not enough to drive progress. News organisations need a partner with deep industry expertise and cutting-edge technology to achieve the best financial and operational outcomes. That partner is Dalet,” states Tara Bryant, Chief Revenue Officer at Dalet.
Benefits of the Dalet Competitive Upgrade Program include:
• Complimentary news workflow consultation for an operational audit and insights into story-centric news production, collaboration, and remote operations.
• Financial incentives for transitioning from legacy solutions to Dalet, along with the resulting operational cost savings.
• Seamless transition for your data and workflows by tapping into Dalet’s expertise in managing hundreds of successful customer migrations.
• One year of free training through the Dalet Learning Hub, supporting change management and adoption.
QUICKLINK, the provider of video production and contribution solutions, has announced that NewBlue Captivate graphics software is now integrated as a standard feature on all models of QuickLink StudioPro, QuickLink’s flagship 4K video production platform for corporate, sports, government, education, and house of worship video producers.
Tailor-made for the global professional AV and broadcast markets, QuickLink StudioPro delivers ultra-low latency production experiences without the complexity of legacy systems. Adding NewBlue Captivate as a standard on QuickLink StudioPro offers users a powerfully creative tool to deliver beautifully produced
graphics and real-time, data-connected overlays. As part of the QuickLink and NewBlue partnership, users can elevate live productions by combining QuickLink’s video production expertise with NewBlue’s on-air graphics, titles, and animation software.
“We are honoured to be chosen as the graphics solution for QuickLink StudioPro,” said Todor Fay, CEO of NewBlue, Inc. “Our close collaboration allows us to combine strengths, streamline integration, and empower creators and broadcasters with an all-in-one solution that truly elevates their production capabilities.”
“Integrating NewBlue Captivate carries on the
Techtel and QuickLink Partner on Remote Production
BROADCAST
TECHNOLOGY systems specialist
Techtel has become a Certified Reseller Partner of QuickLink, the provider of remote contribution and multi-camera video production solutions.
According to Techtel, the partnership solidifies Techtel’s position as a provider of cutting-edge solutions in the Asia-Pacific broadcast market allowing it offer clients a way to further enhance remote guest integration and streamline video production workflows.
QuickLink solutions include StudioEdge, an all-in-one solution that leverages AI technology to integrate remote guests into productions with ease and quality. The system supports industrystandard broadcast outputs such as SDI, NDI, and ST 2110, making it compatible with leading production tools. StudioEdge allows users to
create real-time group conversations, panel discussions, and live interviews with intuitive remote-control capabilities through an easy-touse, web-based user interface.
“Our partnership with QuickLink enables us to empower our live production clients with technology to create seamless, high-quality productions while simplifying remote guest integration like never before. StudioEdge is a game-changer for remote production workflows,” said Techtel CEO Mal Chandler.
QuickLink CEO Richard Rees added: “We are excited to partner with Techtel, a trusted name in the Asia-Pacific broadcast industry. Together, we aim to enhance how organisations can revolutionise their video production capabilities and make video production more accessible than ever.”
tradition of pairing extraordinarily powerful, yet easy-to-use technologies within the QuickLink StudioPro platform,” said Richard Rees, CEO of QuickLink. “Having NewBlue Captivate built into StudioPro empowers video storytellers to enhance their productions with data-driven graphics, dynamic transitions, captivating titles, and stunning visual effects.”
QuickLink’s StudioPro builds on-brand productions through the integration of unlimited sources, including cameras, microphones, videos, NDI sources, remote guests, and now NewBlue Captivate graphics.
Visit https://quicklink.tv/
As well as StudioEdge, QuickLink’s product portfolio includes the StudioPro platform which delivers reliable 4K video production with ultra-low latency and flawless synchronisation, eliminating lip-sync issues for live presentations. With built-in StudioEdge technology, it supports remote guest integration via platforms like Microsoft Teams, Skype, and Zoom, while allowing for unlimited cameras, microphones, videos, and NDI sources to create professionalgrade content. StudioPro’s intuitive design makes it easy for users to create dynamic, multi-layered scenes, meeting the diverse needs of a range of industries from broadcasters and corporates to educational institutions.
Visit https://www.techtel.com.au or https://quicklink.tv/
Future of Newsroom Workflows Report
MEDIA WORKFLOWS solutions
provider Dalet has published “The Future of Newsroom Workflows,” a report it says provides essential insights into newsroom operations. The study, developed by analyst firm Caretta Research in partnership with Dalet, features input from newsroom professionals worldwide. The report illuminates the seismic shifts shaping workflows, covering key topics such as AI adoption, the role of social media as well as story-centric and multi-platform production challenges.
“This research highlights how news organizations are responding to years of change driven by evolving media habits, multi-platform production, funding pressures, the pandemic, and new technologies,” says Rob Ambrose, Co-founder and Managing Director of Caretta Research. “The findings reveal that despite acute challenges, there’s a remarkable wave of optimism among industry professionals. At the same time, it points to the opportunities to embrace fully ‘story-centric’ working and updated newsroom workflows and systems.”
According to the study, many news organisations are struggling with traditional workflows and legacy systems. Specifically, one-third say their current newsroom computer system (NRCS) does not meet their needs. While more than half faced budget cuts in the last year, only a small number actively track the cost of covering stories or measure ROI. The report also reveals a notable trend of adopting
AI-enabled tools and rethinking content delivery across platforms. These changes are vital, as news operations aim to maintain relevance and engage audiences in a highly fragmented distribution model.
“Newsrooms must now create more content for multiple platforms with fewer resources. Our findings highlight the crucial role technology and modern toolsets play in supporting journalists to meet the evolving demands of their audiences,” states Marcy Lefkovitz, SVP of Product Innovation at Dalet. “Our partnership with Caretta Research enables us to share a current view of newsroom operations. The result not only outlines ongoing challenges but also provides actionable insights for future success.”
• Websites are the leading platform for news distribution, but a significant portion of the industry still lacks dedicated digital teams for content production.
• Despite significant changes driven by digital and social media platforms, there’s enormous optimism, with 68% of news people feeling “good” or “very good” about the future of their news operation.
introduced a comprehensive Competitive Upgrade Program to maximize transformation benefits, efficiencies, and cost savings.
“The Future of Newsrooms” –Research Methodology
Key Findings of “The Future of Newsroom Workflows” Include:
• 45% of news operations experience significant challenges with legacy systems, limiting access to field content, and requiring users to switch between multiple systems to complete tasks.
Further insights into crucial topics shaping the future of newsroom operations include strategies for managing and tracking costs. Respondents noted that modernized tools greatly simplify newsroom operations, underscoring the importance of selecting the right systems and implementing timely updates. To navigate the complexities of legacy system replacement, data, and workflow migration, Dalet recently
Avid and Wolftech Empower Newsroom Collaboration
FOLLOWING THE SIGNING of a definitive agreement to acquire Wolftech Broadcast Solutions, the provider of cloud-based multiplatform planning and publishing news production solutions, Avid says it will combine its digital-first, end-to-end media solution with Wolftech’s expertise in story-centric workflow management.
The integration of Wolftech and Avid is intended to enable news organisations to rapidly deliver stories through multiplatform amplification, significantly increasing efficiency and improving remote collaboration.
Wolftech already integrates with a wide range of tools, including Avid MediaCentral, and will continue to build integrations with Avid solutions and other industryleading platforms. With the acquisition, Avid says it will deepen the integration between the
two toolsets while continuing to partner with a wide range of media production tools and newsroom systems. Existing Wolftech customers will benefit from Avid’s global scale for customer support and professional services.
The planned acquisition of Wolftech positions Avid to deliver a unified suite of integrated tools with unique AI-powered features that will enable news production organisations to:
• Break Down Silos: Unlock creativity and operational clarity by breaking down silos between digital, broadcast and long-form teams.
• Increase Efficiency: Get the most out of resources with sophisticated planning and analytics tools.
• Focus on the Story: Capture audiences and amplify stories faster across any distribution
platform.
• Get Teams Interacting: Centralize communication and optimize team collaboration, from newsroom to remote and field, with web and mobile tools.
• Move as Technology Moves: Leverage an integration engine, open API and AI framework to easily build and evolve innovative and modular workflows, from lens to edit and beyond, for the ultimate connected newsroom.
Wellford Dillard, CEO of Avid Technology, commented on the acquisition, stating: “We are thrilled to welcome Wolftech to the Avid family. This acquisition strengthens Avid’s position in the news market and underscores our commitment to deliver best-in-class solutions that empower news organizations to thrive in today’s fast-paced digital landscape. Together, Avid and Wolftech will change the game for news production teams,
The independent research was commissioned by Dalet and conducted by Caretta Research in July and August 2024 among global respondents in a wide range of roles, including newsroom management, editorial and production roles, technical and engineering, and craft and operational functions. Participants work for over 60 diverse news organizations, mainly public and commercial broadcasters, as well as local network affiliates across the U.S.
Download the “The Future of Newsrooms” Report at https:// go.dalet.com/en/the-future-ofnewsroom-workflows
delivering innovative tools and workflows that enable compelling, yet efficient, storytelling.”
