Content+Technology ANZ May-June 2016

Ultrix is a compact and incredibly powerful routing platform capable of switching video signals from 270 Mb/s to 12 Gb/s. Software features like audio processing, integrated multi-viewers, and 12 Gb/s signal-switching can be enabled. No special hardware is required for any of these features. Ultrix brings such high-end features to all sizes of systems.

065 Ross Back Page Ad_OL.indd 1 8/06/2016 12:11 pm

VOLUME 13 ISSUE 3 MAY-JUNE 2016

PP: 255003/06831

ISSN 1448-9554

www.content-technology.comMEDIA + PRODUCTION + MANAGEMENT + DELIVERY

ACQUISITION AUDIO NEWS OPERATIONSACQUISITION AUDIO NEWS OPERATIONSACQUISITION

2016 ABESHOW Exhibitors include4 Amber Technology

4 Aspera

4 Blonde Robot

4 Ericsson

4 Grass Valley

4 Imagine Communications

4 Magna Systems & Engineering

4 Onair Solutions

4 Panasonic

4 Quinto

4 Ross Video

4 Sony

4 Techtel

4 Tekinsite

4 VizRT

The ABESHOW is moving from Manly to the Harbour.

This year’s Exhibition, Conference

and Workshops will be held from

August 9 –11 at a new venue, Doltone

House, Darling Island, Pyrmont.

Hear from industry experts on hot

topics such as IP production and

delivery, 4K, HDR, HEVC, OTT, cloud

broadcasting and more.

See the latest solutions to empower

production and delivery of your content.

To register, visit www.abeshow.tvMedia Partner

www.abeshow.tv

PMS 356 PMS Cool Gray 8

Video Technologies

ABE2016

We are proud to be housed in the first six-star green-star

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Situated directly across the road from The Star, Doltone House

Darling Island Wharf including Signorelli Gastronomia and

Biaggo Café, is a spectacular waterfront venue on the foreshore

of Sydney Harbour, with views of the iconic Sydney Harbour

Bridge and magical city skyline. The modern, sleek and stylish

ground floor space incorporates several inviting meeting rooms

and a main event space, with seating capacity for 800 guests.

HARBOUR

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SYDNEYCONVENTION

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Doltone House - Darling Island Wharf

Doltone House - Parkview Rooms

Signorelli Gastronomia

Bar Biaggio

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MAP PARKINGHARBOURSIDE WILSON PARKING

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(opposite Jones Bay Wharf, Doltone House)

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Jones Bay Wharf - Heritage Wharf

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2. DARLING ISLAND WHARF

SG


Biaggio Café



MAP EXTRAS

Jones Bay Wharf Car Park – Wilson Parking

The Star Car Park

Harbourside Carpark

Lift access

Light Rail and stops

Suites directions

Cycle parking


Cycle routes on road


VENUE LEGEND

1. JONES BAY WHARF

BOARDROOMS


Doltone Loft


Suite 55 - Level 4



SG


Biaggio Café



MAP EXTRAS


The Star Car Park

Harbourside Carpark

Lift access


Suites directions

Cycle parking




VENUE LEGEND

1. JONES BAY WHARF

BOARDROOMS


Doltone Loft


Suite 55 - Level 4



SG


Biaggio Café



MAP EXTRAS


The Star Car Park

Harbourside Carpark

Lift access


Suites directions

Cycle parking




VENUE LEGEND

1. JONES BAY WHARF

BOARDROOMS


Doltone Loft


Suite 55 - Level 4



SG


Biaggio Café



MAP EXTRAS


The Star Car Park

Harbourside Carpark

Lift access


Suites directions

Cycle parking




&MAP &MAP PARKING&PARKING

SAVE THE DATES AUGUST 9 –11

Empowering Content Production & Delivery Technology

30

22

43

Cover StoryTHE NETWORK EFFECT – IP Production & Delivery Comes of Age

16 IP-based Production

40 IP-based Content Management

55 IP and Cloud-based Delivery

VOLUME 13 ISSUE 3 MAY-JUNNE 2016

Also see C+T in PDF at www.content-technology.comAlso see C+T in PDF at www.content-technology.com

REGULARS

02 EDITOR’S WELCOME04 NEWS Sony Expands OB Production

Facility; Accedo Refreshes VOD for SBS Australia; Videocraft Scores Hole in One with Golf; NZ Parliament Picks Ericsson for Captions; MediaWorks NZ Selects Brightcove; Mediahub Chooses Mediaware and Magna; New Stations for Nine and TEN Perth.