Arne Berven, CEO of Wolftech, expressed enthusiasm about the acquisition and its potential to drive innovation in news production workflows: “Joining forces with Avid represents an exciting opportunity for Wolftech to accelerate our mission of revolutionizing news production. By integrating Wolftech’s multi platform planning, collaboration, and publishing capabilities with Avid’s industry-leading solutions, we will empower news organizations to adapt to evolving audience demands and deliver high-quality content across digital platforms more efficiently than ever before.”
Visit https://www.avid.com/avidx-wolftech or https://www.wolftech.no/
POST PRODUCTION POST PRODUCTION
Is it time to switch Off the Remote?
FOR MANY ORGANISATIONS, the pendulum on remote working is swinging back the other way. September saw Amazon CEO Andy Jassy issue a memo ordering employees back to the office five days a week. Locally, Tabcorp CEO Gillon McLachlan ordered workers back to the office in the interest of company culture.Then, of course, there is Elon Musk who, in one of his many thought bubbles, expressed the view that it was “morally wrong” to work from home and expect those without white collar jobs to show up in person.
For the media and entertainment sector, remote working has brought benefits for companies and workers alike. A trend accelerated by the COVID lockdown era, remote production has allowed production costs to come down, reduced environmental footprints and given employees greater flexibility when it comes to work/ life balance.
But, does the back to the office lobby have a point, especially when it comes to the talent pool, forging team culture and career development?
Speaking at the recent ABEShow in Sydney, Timothy Hadwen, assistant editor on The Fall Guy, Russell Crowe’s Poker Face, and Kriv Stenders’ The Correspondent, said, “When you get into the space that I work in, which is feature films from both Australia and Los Angeles, it’s always a very competitive field. But, I think where technology is, particularly in this day and age, is there also then has to be interest in what I would call the interest in the overall chain of command.
“When it comes to feature films, they are very much structured in who can do what and who can say what, who can press what button when. I do think it’s very difficult for younger talented people who might, for example, excel in, let’s say, high school or excel in university or excel in a small niche commercial company, to then enter the space of features, which is mostly dominated by people usually with 20 years plus experience who are the head of the department, because editorial in that sense becomes a department.
“I think the talent pool is there, but there also needs to be a lot of work to be done to attract people into the technical support roles, that be an editorial PA or a third assistant editor or a second assistant editor or a first assistant editor. Eventually, those jobs do lead to the editor position on some of these larger productions, but that in itself usually takes five, maybe ten years of experience as an assistant to somebody who’s actually doing that top job. I think the pool is there, but more interest needs to be propelled forward into the technical support positions as well.
“I think [remote production and working from home] is really detrimental to the talent pool, and I think that working from home, in my opinion, is catastrophic to an assistant editor’s career.
That’s me, but that’s because you’re unable to form those relationships with key people that you’d be able to do in person, and you’re unable to respond to tasks with immediacy in and around the room. I do tend to find that in those departments as well, in features, it leads to a bit of apathy as well. I don’t think working from home in editing feature films in that particular department, in those particular roles, will be the way forward, at least for anybody that wants to push themselves forward in those departments.”
The VFX Angle
“I completely agree with what Tim was saying with the talent pool that we have.” added fellow ABE2024 speaker Michael De Caria, Lead Imaging Pipeline TD at Netflix Animation (formerly
. “There’s going to be certain areas where there’s a lot of competing applicants for one job, for example, but then you have areas where there’s just hardly anyone that you can find, especially technical roles, where, again, people want to be an animator or working in lighting, but when you come down to how do we build pipelines for production use cases, we have to potentially look outside of Australia and look internationally, because they may be the only viable candidates a lot of the time.
“VFX is a very global type of industry, so you’ll be able to see these countries that would have had hardly any one apply from are suddenly coming up - people from countries such as India and Vietnam and even China. There’s a growing industry in those areas, and I think there’s a pool over there, but I would still say that the individual cities are always driven by tax incentives and offsets, where you’ll see the biggest VFX hubs, and if you do look at it from a global perspective, areas that have had tax incentives and then lost them, you’ve seen the industry grow and then recede. So, I do feel like we’re in this spot where you need to be where the work is, and that kind of ties back into what Tim was saying about remote work, where some artists are trying to request to work from home or potentially work internationally, and, again, sometimes that does work for some studios.
“I am a big believer there’s an onus of responsibility on the people there to upskill other people in the room,” adds Tim Hadwen.
“When I was in the Gold Coast recently, we had an editorial PA that just managed a lot of the lunches, and the finance, and the deliveries. But I made sure that if I was sort of at a point where I felt like I could comfortably get through a morning of tasks, that I would get him on and actually show him, this is how you do that, this is how you do this, this is the old way of doing it, this is the newer way of doing it, thanks to some recent updates.
“So, I think there is a level of responsibility to those in senior positions to teach the fundamentals of the people that are coming up through the ranks as well. And that’s the thing when it comes to this stuff, is there must be consideration for the team around them, rather than simply, there’s the job, it’s done now, move on. I think if you have a culture like that in a team, you’re not going to have a very rewarding experience, and you’re not going to be very well respected in your craft.
“It’s one of the bigger conversations around postproduction in general, which is, how do we get to a point where people are in those entry-level positions and moving up through the ranks? Even though I say all this, there are some concerns about vacancies in jobs that are there now, when those jobs might not be there in 10 years. What does that mean? Don’t know, and it’s going to be tricky.”
Animal Logic)
Memoir of a Snail Finished in DaVinci Resolve Studio
BLACKMAGIC DESIGN has announced that “Memoir of a Snail” by Academy Award winner Adam Elliot was graded in DaVinci Resolve Studio by colourist Deidre (Dee) McClelland, CSI.
Written and directed by Elliot, known for his stop motion animation genius, the film tells the story of Grace, a snail collecting misfit finding her way in the world. It has earned global acclaim, winning the Cristal for Best Animated Feature at the 2024 Annecy International Animation Film Festival and BFI London Film Festival’s Best Film accolade.
Colourist Deidre (Dee) McClelland, CSI, worked alongside Elliot and director of photography Gerald Thompson to align on a look that best captured the quirky characters and their environments.
“A tour of the studio where I was able to see the characters and props helped me to understand the direction of the film along with a comprehensive storyboard and a specific colour palette for each scene and location,” she said.
Chaos V-Ray
7 for 3ds Max
CHAOS HAS ANNOUNCED the release of V-Ray 7 for 3ds Max, introducing features such as Gaussian Splat support, interactive virtual tours, and over 20 other enhancements to its rendering solution.
Key Features in V-Ray 7
Gaussian Splats: V-Ray 7 is the first rendering solution to natively support Gaussian Splats, enabling users to integrate rich 3D environments from photos or videos seamlessly. This feature includes accurate reflections and shadows, reducing effort in contextualising scenes.
Interactive Virtual Tours: Designers can now create immersive virtual tours directly within Chaos Collaboration, complete with automatic hotspot generation, floor plans, and custom transitions, all without requiring third-party software.
Other features include: Enhanced V-Ray Frame
“Each place carried its own unique palette,” she continued. “Paris, for instance, was portrayed as warm and nostalgic; created using a soft edged vignette, giving an almost sepia toned warmth, contrasting with Melbourne’s muted, grey tones that reflect a subdued emotional state.”
She added, “The romantic scenes had a specific look which was captured through the lens. However, some of the shots didn’t have the intended filtration. I was able to emulate this look by using some of DaVinci Resolve’s FX tools. While we used the blur tools and soft edged vignettes to get the romantic look, we also enhanced the red items in the shot with some tracking, keying and colour warping.”
Consistency was key to managing the look across departments. Post production facility Soundfirm coordinated the colour space to ensure consistency as shots were sent and received from VFX vendors. With constant updates and close coordination, everything was kept on schedule despite the inevitable last
minute changes.
“DaVinci Resolve was invaluable throughout the project. As updates rolled in from other departments, the software allowed me to keep working on the grade without interruption, which helped us stay on schedule,” she concluded.
“From our P3 DCP final to HDR and SDR Dolby tone mapped versions, Resolve facilitated every deliverable.”
Visit https://www.blackmagicdesign.com/
Buffer (VFB); Custom-shaped render regions for targeted rendering; A vignette layer camera effect, customisable by shape.; New colourcorrection presets for faster look exploration; Improved Chaos Scatter Tools; Instance Brush: Precisely populate or edit instances in a scene; Distribution Maps: New density styles for faster, realistic scatter layouts; Faster Exports: Procedural handling for scatter-heavy scenes, optimising rendering in Chaos Cloud.
Lighting and Atmosphere features include: Firefly Removal, Automatically corrects unresolved pixels during rendering; Enhanced Sun & Sky: New sky model adds realism for nautical twilight and variable observer altitudes.
An expanded Chaos Cosmos Library includes Luminaires: Lighting assets now distribute light with improved accuracy; and Asset Variants: Seasonal options for 3D vegetation models, including summer and autumn leaves.
Boris FX Brings Machine Learning to Continuum
BORIS FX HAS RELEASED Continuum 2025, which strengthens its machinelearning capabilities with a growing list of creative effects and innovative tools. The plugin collection now includes six internally developed, ethically trained ML-driven effects that streamline workflows and save artists valuable time.