60 INDUSTRY FOCUS64 EVENTS

FEATURES

11 TAKING STOCK SKY NZ and Vodafone to Merge, Shifting Network Affiliations

14 STANDARDS MPEG Completes Extensions to HEVC Standard, Broadcast Solutions Joins AIMS

16 ACQUISITION The latest in cameras and from NABShow2016, ALEXA Mini to the Max for DoP Josh Stafield, ACS Moves in with Silver Trak’s Media Room, Fujinon Fujifilm Sponsors NZCS Awards, Renews with ACS, Vale Bruce Hillyard ACS

22 SPORTSCASTING Video at Forefront AOC’s Rio Games Strategy, Nine Network and Netball Australia Strike Landmark Media Deal, NBC Gears Up for RIO Games, Orad Settles Into Avid Ecosystem

28 NEWS OPERATIONS NZ Broadcast and Radio Choose LiveU Technology, Magna Systems Upgrades ABC TV ENG Trucks

34 POST PRODUCTION 40 MEDIA IN THE CLOUD IP and

Cloud-based Media Management from NABShow2016, A Modern All-IP Infrastructure for Your Media Digital Transformation, WIN Network Chooses Tedial MAM Solution

45 AUDIO In conversation with Marco Pelloni, Senior Audio Director, Fox Sports; Enabling Direct Monitoring of Audio-Over-IP Streams

51 RADIO Labor Commits to Community Radio, Australian Commercial Radio Welcomes Cuts to Licence Fees, Successful Launch for Indonesian DAB+ Digital Radio

55 CONTENT DELIVERY LDeluxe Software-Defined Playout at SBS Australia, Vodafone-Hutchison Australia Bids for 4G Spectrum, Cloud Playout – As Easy as ABC?, IP-based Content delivery from NABShow2016, Peer-Assisted Streaming Video

CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com

PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 [email protected]

ADVERTISING MANAGER: Adam Buick Tel +61 (0)413 007 144 [email protected] MANAGER: Lucy Salmon Tel +61(0)412 479 662 [email protected] & LAYOUT Wide Open Media Tel +61 (0)2 9282 9359 [email protected]: Lindsay YatesCOPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under

Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

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EDITOR’S WELCOME

By Phil Sandberg

Mumbai

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Istanbul

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Sydney

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Santiago

Seoul

2016 C+T DEADLINES24:0

The C+T (Time) Zone.

16:00 18:00 20:00 22:0017:00 19:00 21:00 23:00

ASIA

‘ASIAPAC’

AUSTRALIA/NEW ZEALAND EDITION

JULY-AUGUST 2016

Editorial Submissions: 06-07-16Ad Bookings: 13-07-16Ad Artwork: 20-07-16

ASIA EDITION

AUGUST-SEPTEMBER 2016

Editorial Submissions: 06-07-16Ad Bookings: 13-07-16Ad Artwork: 20-07-16

FOR MORE INFORMATIONwww.content-technology.com+61-(0)414 671 811

Email: [email protected]

THE RISE OF INTERNET TECHNOLOGY has touched almost every aspect

of society and the content production and delivery industries are no different

to retailing, banking and communications in that regard.

However, what was once only a threat to traditional media has now matured

into an aid to those businesses. Both IP-based production and delivery now

has a reliability equivalent to that of traditional infrastructures, and both

vendors and media companies are now, respectively, commercialising and

adopting IP-based technologies.

Of course, it is still early days and, just as both television frame rate and

transmission standards took time to evolve, IP-based production and playout

standards are evolving and coming together.

Chief among those waving the IP flag at this year’s NAB show in Las Vegas

was the Alliance for IP Media Solutions (AIMS). The group’s efforts are focused

on promoting the adoption, standardisation, development and refinement of

open protocols for media over IP, with an initial emphasis on VSF TR-03 and

TR-04, SMPTE 2022-6 and AES67.