The new ML technology includes:
BCC+ Motion Blur ML: Uses a sophisticated ML algorithm to instantly detect pixel movement and apply realistic motion blur to video and motion graphics. Users can adjust blur intensity and direction (forward, backward, or a combination) or even apply motion blur from one source to another.
BCC+ License Plate ML: Automatically scans a scene for vehicles and instantly obscures alphanumeric identifiers. Options such as Blur, Mosaic, Brightness/Contrast, and Tint can
be applied individually or combined. Built-in Mocha masking provides users with complete customisation control.
Meanwhile, the Transitions category adds four new drag-and-drop transitions: BCC+ Smoke & Fog (dissolve and wipe versions), BCC+ Smoke Wipe, BCC+ Atmospheric Glow Dissolve, and BCC+ Orbs Dissolve.
Other categories, including Key & Blend and Film Style, feature updated GPU-accelerated effects for faster speeds. Key & Blend tools like BCC+ Linear Color Key, BCC+ Two Way Keyer, and BCC+ PixelChooser make green screen footage easier to key and mask. The Film Style category adds BCC+ Grain, which delivers photorealistic soft or hard film grain, and over 20 new sprite/texture options for BCC+ Smoke & Fog and BCC+ Atmospheric Glow.
Particle Illusion enhances motion graphics flexibility, allowing users to copy and paste
To accelerate workflows, V-Ray 7 includes: V-Ray Profiler: Tracks rendering times and optimises workflows; and V-Ray Lister: Manage V-Ray geometry objects with enhanced filtering and control.
GPU Enhancements include: Faster Time to First Pixel: Improved scatter rendering and texture handling; GPU Caustics Support: Photon-mapped reflections and refractions for enhanced realism; and Out-of-Core Textures: Efficient rendering for texture-heavy scenes. Additional improvements include: Selective Scene Conversion: Convert materials, objects, or textures more effectively; Extended USD Support: Compatibility with the latest Autodesk 3ds Max updates; and OpenPBR Support: Consistent shading across applications for better production efficiency.
Visit https://www.chaos.com/vray/3ds-max
colour gradients, alpha gradients, and particle images (sprites) between particle-type nodes.
Continuum 2025 introduces 200+ curated presets across various effect categories, which users can apply as is or customise.
Continuum 2025 fully supports the Fusion page in DaVinci Resolve, enabling its visual effects tools to integrate into Resolve’s node-based workflow. Fusion’s extensive 2D and 3D capabilities empower artists to create cinematic-quality effects, motion graphics, and execute simple shot repairs.
The custom FX Editor is updated with a new image caching system, delivering faster playback of filtered results and streamlining the process of refining looks.
Visit https://www.borisfx.com/
MEDIA IN THE CLOUD MEDIA IN THE CLOUD
Crafting the Cloud
INGRESS, EGRESS, EXCESS EXPENSE. These have been the themes of cloud storage since the first users uploaded their data to “someone else’s computer”. Now, Australian company Videocraft aims to level the playing field with the launch of Videocraft Pro Cloud, designed as a “content creator’s best alternative to public cloud storage.”
According to VIdeocraft Group Business Development Manager, Matt Wood, ”A lot of our customers, they’re budget conscious, they need predictability around ensuring that their IP or their media is A, stored safely, B, they know how much it’s going to cost, and C, if they want to be able to access their own content, they should be able to do that without being penalised for it.
“We all know that the public cloud providers have a commercial model by which it’s very cheap to get your media or your IP into it. But, most of our customers want to be able to restore that media for various reasons, whether it’s going back and looking at some footage that they recorded that they need to use for a new project, or they might be able to want to monetise their content. So, if they want to be able to store that content for decades, they want some predictability around costs.”
Leveraging expertise in hyperscale technology, Videocraft has worked to build out a private cloud solution which offers a number of storage classes to suit users’ individual needs.
“We have an S3 equivalent class layer, which is designed for frequent access,”says Matt Wood. “And that enables more or less instantaneous retrieval of your content for those frequent access use cases that require it. Then we also have the Glacier-equivalent storage class. And what that means is it goes on to a lower cost per terabyte commercial model. But, it’s more for that deep archive where you don’t necessarily need instantaneous access to it. You could wait overnight, 24 hours for it, then you’ve got it back. So it just takes a little bit longer to access it, but we can pass on some cost savings as a result.
The company is also working on an S3 ultra-type class of storage with high IO access which will enable customers to have high speed links
into the data center and operate workflows born in the cloud that require that not only instantaneous but high performance profile.
“Some of these use cases might be colour grading. It could be finishing. It could be a VFX type workflow,” says Wood. “We also deal with some research institutes where they need to run sequencing or modeling over a set of data. That really requires a performance profile that far exceeds anything an object storage layer or an S3 layer can offer.
“We have customers who spin up virtual workstations in the cloud. So, they don’t have anything sitting on premise apart from almost like a monitor keyboard mouse and maybe a little NUC so that they can remote into a virtual desktop, which is, well, conceptually sitting right next to the storage and they can get that performance requirement, whether it’s Autodesk Flame, DaVinci Resolve, one of the other sort of VFX type tools, get that performance they need and offer that more as a service as opposed to having to tip tens of thousands of dollars or hundreds of thousands of dollars and be able to house that on premise.”
The company has partnered with data center operator Equinix which maintains geographically dispersed facilities across Australia.
According to Wood, “What this platform does is, when you upload your content, you can do it to the closest node, which enables you to get that speed. So we’ve got data centers sitting in Sydney, Melbourne and Perth. And once you upload that content, it then gets geographically dispersed across the three. And we’ve got some smarts involved in what does that. And what that means is, you not only have one copy of your data, it’s
geographically dispersed across three locations, such that if one of those locations goes down for whatever reason, you can still leverage the other data centers to get your content back. And that’s where we talk about durability levels.
“Your typical cloud provider offers 11 nines worth of durability. In this particular circumstance, we’re able to offer 19 nines. So you’re getting your content safeguarded across geographic locations, but you’re not paying three times for that.”
Data can be moved to and from the Videocraft Pro Cloud platform via applications such as ArchiWare, or any other media asset management platform with an S3 connector. Other compatible applications include Veeam, Commvault or Veritas.
“If your software application supports the S3 or the S3 Glacier API protocol, the chances are it’s going to work with our platform,”says Matt Wood. “And on top of that, a lot of our customers already have that infrastructure or software, and we can simply just give them a bucket of the appropriate class of storage. Or if we’ve got some facilities that don’t necessarily have an in-house technical team and they can rely on our engineering team to offer that almost like a service, we can throw in something as simple as a Mac Mini with some software and trigger those backups and archives for you.”
Another critical component of the Videocraft Pro Cloud service is security with ransomware protection, data loss prevention from cyber attacks and accidental deletion, and a guarantee that user data is stored securely within Australia.
Another critical component of the Videocraft Pro Cloud service is security with ransomware protection, data loss prevention from cyber attacks and accidental deletion, and a guarantee that user data is stored securely within Australia.
“When you move your content to a cloud provider, it’s interesting because sometimes you might make the assumption that your data and your IP, your media, is sitting in Australia, but you’d be surprised actually,” says Wood. “So, you’ve got to do your due diligence. We have some customers that say it’s imperative that their data does not leave these borders, so to speak. And that’s what this cloud platform offers. The infrastructure resides in Sydney, Melbourne, and Perth. Your data does not leave these borders. And that resonates with a lot of customers. And, when you start talking with some of the government customers, that’s actually mandated. And we’re able to tick that box for you. So, think of it as a sovereign cloud solution where your intellectual property is never going to leave these borders.”
For enquiries, email matt.wood@ videocraft.com.au
To book a consultation, visit https://outlook.office365.com/ book/CloudStorageConsult@ videocraft.com.au/
Spectra Logic Launches Rio Media Migration Services
SPECTRA LOGIC, the provider of data management and storage solutions, has announced the launch of Rio Media Migration Services, a comprehensive professional service offering designed to seamlessly transition digital media assets from outdated media asset management systems to modern object-based archive infrastructures.
As media companies increasingly face the need to upgrade their infrastructures, Rio Media Migration Services provides an essential solution, eliminating expensive maintenance costs associated with legacy systems. This service allows organisations to maintain uninterrupted access to their content while reducing the risks commonly associated with data migration, such as workflow disruption, misplaced or lost assets, or a lack of skilled resources.
Proven Seven-Step Process
Rio Media Migration Services delivers a seamless, fully automated migration experience built upon a proven seven-step process that ensures the success of each migration:
• Database Analysis: Identify all databases and assets for comprehensive migration coverage.
• Solution Design: Develop a tailored migration strategy based on the customer infrastructure and requirements.
• Project Scoping: Estimate the project timeline, resources, and budget, ensuring clear expectations and goals.
• Statement of Work: Finalise the project details with a formal statement of work.
• Installation & Validation: Install the necessary tools and validate system readiness for migration.
• Production: Seamlessly migrate data with minimal disruption to ongoing operations.
• Post-Migration Review: Conduct postmigration data integrity checks and wellness reviews to confirm successful completion.