Part of the group’s NAB2016 news was the announcement that it had a new

member in the form of Sony. Founding AIMS member, Grass Valley, also

joined Sony’s IP Live Alliance which itself boasts some 49 vendors in the live

production space.

Sony’s IP Live production technology transmits full HD and 4K video with

ultra-low latency (less than one video field) and can integrate with existing

SDI infrastructure. The company’s Networked Media Interface (NMI), a key

technology of Sony’s IP Live Production System, packetises, transmits and

clean-switches HD and Ultra HD (4K) video, audio, and metadata in real time

over standard network infrastructures.

Sony also demonstrated interoperability with the Evertz-driven ASPEN format.

ASPEN (Adaptive Sample Picture Encapsulation) is a standards-based, open

format that moves uncompressed Ultra HD, 3G, HD, and SD signals over

MPEG-2 transport streams (ISO/IEC 13818-1). ASPEN provides a framework

for transporting separated video, audio, and metadata as independent IP

multicast streams.

Evertz, meanwhile, joined over 25 other vendors in announcing support for

NewTek’s Network Device Interface (NDI) protocol. NDI is an open protocol

enabling IP video workflows across standard GigE networks. NDI allows

video systems to identify and communicate with one another over IP, and

to encode, transmit, and receive multiple streams of broadcast-quality, low

latency, frame-accurate video and audio in real time.

Also seeing its ranks swell was the TICO Alliance. Developed by Belgian

company, intoPIX, TICO (submitted as SMPTE RDD35) is an advanced, visually

lossless compression technology designed to be a standard for moving live

content efficiently over IP networks.

While the number of these initiatives might suggest a plethora of standards

lacking in interoperability, the opposite, in fact, looks like coming to pass

when one considers the overlapping make-up of these groups. With some

vendors belonging to three or more of these groups, there is hope for a family

of open, interoperable standards that will cement the role of IP in the media

industry as a positive, not a negative.

Thanks for Reading

Phil Sandberg - Editor/[email protected]

T: +61-(0)414671811

The Eruption of Disruption

NEWS + PEOPLE

For the latest news visit www.content-technology.com

3

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Find out more at www.aja.com

You travel. You produce.

U-TAP is the new family of USB 3.0, OS agnostic capture tools;

presented in a mobile form factor, suitable for your pocket,

both in size and price.

U-TAP is available with SDI or HDMI, and both ingest your video/audio

directly into a broad range of software, including conferencing

or streaming. The simplicity of USB 3.0 powers your U-TAP

with no drivers required.

KONA IPKONA, now for IP

KONA IP offers the simplest path for your transition into Broadcast IP pipelines, with

SMPTE 2022-6 support today and more coming soon.

KONA IP is designed to be flexible as IP video develops, ensuring broad compatibility today and a standards based approach for future IP needs.

FS4U-TAP SDI and HDMIMulti-format Flexibility and

4-Channel Density in a 1RU Frame

FS4 delivers the most power andcapability we’ve ever offered in a1RU Frame Sync and Converter.

FS4 supports 4K/UltraHD processing in single channel mode with up, down, cross-conversion to/from

2K/HD/SD, and a full four channels of 2K/HD/SD conversion and processing for remarkable per

channel cost and space savings!

HELOStream and Record...

at the touch of a button

HELO is a mobile standalonerecorder and streaming device withall the inputs you need for capture

and a wealth of ports for recording to USB, SD, and network storage.

Deliver your stream directly to aweb Content Distribution Network

(CDN) while simultaneously recording high quality,

compact size H.264 files.

FS4Multi-format Flexibility and

AJA is pleased to offer a range of new solutions for the established and emerging pipelines you work withtoday and will integrate tomorrow. We have announced a range of new connectivity, signal conversion,

recording, capture, playout and streaming solutions.

Mini-Converters with solutions for HDMI 2.0, HFR and IP transport, desktop solutions for HDBaseT, Broadcast IPand 3G-SDI, the flexible multi-channel FS4 with incredible support for both HD and 4K/UltraHD workflows,

new openGear cards, and powerful customer requested firmware updates for Ki Pro Ultra and CION.

These are the solutions you’ve been waiting for.

Game ChangersNew Technology for Broadcast IP, Multi-Channel HD,

4K/UltraHD, Streaming, Capture and More

NEWS + PEOPLE

For the latest news visit www.content-technology.com

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SONY AUSTRALIA HAS FURTHER EXPANDED its OB vehicle production facility in Beresfield near Newcastle, north of Sydney. The facility has been responsible for building some of the latest and most high tech OB trucks ever seen in the Southern Hemisphere, and includes vehicles for NZLIVE New Zealand, TV3 Malaysia, NSW Racing Australia, TDC Australia and Telstra.

Brett Kilby, Sony Australia Group Manager – Solutions Engineering, explained, “The original reason we built the Newcastle facility was to expand the capabilities of our operation when we were at North Ryde, with the addition of being able to provide the coach and vehicle build along with adding significant broadcast system supply, design and installation services. The success of the Beresfield plant has been unprecedented and as such we have expanded our services and facilities to match.”

Sony’s Beresfield OB production facility was custom built to allow for both vehicle build and broadcast installation together. According to Kilby, the planning for the plant and its expansion leaves little they cannot produce in terms of mobile broadcast vehicles and results in major benefits for their clients.

Kilby continued, “At the far end of the facility is where the heavy metal, cutting and welding of the build happens. The chassis will arrive at this end where the floor pan structure, outer body panels, lower locker, entry doors and air conditioning system are manufactured and fitted to the chassis. Once at lockup stage the internal flooring, ceiling, carpets, racks, cabinetry and power are manufactured and install into the vehicle, at that point the vehicle is ‘rack-ready’. It is this ‘rack-ready’ state that usually requires a separate

company to provide the vehicle but we are able to build this from scratch. Once ‘rack-ready’ we can start the installation of the broadcast equipment.”

Sony Australia’s Solutions Division also provides studio and other fixed installations where the Beresfield facility will manufacture custom racks, flyaway racks, carpentry and benches to be used in the installations.

Kilby added, “At the Beresfield facility we have expanded to now specialise in three main areas, custom vehicle design and build, broadcast system design and installation (including studio projects), and the design and installation of air conditioning and power systems. This allows us to give our customers a true full turnkey solution, something no other facility in the region can.”

Brett Kilby concluded, “We can build multiple vehicles simultaneously from the smallest van-type vehicles through to the very large double expanding semi-trailers. All in all as a result of our expansion we truly believe we have the most unique production facility of its kind in Australia and the Asia Pacific region.”

Visit www.sony.com.au and www.sony.co.nz

Sony Expands Australian OB Vehicle Production Facility

ACCEDO, THE PROVIDER OF TV application solutions, has announced that it will work with SBS Australia to refresh the broadcaster’s OTT service, SBS OnDemand, and extend its reach across more devices this year.

SBS re-launched the SBS On Demand website in June last year and together with Accedo will now look to continue to roll-out the fresh video experience across all existing platforms as well as a selection of new and emerging devices in Australia including iOS and Android phone and tablet devices, Apple TV, Telstra TV (powered by Roku), Chromecast, Sony PlayStation (PS3 & PS4) and leading Smart TV platforms such as Samsung, LG, Sony and Panasonic.

“Accedo is helping take the SBS On Demand video experience to the next level by simplifying the complexities of delivering a consistent, dynamic user experience across every screen. As audience consumption habits continue to evolve, SBS On Demand is central to SBS’s commitment to exploring

and celebrating diversity through inspired entertainment using cutting edge technology and our partnership with Accedo is a key to its continued success,” commented Head of SBS On Demand David Gwynne.

The refreshed SBS On Demand experience will offer an uncluttered and engaging new interface that will make it even easier for viewers to explore and enjoy the 4000 hours plus videos available.

“We are delighted to have worked with SBS for close to five years now and honoured to have been entrusted to extend the SBS On Demand to many millions of devices during this time. We are excited to now be in a position to take video experience to the next level and help SBS continue to pave the way in what is a highly-competitive streaming market in Australia,” explained Matt Kossatz, Vice President – Asia Pacific at Accedo.