Designed for media and video editors, producers, and system administrators looking to modernise their infrastructure, Rio Media Migration Services is ideally suited for studios, post-production
New Standard for VC-3 Codec in IMF
SMPTE HAS JOINEd with Avid to publish a new standard for the VC-3 codec in Interoperable Master Format (IMF) designed to simplify distribution of audiovisual content.
The VC-3 standard, a codec implementation that Avid provides under the DNx brand, is a primary production codec used by enterprise media organisations around the world for critical broadcast functions such as capture, editing, rendering, base transcoding, and long-term archive. SMPTE ST 2067-70 is a new standard that specifies an application of the IMF framework covering usage of VC-3 as specified in SMPTE ST 2019-1.
IMF is an important international media standard for providing a single interchangeable master file format and structure for the distribution of content. IMF is a family of SMPTE Standards (SMPTE ST 2067) that simplifies the storage of all the audiovisual content needed to create
different versions for distribution to multiple territories and platforms in one package. It is an essential component of modern, high-scale content fulfilment and has enabled the building of simplified delivery and processing systems for versioning. The IMF package itself can be used for B2B content exchange between content owners, post facilities, and distribution platforms.
As VC-3 is a primary production codec used when delivering to a variety of broadcasters, the new ST 2067-70 standard covers its usage with IMF, which enables delivery in VC-3 codecs that closely matches the ideals of IMF in keeping the maximum quality possible for future distribution/reversion and archive. The standard allows any broadcast facility to deliver final assets for broadcast/archive with as much of the original creative intent in place as possible. It also offers a choice to use a constant
Archiware P5 Data Management Version 7.3
ARCHIWARE GMBH, the developer of data management software, has released version 7.3 of its P5 Data Management Platform. This latest update introduces a host of new features designed to enhance performance and improve operations, including:
• Streamlined archive job management with parking queues and saved selections
• Archive JobLog downloads, JobLog file delivery, and search capabilities in Job History
• Volume inventories for per-volume job execution
• Updates to S3 Object Archive
• Optimised throughput when writing to disk containers
• Advanced index search capabilities
A key feature of the new version is the enhanced archive job management. The Parking Queue allows administrators to hold archive and restore
jobs until an admin chooses to execute them, ensuring optimal job scheduling and resource allocation. Users can also take advantage of Saved Selections, which enable the saving and recalling of multiple file selections for archiving and restoration, making it easier to manage large datasets.
JobLog advancements include archive JobLog downloads and JobLog file deliveries. Job details and file inventories can now be exported as tab-separated files directly from the web interface, simplifying reporting and analysis. Additionally, JobLog file deliveries enable the specification of a folder on a P5 client to receive completed job information as text log files, facilitating automated data ingestion. A search field in the Job History window provides quick access to completed jobs by description, enhancing usability.
Updates of Volume Inventories permit jobs to be executed separately for each volume. This
houses, sports teams, news and cable networks, and corporate media departments.
Assets managed by legacy systems such as DIVA, Kumulate, and FlashNet can be migrated to a variety of Spectra BlackPearl object-based archive solutions or third-party storage systems, ensuring that organisations can avoid vendor lock-in and choose the best solution for their needs.
The service delivery leverages a set of purposebuilt tools that integrate directly with Spectra RioBroker software, a powerful data migration and management solution, ensuring fast and efficient transitions that streamline media production workflows. The Spectra Logic professional services team manages every aspect of the migration, from project planning and installation to production and support, guaranteeing predictable results within budget and on schedule.
bit rate (CBR) codec profile, which enables predictability for storage and network transport. The standardisation will provide time and cost savings, and it bypasses quality degradation due to the ability to pass through previously encoded content without having to transcode into a different format.
The DPP, an organisation whose membership spans the media supply chain including media technology and production companies, initially approached SMPTE and Avid as a co-proponent in the development of this standard, which offers significant workflow advantages over the alternatives currently in the specification, including the easy insertion of changes (before creating a final IMF deliverable) and potentially faster turnaround times.
Visit https://smpte.org/, https://avid.com/, and https://www.thedpp.com/
job collects a comprehensive list of all files saved to a volume and outputs it into a file. The setup window provides options for selecting fields to include in inventories, making reporting processes more efficient.
Expanded functionalities of the S3 Object Archive facilitate the integration with thirdparty tools like MAM, DAM and PAM systems to archive and restore to LTO/LTFS via S3 protocol. Additionally, optimized throughput for writing to disk containers boosts data transfer speeds and enhances overall performance for both cloud and disk storage solutions.
Improved search capabilities include index search and archive index metadata fields. Index Search significantly improves search performance for large indexes. Archive index metadata fields can now be created as caseinsensitive, simplifying the search for usergenerated metadata.
Visit https://www.archiware.com/download-p5
Sennheiser Gives Filmmakers Sound Support at MIFF2024
EMERGING AUSTRALIAN FILMMAKER
Grace Tan is known for pushing boundaries in storytelling through her use of sound. Her short film, A Daydream with Fini, was featured at August’s Melbourne’s International Film Festival (MIFF 2024), where she participated in the MIFF Accelerator Lab.
The film, shot in rural Mexico, explores themes of friendship, routine, and dreams, and follows two friends on a hot summer day in Izamal, dreaming of exploring pyramids, jungles and cenotes (sinkholes) while awaiting the construction of the Tren Maya intercity railway. This broader, exploratory narrative contrasts with her previous work, Lucky Peach (MIFF 2022), a visually imaginative, personal story about the tensions between an immigrant mother and a young woman preparing to leave home.
Since MIFF, Grace has adopted Sennheiser’s EW-DP Wireless Microphone System, which has become a core part of her filmmaking toolkit.
Grace’s acceptance into the highly selective MIFF Accelerator Lab, limited to just 29 filmmakers, proved transformative. Over four days, she immersed herself in workshops, screenings, seminars, and networking events led by industry professionals. The experience deepened her creative perspective and gave her the confidence to push new ideas forward.
Beyond the success of the film, the Lab gave Grace invaluable connections with industry professionals and fellow filmmakers, providing valuable insights as she prepares to make the leap from shorts to feature films.
This momentum carried over to the Talent of Tomorrow Party, hosted by Sennheiser, where filmmakers had the chance to explore Sennheiser’s latest audio technology firsthand. The event featured a panel with Director of Photography Andrew Commis ACS, and Elaine Beckett, General Manager of Trackdown Studios, who shared practical advice on filmmaking. Attendees also visited the Sennheiser booth, where experts demonstrated products like the EW-DP Wireless Microphone System and discussed how this technology could support their projects.
Freedom to Move with the Sennheiser EW-DP
Since adopting the EW-DP, Grace has relied on its simplicity and reliability. “The EW-DP lets me move quickly and stay agile,” she says.
The system’s ease of use allows her to focus on creativity, without the distraction of complicated setups. “It’s reliable, and that’s what matters.”
The wireless capability stood out most, giving her the freedom to capture natural, in-themoment sound without being restricted by cables. “The wireless setup is perfect for projects where you need to stay mobile,” she adds. The compact design fits perfectly into her workflow, ensuring the setup remains lightweight and portable, which is critical when shooting on location.
For solo filmmakers or small crews, the EW-DP has become invaluable.
“When you don’t have a large team, you need equipment that’s straightforward and reliable,” Grace explains. It has quickly become her go-to for projects requiring flexibility and responsiveness, particularly in documentarystyle filmmaking, where mobility and intimacy are key.
The Future of Audio in Film
For Grace, sound is an essential part of storytelling.
“Sound design creates emotional depth and draws audiences deeper into the story.”
Emphasising this, she pointed out, “whether amplifying tension in a horror film or enhancing the subtle nuances of character-driven narratives, sound plays a central role in how a film resonates with its audience.”
Sennheiser’s pro audio technology, including the EW-DP, provides filmmakers with reliable, highquality sound, needed to capture professional quality audio of their creative work.
Grace’s most recent project, shot as part of a creators Lab led by Thai Director Apichatpong Weerasethakul Lab in rural Mexico, uses sound to add emotional realism to everyday moments. Drawing inspiration from Weerasethakul, she reflects, “Audio brings films to life, tapping into the subconscious to emotionally immerse audiences in new worlds. It’s an essential part of storytelling.”
Grace’s experience at MIFF 2024, and the connections she made through the Accelerator Lab and Talent of Tomorrow event, have left a lasting impression. A key takeaway from her filmmaking journey was the importance of perseverance, reflecting that, “It’s a long game,
RCS “Zetta For Engineers” Course
RCS HAS ANNOUNCED the launch of the RCS Academy: Zetta For Engineers course, designed for engineers and administrators who need in-depth knowledge of Zetta configuration and setup. This new offering complements RCS’s existing suite of training programs, including courses on Zetta Automation, GSelector Music Scheduling, and Aquira Commercial Traffic.
The Zetta For Engineers course provides
advanced training for users tasked with configuring and maintaining Zetta systems. Though taking the Zetta Certification is not a prerequisite, the course is structured to serve as a companion Learning Management System (LMS) to Zetta, making it an invaluable tool for those seeking to deepen their expertise.
The course begins with an enhanced RCS Academy Introduction, covering important Zetta vocabulary, followed by modules on
but if you keep honing your storytelling with new work, that’s when you create something truly exciting and special.”
She says the connections she made with other filmmakers and the inspiration she drew from their work have energised her for future projects. With her next short film already in production, Grace is excited to continue using the EW-DP to enhance her work. The lessons she has learned from MIFF, combined with the seamless integration of Sennheiser’s technology, have shaped the way she approaches her projects.
“My next film will delve into the characters’ internal landscape, and I’m excited to explore this creatively through sound — particularly in how sound design can shape and sustain tension,” she says. Grace believes audio quality has the potential to elevate a film from good to unforgettable, playing a vital role in storytelling alongside visuals.
Her advice to aspiring filmmakers: “Try not to let a lack of resources hold you back. Find your community of filmmakers, keep creating, and don’t hesitate to share your work.” She encourages others to embrace every aspect of storytelling, emphasising that persistence and collaboration are key to bringing creative visions to life.
Visit https://www.sennheiser.com
system and computer settings, user rights, station setup, content stores, backup/restore, flat file assignments, hot spare, background recording, site replication, ZCast, and more.
The Zetta For Engineers course is now available for enrollment through the RCS Academy online store: https://academy. rcsworks.com.
https://broadcastcomponents.com.au/
Australian filmmaker Grace Tan.
Shure Wireless In-Ear Monitoring
SHURE HAS RELEASED Axient Digital PSM, a digital wireless in-ear monitoring solution designed for top-tier touring acts and largescale productions.
Axient Digital PSM has been meticulously designed and developed to meet the rigorous demands of touring professionals and rental houses, ensuring high-performance RF and spectral efficiency that caters to the rapidly evolving wireless landscape. This new digital in-ear monitoring system is Shure’s first Wireless Multichannel Audio System (WMAS) enabled product line, empowering audio professionals to adapt to a wide variety of environments.
Axient Digital PSM enables engineers to say ‘yes’ to more complex and creative productions by offering access to more on-air channels of in-ear monitoring. With a next-generation digital radio and sophisticated headphone amplifier design, performers enjoy the highest
audio quality with no compromises to signal reliability and less than 2.9ms latency for an immersive audio experience.
Powered by Shure WMAS, Axient Digital PSM features a multi-channel wideband mode that increases spectral efficiency, freeing up radios for improved RF performance and scalability.
Axient Digital PSM offers two single rack space transmitter options: ADTQ Quad Transmitter and ADTD Dual Transmitter, with features including:
• Multi-channel Wideband, supporting up to 28 channels per 6 MHz in the US and 40 channels per 8 MHz in Europe.
• Narrowband for increased RF output power per channel while maintaining spectral efficiency.
• Analogue FM for high-quality audio with ultralow latency.
Audient ORIA iPad App and Dante Card
AUDIENT HAS ANNOUNCED the release of both the iPad Remote App and optional Dante Card for the Immersive Audio Interface and Monitor Controller ORIA.
The iPad App is completely free and allows the user to control ORIA remotely, straight from the iPad.
Designed to speed up workflow, Audient’s Andrew Allen explains: “The App’s Home Tab is essentially the ultimate command centre for ORIA, granting you quick access to all of ORIA’s key monitoring features on a single screen, without the need to reach for the rack.”
By tapping on ORIA’s other control tabs in the side menu of the Home Tab, users can get more detail via an expanded view of ORIA’s functionality.
“Beautifully presented in full screen format, you can now keep a close eye on levels, audition speakers and use Profiles to switch between speakers, listening levels and target curves—all via the touchscreen interface,” adds Allen.
The Dante Card is an optional extra for those who require it. Providing up to 16 input channels over AoIP when used as a standalone
TASCAM Bridges Analogue and Digital
TASCAM HAS ANNOUNCED the Studio Bridge Multitrack Recorder/USB Audio Interface, a ‘bridge’ between the analogue and digital recording domains. By connecting analogue consoles, it is possible to use the Studio Bridge as a USB audio interface for multitrack recording, or record directly to its internal recorder, which utilises an SD card slot that can accommodate storage sizes up to and including 512GB.
The new Studio Bridge makes it easy to connect analogue consoles and even full racks of outboard gear to capture the analogue signal chain that engineers have painstakingly created and wish to preserve. With the Studio Bridge, recording engineers have the option of recording to a DAW (Digital Audio Workstation) using the Studio Bridge as a 24-In/24-Out USB audio interface or, alternatively, recording directly to the Studio Bridge itself. This flexibility exists because the Studio Bridge has its own internal 24-In/24-Out multitrack recorder—with support for Punch In/Out—that uses an SDXC SD card as its media format. The recorder supports 24-bit digital audio at 44.1 kHz and 48 kHz.
As a device that makes it easy to combine analogue and digital audio sources, the Studio Bridge creates an easy-to-use solution for mix
summing. Recording sessions tracked directly to a DAW can be output from the software through an analogue console and the outboard gear that goes along with it, summed, and then recorded back to the DAW or to the Studio Bridge’s internal SD card. Summing can also be performed from tape or anything tracked to the internal recorder of the Studio Bridge.
Key features include:
• Point-to-Point Mode (available via a future firmware update).
• Command and Control
• Axient Digital PSM integrates with Shure’s Wireless Workbench and ShowLink ecosystem, offering comprehensive remote management of every bodypack receiver on stage. Engineers can monitor and adjust key parameters, such as channel quality, battery life, volume position, and more.
Visit https://www.jands.com.au
monitor controller, it is ideal for large studio complexes and education facilities. Existing customers should contact their reseller to organise retrofitting the Dante Card into their ORIA to ensure the warranty remains valid.
The App is available immediately from the Apple App Store in both Dark and Light mode. Download the App for free now and remotely control your Audient Immersive Audio Interface and Monitor Controller ORIA with the ORIA iPad Remote.
Visit https://bit.ly/3Os0DB7
• Internal ¼-inch audio click output to assist with timing operations.
• DAW transport control feature for Record, Play, Stop, Fast Forward, Rewind.
• Tactile track arm buttons to arm/disarm individual tracks and perform Punch In/Out on DAWs.
• HUI (Human User Interface) and MCU (Mackie Control Universal) support for Record Ready.
• USB MIDI interface for synchronising analogue recorders, DAWs, and MIDI equipment.
• Built-in metronome with click output to keep live performers in time with recorded tracks.
• Dual Footswitch control for assigning multiple functions to different foot switches.
• Control app for Mac and Windows to visually monitor signals and adjust Peak Hold times. According to TASCAM Product Specialist Sean Daily, “The Studio Bridge enables a wide range of existing 8-bus or more analogue mixing consoles to make the transition to a 24-track digital multitrack recording studio. Now, with a computer, DAW software, the Studio Bridge, and an external mic preamp, users can have a compact and very capable recording setup. Best of all, this potent and very versatile studio tool can be rack mounted to conserve space. I’m confident that a wide range of musicians and recording professionals will find much to like.”
Visit https://bit.ly/4i6Cxt8
Sound Devices A20-HH Wireless Mic
SOUND DEVICES, an Audiotonix company, has introduced the A20-HH digital wireless handheld microphone. The A20-HH combines high quality audio and RF performance with customisation options. Featuring Sound Devices’ Astral functionality, the A20-HH boasts a 470-1525MHz global tuning range. Key features include:
• Customisable Design: The reversible A20-HH CD1 Capsule Collar accepts capsules with Shure or Sennheiser thread, as well as Sound Devices’ CD1 Cardioid Capsule. Changing capsules is as simple as flipping the collar.
• Control Options: The A20-HH Control Ring provides optional external controls, while the base unit has no external buttons, preventing accidental activations.
• Global RF Tuning: The global SpectraBand™ tuning range of 470-1525MHz allows the A20HH to be used worldwide, eliminating the need for region-specific microphones.
• Durability and Performance: Built to withstand rigorous use, the A20-HH is water resistant, drop-proof, and powered by a standard XLB18650 lithium-ion battery for over 10 hours of operation at 10mW output.
Real-Time Crowd Sound Creator
KROTOS, THE DEVELOPER of sound design software, has announced the release of the Crowds preset pack for Krotos Studio. Tailored for use in film, TV, and video games, the pack brings dynamic crowd soundscapes to life, giving sound designers and filmmakers full control over the size, intensity, and character of crowd scenes in a matter of seconds.
Creating realistic crowd sound effects has always been one of the most challenging aspects of sound design. Traditionally, designers needed to layer multiple recordings, search through extensive libraries, and make endless tweaks to fit the sound into a scene. With Crowds, that process is completely streamlined. The preset pack allows designers and filmmakers to quickly shape everything
RØDE Wireless Micro Mic for
RØDE HAS ANNOUNCED what it says is its smallest, simplest and sleekest wireless microphone to date – the Wireless Micro.
The Wireless Micro is a pocket-sized wireless microphone system tailor-made for smartphone creators. Available in both black and white, and with versions for either USB-C or Lightning devices, the slimline receiver connects directly to a phone with no need for cables, making for a compact recording setup.
It features two ultra-compact, ultra-lightweight transmitters with integrated clips and magnetic attachments that are easy to mount on a subject while remaining discreet on camera. The built-in microphones are housed in acoustic chambers with a patent-pending design, purpose-built to capture exceptionally clear and intelligible audio
from light murmuring to intense riotous mobs with just a few gestures, saving valuable production time. In addition, with built-in quick FX in Krotos Studio, users can adjust the space and scale of their crowd ambience, offering greater flexibility across a wide range of projects.