Visit www.accedo.tv

Accedo Refreshes VOD for SBS Australia

[email protected]

EQUIPMENT SALES - SYSTEMS INTEGRATION - TURN-KEY PROJECTS - EQUIPMENT RENTAL - SUPPORT

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Blackmagic URSA Mini is a handheld Super 35 digital fi lm camera with an incredible 4.6K image sensor and a massive 15 stops of dynamic range! The super compact and lightweight design is perfectly balanced, making it comfortable enough for all day shooting. URSA Mini lets you shoot at up to 60fps, features a 5” foldout viewfi nder, dual RAW and ProRes recorders, and more!

Incredible 4.6K SensorURSA Mini can capture images at a resolution and dynamic range that goes well beyond that of traditional motion picture fi lm so you can shoot your own epic, cinematic masterpiece! You can capture images up to 4608 x 2592, which is larger than 4K DCI, with 15 stops of dynamic range so you get incredibly clean pictures with amazing detail in everything from the darkest shadows to the brightest highlights! URSA Mini can record 4.6K at up to 60fps, or 1080 HD at up to 120fps.

Lightweight and PortableURSA Mini’s perfectly balanced is body made out of space aged magnesium alloys so it’s rugged, yet lightweight and comfortable enough to be used all day. You get a super bright 5 inch fold out 1080 HD display for on-set monitoring, professional connectors such as 12G-SDI, a high quality stereo microphone and a side grip with control buttons mounted on a standard rosette. The fold out monitor is also a touchscreen that can be used to change settings, display overlays for timecode, histograms, audio meters, focus peaking and more!

Completely CustomizableBlackmagic URSA Mini is completely customizable so you can create a rig that’s built specifi cally for your production! Add accessories like the Blackmagic URSA Viewfi nder and Blackmagic URSA Mini Shoulder Kit, or choose from hundreds of third party accessories. URSA Mini has 9 standard ¼” threaded mounting points on the top and bottom of the camera so you can mount it directly to a tripod as well as add accessories such as rails, matte boxes and more.

Non-Stop RecordingYou never have to stop recording because URSA Mini features two CFast 2.0 recorders! When one card is full, recording automatically continues onto the next. URSA Mini uses the latest, incredibly fast CFast 2.0 technology for recording speeds up to 350 MB/s. Wide dynamic range images are saved as 12-bit RAW fi les, which are perfect for high end grading and e� ects work, or as broadcast quality ProRes, for easy post production workfl ows with minimum storage requirements!

Blackmagic URSA Mini, the lightweight Super 35 4.6K digital fi lm camera with 15 stops of dynamic range!

www.blackmagicdesign.com/au Electronic Viewfi nder, lens and accessories sold separately.

Blackmagic URSA Mini 4K EF $4,649Blackmagic URSA Mini 4K PL $5,419Blackmagic URSA Mini 4.6K EF $7,729Blackmagic URSA Mini 4.6K PL $8,499Blackmagic URSA Mini Shoulder Kit $615Blackmagic URSA Viewfi nder $2,339 Blackmagic URSA Mini B4 Mount $459

All models include DaVinci Resolve 12 Studio for editing and color correction.

6

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NEWS + PEOPLE

THE OATES VICTORIAN OPEN is one of the premier events on the Australian golf calendar. Both men’s and women’s championships are played simultaneously over four days at the beautiful 13th Beach golf course. This year, organisers Golf Victoria wanted to raise the standard and level of innovation higher than ever before and include live streaming of the tournament. For that they turned to Sean Mulcahy from Australian Network Productions and Videocraft who provided all the OB and live streaming facilities.

Mulcahy explained, “This event has gone from strength to strength and the addition of live streaming really took it to new heights. As a result I wanted an OB company that were innovative and that I could trust. Having dealt with Videocraft for years I knew they would be the perfect OB partner. They are a boutique operation who have great people like Andy Liell and Mark Grooby on their team, stock the very latest in equipment, have great local support and backup and a fantastic work ethic.”

Having again been entrusted with the coverage of the Oates Victorian Open, the job of integrating live streaming and knowing golfing superstars including Karrie Webb, Nick Cullen and Richard Green would be taking part, Mulcahy knew a great tournament awaited them, and for that they needed to provide the very best services to meet expectations.

Mulcahy and the Videocraft team designed and implemented a flexible and powerful onsite OB setup that included Yamaha audio, six channels of EVS, a Blackmagic 4K switcher, Ross Xpression graphics and RF links all based around Videocraft’s unique FlyPack. With the production day at the Open starting early and the live feed going to air at midday everyone on the team had to be prepared.

Mulcahy added, “Videocraft live switched the coverage whilst also integrating EVS replays and packages. The entire event was then played out to the Open’s official YouTube channel via a Livestream box. The aim was to provide a more intimate and informal coverage that included talking with the players in between shots. This also meant we had to be nimble and agile. We also

set up a marquee where a host did player interviews. All in all the production was slick and efficient.”

Sean Mulcahy concluded, “I am extremely proud of our team for the job they did at the Oates Victorian Open. For such a small operation, the product was outstanding and in my view, has revolutionised golf coverage. Golf Victoria were ecstatic with the result and rightfully so as they can now comfortably lay claim to this country’s most exciting golf tournament. I must again thank Videocraft who really went above and beyond in terms of service.”

Visit www.videocraft.com.au

Videocraft Scores Hole in One at Oates Victorian Golf

VITEC VIDEO INNOVATIONS has appointed Quinto Communications as exclusive master distributor in Australia and New Zealand.

Vitec specialises in Video over IP solutions, videostreaming, recording and monitoring, media management and over-the- top (OTT) productsand solutions supporting the complete video technology workflow for broadcast, educational institutions, government agencies, military, transportation, telecommunication, medical, sports and entertainment business sectors.

The Vitec Video Innovations line-up includes:

• MGW Sprint professional-grade H.264 HD Codec;

• MGW ACE H.265 and H.264 hardware encoder;

• MGW Premium encoder which encodes and streams up to five streams (2 HD or up to 4 SD) of broadcast-quality video;

• MGW PICO, the world's smallest professional HD H.264 encoder with HD/SD-SDI and Composite inputs;

• EZ TV Enterprise IPTV system for delivering live and recorded video, on a scheduled or on-demand basis, across organisations to computers, TV screens and mobile devices over LAN, WAN, WiFi and cellular networks, or over the public internet;

• Monisys ML-Series media logging system;

• Proxsys PX centralised web-based management and usage system for video, audio, graphic and data files; and

• MGW DVB, a cost-effective, simple solution for tuning in to terrestrial and satellite TV content and turning it around as IP stream on LANs and WANs.

Visit www.quinto.com.au

Vitec Appoints Quinto for ANZ

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The Videocraft OB production solution at the 2016 Oates Men's and Women's Victorian Open golf tournaments.

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NZ Parliament Picks Ericsson for Live CaptionsERICSSON HAS WON an exclusive multi-year access services contract with the Office of the Clerk of the House of Representatives in New Zealand. The contract will see Ericsson remotely deliver live captioning services for the Parliament TV broadcasts of the sittings of the New Zealand House of Representatives. The new captioning service will be available on Parliament TV for the first time from August 2016.

David Wilson, Clerk of the House of Representatives, said “One in nine people in New Zealand uses captions when watching TV content. So providing live captioning for our Parliament TV audience is a significant advance towards making Parliament’s information even more accessible. As a result, live captioning will enable more people in our communities to be informed about and involved in the work of their Parliament.”

Thorsten Sauer, Head of Broadcast and Media Services, Ericsson, said, “This contract to provide captioning to the New Zealand Parliament is an important win for Ericsson and marks the first time that we will be delivering our world-class captioning service to New Zealand. At Ericsson, we believe that content should be accessible by everyone, especially content that is integral to shaping a country’s future and the lives of its citizens.”

In March, Ericsson announced multi-year captioning contracts with Australian public service broadcasters, ABC and SBS. In November, Ericsson also announced a multi-year news captioning contract with ANC, Australia’s leading 24-hour multi-channel, multi-platform news service provider. As part of the contract, Ericsson provides captioning services for SKY NEWS-produced bulletins on Qantas flights.

Ericsson’s closed captioning business is one of the largest in the world, with hubs in Australia, the UK, France, Germany, Spain, the Netherlands and the US. Ericsson has been providing captioning services for over 30 years and delivers 230,000 hours of captions every year, 100,000 of which are live. It is also the world’s largest provider of TV audio description and sign-language translation.