Whether you’re adding subtle crowd noise to a dinner party or recreating the lively atmosphere of a late-night talk show, Krotos Crowds adapts to scenes requiring immersive, dynamic crowd sound. With real-time control over crowd size, intensity, and gender composition, the Crowds preset pack eliminates common sound design issues like repetitive loops and mismatched sound lengths.
Key Features of the Crowds Preset Pack:
Smartphones
whILE MITIGATING WIND NOISE. COMBINING THIS INnovative design with RØDE’s legacy of pristine wireless audio transmission and intelligent GainAssist technology, the Wireless Micro delivers perfectly balanced audio. Finally, the sleek charging case is pocket-sized and delivers two full recharges for up to 21 hours of battery life.
Key Features of the Wireless Micro:
• In-built microphones and automatic pairing for ease of use.
• Receiver connects directly to a smartphone with no cables required (USB-C or Lightning version available).
• Innovative Antenna Design: The patented RocketAntenna ensures signal reliability regardless of where the microphone is gripped, solving a common issue with other wireless mics.
The A20-HH also includes an e-Paper display for mic and battery status, even in sunlight or when powered down. It uses NexLink ultralong-range remote control and GainForward architecture, allowing users to adjust gain and trim at the front-of-house.
Visit https://www.sounddevices.com
• 16 high-fidelity presets, including Booing Crowd, Laughing Crowd, Mob Rage, Wedding Celebration, and more.
• Dynamic control over crowd size, intensity, and gender composition using an intuitive XY pad.
• Non-repetitive sounds that run continuously, from 30 seconds to 30 minutes or longer.
• Ideal for films, TV shows, games, and immersive audio environments.
• Streamlined integration into Krotos Studio, with presets that are ready to go with minimal setup.
The Crowds preset pack is available to all Krotos Studio users.
Visit https://krotos.studio/
• Patent-pending acoustic chamber design purpose-built to capture exceptionally clear and intelligible audio while mitigating wind noise.
Real-Time Crowd Sound Creator
GLENSOUND, a manufacturer of professional audio equipment, and ASK Sales & Representation Inc., a leading sales management organisation, have announced the Glensound Vittoria 64 Network Bridge. Available as a Dante to Dante, Dante to Ravenna, or Ravenna to Ravenna network bridge, the Vittoria 64DR provides secure, isolated connections between Dante and Ravenna networks, along with the flexibility to handle asynchronous operations at varying sample rates. Network security is paramount and the Vittoria 64 provides complete isolation between its Dante and Ravenna interfaces,
ensuring that audio is passed only within the device’s DSP. This built-in firewall protects both networks from potential security breaches.
Whether bridging between different network technologies or operating at different sample rates, the Vittoria 64 provides seamless management. This is particularly beneficial in complex setups, such as outside broadcast (OB) trucks or studios, where different systems need to work together without compromising audio quality or network integrity.
The Vittoria 64 also complies with industry
• Intelligent GainAssist technology automatically controls audio levels for perfectly balanced sound in any application.
• Pocket-sized charging case provides an additional two charges for up to 21 hours battery life, making it the ideal grab-and-go companion.
• Ultra-compact, ultra-lightweight form factor with a sleek design for discreet on-camera presence and elegant aesthetic.
• Additional furry windshields included.
• Works seamlessly with RØDE’s free iOS video app, RØDE Capture.
• Available in both black and white. Visit https://rode.com/en
standards such as SMPTE ST-2110-30 on the Ravenna/AES67 module ensuring compatibility with the latest protocols without additional costs or complications.
The Glensound Vittoria 64DR’s Ravenna module can also be accessed by the Merging Technologies Aneman control software –adding a powerful and easy-to-use control tool to the system. See https://www.merging.com/ products/aneman.
Visit https://bit.ly/4g8BQhs
STRA and Magna Deploy Appear Head-End for VAST
THE AUSTRALIAN GOVERNMENT’S VAST (Viewer Access Satellite Television) service is a direct-to-home digital satellite television service that provides comprehensive coverage across Australia.
This service is particularly beneficial for viewers who are unable to receive digital signals from terrestrial transmitters in their area, as it offers a reliable free-to-air satellite television option that includes the full range of digital channels.
Recently, Satellite Television & Radio Australia purchased an Appear TV XC flexible, modular head-end solution for IPTV and broadcast distribution from Magna Systems for the VAST service.
As Magna BDM Adrian French explained, “Satellite Television & Radio Australia works across Australia with regional councils to design and provide DTV transmission solutions that deliver terrestrial broadcasting to their communities and take advantage of VAST’s distribution to access all required services. VAST includes programming from major networks such as the ABC, SBS, Channel 7, Channel 9 and Channel 10, along with time-shifted versions where applicable. With ageing equipment and the transition to high-definition broadcasting for several channels, Satellite Television & Radio Australia were tasked with enhancing and upgrading the re-broadcasting capabilities of various councils throughout Australia. For that, they came to Magna and we supplied them with the Appear TV XC Platform.”
Satellite Television & Radio Australia’s requirements included the option to receive multiple satellite feeds, a Common Interface (CI) CAM for decryption of all services, full PID remapping functionality to rebuild correct PSI/SI table information including for specific regional council locations, the ability to rebuild Electronic Program Guides, a minimum of four ASI outputs for transport stream delivery to their downstream DVB-T modulator - all across seven sites in Western Australia.
To meet these requirements, Satellite Television
& Radio Australia purchased the Appear TV XC5100 platform from Magna.
The XC Platform is a flexible, modular headend solution for IPTV and broadcast distribution, offering advanced media compression, stream processing and robust descrambling. It supports distribution across cable, satellite, terrestrial networks and hospitality applications, delivering versatile performance for all media needs.
French continued, “The XC Platform is a flexible, all-in-one solution for broadcast distribution needs. It serves the broadcast distribution market with its modular, high-density chassis design, delivering a complete broadcast solution from a single platform. It is tailored to meet the unique content distribution needs of broadcasters and media service providers. Thus, for regional councils it provides a low-footprint, reliable and flexible solution to turn around the feeds from satellite and present DVB-T ready transport streams for the downstream modulation and transmission.”
Satellite Television & Radio Australia works with the regional councils of Australia to maintain the terrestrial broadcast delivery to the local communities. The Appear TV solution from Magna Systems enables remote communities to remain connected with the wider Australia in receiving news, sport and entertainment for free.
Satellite Television & Radio Australia’s MD Glenn Welsh added, “In some cases, the Satellite Television & Radio Australia team are simply replacing older equipment and others are greenfield installations. For a greenfield site, Satellite Television & Radio Australia are the
Sky NZ Satellite Migration by May 2025
AT THE 2024 Annual Meeting of Shareholders of Sky Network Television Limited (Sky), Sky Chief Executive Sophie Moloney outlined Sky’s programme to migrate from the current Optus D2 satellite in the coming months.
Key points of the migration include:
• As outlined in Sky’s update on satellite supply on 19 August 2024, Sky has an agreement in place with Optus that secures satellite services for Sky until 2031.
• Given the expedited requirement to transition from the Optus D2 satellite to a new satellite by
May 2025, Optus has offered Sky two satellite path options. One of these will be available at the existing orbital position (160 degrees East), which is preferred as it offers a smoother transition for customers, while the other is located at 156 degrees East.
• Significant testing and customer communications are already underway and will continue to intensify, ensuring Sky customers experience a seamless transition during the migration process.
• Sky has successfully completed previous satellite migrations
prime integrator responsible for the design and installation of the antenna, satellite dish, modulator, and key elements of the overall solution. The Appear equipment is at the heart of the workflow as it manipulates the source content and generates the required output for retransmission depending on the location.”
Adrian French concluded, “The density of the XC Platform solution was a key winner given that the real estate footprint is king. Other solutions use multiple boxes compared to Appear’s sleek 1RU dual PSU chassis containing all I/O and processing requirements. The robustness of the solution is also paramount given the remote locations and the durability provided by the Appear units is second to none. The ease of control and management was also key to ensure simplicity for the life of the product. Another key bonus with this solution is the ability to accommodate the customer’s preferred system architectures while reducing complexity. Finally, Satellite Television & Radio Australia required support from a local supplier who holds spares in the market for quick turnaround given the remote planning required to attend sites.”
Visit https://www.magnasys.tv
and is confident in its ability to achieve the migration to either of the two options by May 2025. However, there are inherent technological and logistical risks to migrating to an alternative satellite, with necessary technology updates required on the ground as well.
• From a delivery cost perspective, Sky’s commercial arrangements with Optus ensure that the programme will remain largely cash-neutral by FY26. While the preferred satellite option has a lower cost, the precise final cost of the alternative option is
yet to be determined. Sky has taken a conservative approach to forecasting, including a significant contingency, and has raised the upper limit of satellite migration capex to NZD$20 million (up from the capex envelope of $10 million to $15 million outlined in Sky’s FY24 Results). Sky and Optus have agreed on confidential terms for support covering incremental costs incurred to ensure a seamless satellite transition.
Visit https://www.sky.co.nz/
Navigating the Challenges of Monetising FAST Channels
By Nate Frink, EVP Global Operations, Vubiquity
FREE AD-SUPPORTED Streaming Television (FAST) channels have emerged as an attractive option for content monetization. FAST channels offer a unique opportunity to monetise content that might not perform well in a Video-onDemand (VOD) setting. Think of the back catalogue of classic game shows. Driven by nostalgia, people will often watch them, but will they search for them? And will major streaming services even promote them?
According to S&P Global Market Intelligence, total FAST ad revenues in the U.S. approached $4 billion in 2022 and are expected to more than double to just under $9 billion by 2026. According to Omdia, by 2027, the revenue opportunity outside of the US is expected to be approximately $1.6 billion. This growth will be driven by markets like the UK and Germany. When done right, FAST can generate real money, but channels face numerous challenges on the road to success, and many struggle to simply survive.
The Struggle is Real: The Reality of Monetisation
Despite their increasing popularity, many FAST channels still struggle to achieve profitability. There are three primary reasons for this. The first issue could be described as the “field of dreams” mentality – “If you build it, they will come.” Many FAST channel operators believe that merely distributing quality content will attract advertisers. This is a critical misconception. Without a robust strategy to attract advertisers, simply having good content is not enough. Consider the CPM (cost per mille), which calculates the total ad spend per 1000 impressions. Many FAST channels grapple with ad marketplaces that don’t match their content, leading to low CPM and lower revenue. Even worse, many channels without active monitoring face ad insertion rates as low as 5% or less, leaving unfilled revenue opportunities running as generic slates. This low fill rate and CPM mean that operating costs frequently exceed revenue, leaving these channels financially strained.
The second major hurdle is the technological complexity in launching and maintaining FAST channels. Unlike broadcast media, which benefits from decades of streamlined vendor support, FAST technology is still in its adolescence. A FAST channel requires integrating a multitude of technologies, making it a complex and often fragmented process. Efficiently delivering high-quality video via the Internet demands advanced content delivery networks (CDNs) capable of handling fluctuating bandwidth requirements. Also, there’s the need for sophisticated ad-decision servers and realtime bidding systems to dynamically insert ads into the streaming content without disrupting the viewer’s experience.
In addition, playback technologies must ensure that content is accessible across a variety of devices and platforms, from smart TVs to mobile phones. Devices often have different specifications, requiring adaptive bitrate streaming and robust transcoding solutions. Plus, analytics and reporting tools to monitor performance, viewer engagement, and ad effectiveness necessitate the integration of
multiple data sources and backend systems.
The fragmented nature of these technologies means that any disruption or incompatibility can significantly hinder the performance and reliability of the channel. Thus, it is not just a matter of assembling the right pieces. It’s also ensuring those pieces work seamlessly together, making it a complex and ongoing challenge.
The third consideration is the myriad of government regulations that vary across geographies. For example, European FAST channels face the stringent requirements of the General Data Protection Regulation (GDPR) privacy and security law. GDPR mandates consumers must provide active consent before ads can be served to them. This regulatory hurdle impacts the ad revenue potential for FAST channels operating in Europe, adding another layer of complexity to their monetisation strategies.
FAST Forward to Profit
So, how do you overcome these three common, yet significant, challenges? First, by partnering with server-side ad platforms and matching ad marketplaces to your content types, you can improve ad placement and monitoring. Continuously monitoring channels will ensure they hit the desired CPM and fill rates. Actively adjusting ad-run times, breaks, and targeting can provide better monetisation outcomes. A well-matched ad marketplace matches ads, consumers and content.
Attracting advertisers in the FAST ecosystem demands more than just content creation; it requires data-driven strategies, targeted marketing efforts, and strong relationships with advertisers. Channels must demonstrate value to advertisers by leveraging viewer data and analytics to offer targeted ad placements. The FAST ecosystem employs two primary monetisation models:
• Revenue-Share Model: The platform sells the ad inventory and shares the revenue with the channel. This is the most prevalent model.
• Inventory-Share Model: Both the platform and the channel sell portions of the ad inventory and retain their respective revenues. This model can be advantageous for channels that want to have more control over their ad sales and access to audience data.
In Europe, Revenue-Share Models with syndication platforms provide a more viable strategy, where direct consumer delivery conflicts with GDPR requirements. Syndication endpoints, such as Samsung TV+, Freevee and Virgin Stream, handle ad insertions and handle a single opt-in for ad delivery, providing a more straightforward path to monetisation.
Additionally, the competitive landscape of streaming services necessitates continuous innovation and adaptation. Channels must invest in understanding audience preferences and behaviours to create compelling content that not only attracts viewers but also keeps them
engaged. This ongoing effort can help increase viewership, making the channel more appealing to advertisers.
To overcome technology challenges, it’s crucial for media companies to find a managed services partner (like Vubiquity) who understands the intricate nature of this technology. Opting for a managed service that can deliver comprehensive, end-to-end solutions is not just a smart move - it’s essential for ensuring seamless operations. Plus, those who can offer a full suite of services will help reduce your juggling act with multiple vendors. By carefully partnering, you gain access to expertise that addresses the complexities of FAST technology, allowing you to focus on creating outstanding content.
A streamlined approach ensures that your channels operate efficiently and effectively, free from the technological hiccups that often plague the industry. This not only enhances viewer experience but also optimises your operational workflows.
The Future is FAST
Despite the challenges, there is reason to remain optimistic about the future of FAST channels. Take the example of US-based Pluto TV, a FAST pioneer that offers a variety of channels and on-demand content. It succeeds by curating a broad range of content that appeals to diverse audience segments. A user-friendly interface and the ability to mimic traditional cable TV with linear channels made it attractive to cord-cutters. Plus, its acquisition by ViacomCBS in 2019 expanded its content offerings and secured financial backing.
Every week, new FAST channels emerge, driving net growth. Brands continue to invest where consumer attention lies, and with the right technology and ad strategies, FAST channels can achieve high CPMs.
The importance of matching quality content with the right audience cannot be understated. Good content can attract an audience and make money where it couldn’t otherwise. FAST has also lowered the cost of making niche content profitable, provided you can operate the channel effectively by matching the right ads with the content.
From technological fragmentation to regulatory hurdles and ad monetisation issues, navigating this landscape requires expertise and innovative solutions. By simplifying the tech stack, partnering with ad platforms, and understanding regional regulations, businesses can unlock the full potential of this burgeoning market.
Visit https://www.vubiquity.com
VisualOn and Intel Optimise Live Video Streaming
VISUALON RECENTLY announced it now supports Intel Xeon CPUs and Intel Datacenter GPUs to improve live video streaming efficiency and quality. VisualOn’s AI-enhanced universal content-adaptive encoding (CAE) solution, the VisualOn Optimiser, now supports the Intel QuickSync Video (QSV) hardware encoder for H.264, HEVC, and AV1. In addition, the Optimiser can run purely on dual socket servers using the Intel Xeon Scalable processor family with the Intel Data Center GPU Flex Series, bringing significant enhancements to live video streaming.
Secure Low-Latency Streaming
IRDETO AND BITMOVIN have formed a strategic partnership to deliver enhanced secure video streaming experiences. The collaboration integrates Bitmovin’s Player and Analytics suite into the Irdeto Experience streaming platform. Together, they will provide streaming service providers, content owners, and pay-TV operators with solutions that address the critical need for low-latency streaming.
Leveraging the VisualOn Optimiser, video service providers can significantly reduce the bitrate for live video streaming while maintaining outstanding visual quality, achieving more than 40 percent bitrate reduction for H.264 encoding, more than 50 percent reduction for HEVC encoding, and close to 40 percent reduction for AV1. These savings are achieved while running about the same number of parallel encoding sessions in real time.
VisualOn Optimiser transforms media streaming by using dynamic coding technology that combines parameter matching, scene
recognition, and image quality enhancement. This reduces bitrates by up to 40 percent –while maintaining or improving video quality, as measured by VMAF scores. It utilises a machine learning-based, one-pass framework to predict and adjust encoder settings, optimising each video segment based on its features. Optimiser is available in different versions for various use cases: Optimiser VOD for on-demand video workflows, Optimiser Live for real-time video streaming, and Optimiser Fidelity for reducing the storage costs of massive mezzanine files.
Visit https://www.visualon.com/
The joint offering allows operators to benefit from smooth, high-resolution streaming and advanced advertising and security features. The collaboration also enables operators to extend device reach by covering a wider range of devices in the Smart TV market. Whether for live sports or premium content, this solution ensures an optimal, secure, and efficient viewer experience.
Cloud-Controlled Live Video Encoding
BUILDING ON AWS Elemental Live on-premises encoding appliances and software from Amazon Web Services (AWS), AWS Elemental MediaLive Anywhere is a feature of MediaLive that lets users run live video encoding on premises while using the cloud for management.
MediaLive Anywhere is deployed on users’ hardware, with video processing performed on premises while configuration, control, monitoring, and management tasks are done in the cloud. With MediaLive Anywhere, users can improve hybrid workflow operations, minimise video transit, and connect to on-premises video
sources and destinations.
“When you can’t get your live video sources to the cloud, MediaLive Anywhere brings the cloud to you,” said Manish Rao, GM, AWS Elemental. “If you have a video source or destination anchored on premises or a compute investment that you want to continue to use, MediaLive Anywhere brings the same great capabilities, APIs, monitoring tools, console, and pay-as-you-go pricing that you get with MediaLive to enable encoding anywhere.”
Using MediaLive Anywhere, users can manage hybrid or onpremises video encoding with
Telestream Qualify on AWS Marketplace
IN RESPONSE TO today’s media quality challenges, Telestream has launched Qualify, a cloud-native quality control product on AWS Marketplace.
Qualify leverages Amazon Web Services (AWS) infrastructure to provide a seamless and scalable quality control (QC) solution. Qualify is a cloud-native file-based QC solution designed for those demanding the highest standards in media content quality. By leveraging AWS Marketplace, media companies can now access Qualify effortlessly, integrating it into their
existing AWS-based workflows for seamless end-to-end media processing pipelines.
Qualify helps ensure the quality of media and compliance with broadcast standards. Qualify automates what would be a very time-consuming process, allowing users to focus valuable time on what truly requires their attention. Representing a leap forward in file QC solutions, it provides media and entertainment companies with an extensive suite of tests designed to maintain impeccable video content standards. From general validations
Bitmovin’s Player is known for delivering playback at scale, with compatibility across multiple platforms, including Smart TVs, mobile devices, and web applications. It also features advanced analytics and advertising support, making it an ideal fit for Irdeto’s secure, flexible, and robust streaming ecosystem.
Visit https://irdeto.com/ and
consistent APIs, channel profiles, logs, and metrics. Channels can be configured, controlled, and monitored in one place - even when there are multiple on-premises locations. Each time a user starts a channel in MediaLive Anywhere, they receive the latest features and updates.
For those with video sources anchored on premises, such as SDI, or local network destinations, such as a managed CDN or packager, connectivity is critical. With MediaLive Anywhere, users can reduce complexity by encoding from on-premises video sources. Similarly, users can reduce
overhead and avoid unnecessary round trips to the cloud when you need to send live video to local network destinations.
AWS Elemental MediaLive Anywhere consists of a pay-asyou-go service and appliances that can be purchased through an AWS Partner. AWS recommends you purchase MediaLive Anywhere hardware from a partner that assembles, integrates, and tests hardware to ensure it’s to use. AWS Elemental MediaLive Anywhere is available in all AWS Regions where AWS Elemental MediaLive is available.
Visit https://aws.amazon.com/
like duration, file size, and bitrate to more specific video and audio checks, Qualify ensures thorough compliance and quality assurance across the board. Additionally, the integration of AI-enabled rude word and profanity detection showcases the platform’s commitment to addressing the evolving needs of content moderation in media. For media companies committed to providing outstanding video content, the availability of Qualify on AWS Marketplace empowers them to overcome the most formidable quality challenges, ensuring the
highest quality content delivery across all platforms, along with fast access to the tools needed to accelerate innovation in the cloud.
As technology evolves and broadcast outreach expands, QC staff face new technical and operational specifications in their already busy workloads. These tasks must be completed accurately within tight deadlines, and even as new requirements are introduced, Qualify can simplify the process and perform the heavy lifting for them.
Visit https://www.telestream.net/
Ateme Deploys Titan with NVIDIA Holoscan
ATEME HAS DEPLOYED its Titan video processing and compression solution with NVIDIA Holoscan for Media, an AI-enabled, software-defined platform for live media, to advance broadcasting and streaming content delivery. This collaboration with NVIDIA aims to empower media, entertainment, and service providers by significantly reducing the cost of broadcasting and streaming content while driving the adoption of advanced IP-based workflows.
Through this collaboration, Ateme will leverage NVIDIA’s AI technologies to pioneer the next generation of video experiences by delivering
Secure KVM Remote Controllers
BLACK BOX RECENTLY announced the launch of two new Secure KVM remote controllers: a digital version featuring an LCD touch screen and an analogue version equipped with straightforward and convenient switching between connected sources. These latest additions to the Black Box family of NIAPCertified Secure KVM switches enhance workspace efficiency and streamline secure operations in mission-critical environments. Black Box has also expanded its distribution of certified Secure KVM solutions across Europe, increasing their availability across markets
an end-to-end, IP-based workflow that adheres to the SMPTE ST 2110 standard. This offers broadcasters, service providers, and new media a more efficient, flexible, and cost-effective infrastructure for broadcasting and streaming operations.
Key Benefits of the Integration of Titan with NVIDIA Holoscan for Media:
• Cost Reduction: The integration allows broadcasters, streaming service providers, and new media to substantially reduce operational costs through optimised resource utilisation and enhanced workflow efficiency.
worldwide.
Secure KVM switches from Black Box offer a single point of authorised access to multiple systems while maintaining information classification throughout all connected systems. The digital Secure KVM remote controller introduced today provides users with a customisable touch screen interface, supporting switching up to 16 channels with automated port detection. This high-end version is engineered to reduce desktop clutter by moving the primary secure KVM switch off the desk, leaving
NETINT and Akamai Partner for VPU-Powered Encoding
NETINT TECHNOLOGIES has partnered with Akama to integrate NETINT’s video processing units (VPUs) into Akamai’s massively distributed cloud platform. The collaboration kicks off a wave of development between the two companies to improve video processing and encoding in the cloud.
Adding NETINT VPUs into Akamai’s distributed cloud platform opens
the potential to reshape the economics of streaming media by addressing persistent industry challenges, such as rising content licensing and operational costs; the need for more efficient implementations of advanced codecs; pressure to improve video quality while managing bandwidth consumption; and scalability requirements for growing audience consumption and higher resolutions.
Brightcove Unveils ‘Brightcove AI Suite’
BRIGHTCOVE HAS RECENTLY announced the introduction of the Brightcove AI Suite, a multifaceted product launch designed to shape the future of video and engagement technology. The Brightcove AI Suite will launch with five new AI-powered solutions: AI Content Multiplier, AI Universal Translator, AI Metadata Optimiser, AI Engagement Maximiser, and AI Cost-to-Quality Optimiser.
The Brightcove AI Suite will initially focus on solutions in four key areas: Content Creation: These generative
solutions will help customers breathe new life into existing content libraries by enabling the creation of more videos quickly and easily to engage audiences. Solutions include the AI Content Multiplier, which automates tasks like reformatting horizontal to vertical content, auto-clipping, auto-summarisation, and creating highlight reels, and the AI Universal Translator, which delivers accurate translations in over 130 languages and dubbing in 80+ languages. Content Management and
• Advanced IP Workflow: With full support for SMPTE ST 2110, the integration provides a seamless, all-IP infrastructure, enabling a smooth transition for media companies towards future-proof, IP-based operations.
• Next-Generation Video Experiences: Leveraging the power of NVIDIA’s AI technologies, Ateme paves the way for broadcasters, service providers, and new media to offer immersive, high-quality video experiences, helping set new standards in content delivery and audience engagement.
Visit https://www.ateme.com/
operators with a sleek, intuitive control panel that is both ergonomic and space-saving. The analogue version provides a cost-effective alternative for smaller setups, with simple button controls and support for switching up to four secure channels. Its robust construction, user-friendly design, small size, and secure switching capabilities make it suitable for any secure environment where controlling multiclassification systems without compromising security is essential.
Visit https://www.blackbox.com/
Powered by NETINT second generation silicon, Quadra VPUs offer:
• Encoding Density: Up to 320 live 1080p30 streams, or 80 4Kp30 streams, or 20 8Kp30 channels on a single server.
• Codec Versatility: AV1, HEVC, and H.264 encoding support with VP9, HEVC, and H.264 decoding.
• Resolution Flexibility: Up to 8Kp60 with HDR and 10-bit colour depth.
• Application Integration: API and plug-in support for FFmpeg and Gstreamer.
• AI-Powered Processing: Up to 180 TOPS AI processing per server.
Visit https://netint.com/
Optimisation: These solutions will help customers accelerate workflows and simplify managing content libraries. The AI Metadata Optimiser generates descriptions and transforms content into searchable and AI-optimised data sets to improve discoverability and monetisation.
Content Engagement and Monetisation: The AI Engagement Maximiser delivers capabilities like AI-powered automated video interactivity, personalisation, and recommendations to engage
audiences. The AI Revenue Maximiser optimises ad placements and durations to maximise revenue without affecting viewer satisfaction.
Quality and Efficiency: The AI Cost-to-Quality Optimiser helps companies manage costs by optimising content ingestion and delivery using Brightcove’s Context Aware Encoding (CAE) technology and Quality of Experience (QoE) insights.
Visit https://www.brightcove.com/
In each episode, we bring you insightful conversations with prominent leaders from the content and technology sides of the media industry.
In each 20-30 minute episode, our guests will share their perspectives on the rapidly changing media landscape and offer invaluable advice for aspiring and current media professionals on how to navigate these shifts.
REPLAY FOR EVERYBODY, EVERYWHERE.
RiMotion is an easy-to-install replay solution that can be implemented almost instantly in broadcast environments of any scale. It streamlines traditional and modern workflows and provides real-time performance, even when working remotely.