Visit www.ericsson.com/broadcastandmedia

THE DIRECTORS OF THE SOLOMON ISLANDS’ National Broadcaster, SIBC, have appointed a New Zealand company to develop a plan for a national public television service. The SIBC currently operates a number of radio services throughout the country.

According to SIBC Chairman Mr. Loyley Ngira OBE, Directors had discussed the desirability of a national TV service in late 2013 and an Australian Media Assistance Project funded a Feasibility Study in early 2015.

The SIBC Board accepted the study and forwarded it to the Prime Minister with a recommendation that a project be formulated to design and fund the service. The Prime Minister – who is also Minister for Broadcasting – provided funds to hire a television consultant to start work on the project plan.

The Consultant is Mr. Gregory Drummond of Telemedia Consulting Ltd, formerly Director of Broadcast and Media with Sky Television New Zealand who has also worked for Television New Zealand.

The SIBC Directors also approved a plan to commence with a pilot television service as soon as possible to establish a presence in the TV

market and also enable staff to be prepared for the main project.

If plans proceed as expected the pilot service will be operational before June. In the meantime, when the Project plan is completed, it will be taken forward by the Prime Minister for funding in the 2017 budget.

SIBC expects that around 50 percent of the population will be served within the first five years of the TV service and other population centres will be provided access soon afterwards.

SIBC has proposed to Telekom Television Ltd that they collaborate to provide the television service – including the pilot phase – since TTL has the TV transmitters and infrastructure and SIBC would concentrate on providing content. Discussions will be held with Telekom Television Ltd directors. A subsidiary of telco provider Our Telekom, Telekom Television provides free-to-air Television services in the capital, Honiara, and other regional centres. The country is also serviced by pay TV/Internet provider SATSOL.

Visit www.sibconline.com.sb

Solomon Islands to Roll Out National Public TV Service

MediaWorks NZ Selects Brightcove for Online VideoBRIGHTCOVE, THE PROVIDER OF cloud services for video, has announced that MediaWorks, New Zealand’s largest independent broadcaster, has selected Brightcove Once to deliver ad-supported video experiences for its on-demand television service 3NOW on mobile and connected devices. The recent selection of Brightcove Once expands MediaWorks’ existing use of Brightcove’s Video Cloud and uses server-side ad insertion (SSAI).

MediaWorks has adopted Brightcove Once for 3NOW on iOS mobile devices, such as iPhone and iPad devices,, after a successful launch of the server-side ad insertion product on Apple TV in late 2015. It will also expand Once to support its radio and television websites and mobile apps.

Using Once, MediaWorks can now publish high quality video experiences and protect video content rights, as Brightcove is the only company to support Apple FairPlay Streaming DRM with ad insertion for Apple TV and iOS. MediaWorks will also be able to access new video monetisation opportunities through expanded ad units and pay-per-click models.

“We have been testing out new ad delivery techniques in order to enhance our online audience’s user experience, and we are proud to be the world’s first to use SSAI with FairPlay DRM on iOS,” said Tom Cotter, Chief Information and Product Officer at MediaWorks. “With Brightcove Once, we have an industry-leading, turnkey, solution that will give us a significant advantage by circumventing ad blockers, therefore effectively monetising video content.”

Visit www.brightcove.com


ARCHIMEDIA

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MEDIAHUB AUSTRALIA has chosen InStream from General Dynamics

Mediaware, coupled with Enensys IP Guard supplied by Magna Systems,

as its end-to-end, multi-channel linear TV channel ad insertion solution for

the regionalisation of GO! and 9Life channels.

MediaHub head of operations, Scott Jolly explained, “We were looking

for a sophisticated playout solution that would significantly reduce our

total cost of ownership as we transition to becoming an all-IP facility.

After discussions with Magna Systems and InStream demonstrations from

the Mediaware team, we decided on InStream Splice with Mediaware’s

time delay, logo insertion, and audio normalisation software as it met our

requirements perfectly. The end-to-end InStream software suite operating

on our blade servers, combined with Enensys seamless IP switchers for

redundancy, will save us a considerable amount of time and money moving

forward.”

InStream Splice is a multi-channel linear TV channel ad insertion and

play-out software application for digital television, cable, satellite, and

IP networks. It inserts ads, bugs and logos, acts as a live video switcher

and server, and supports emergency alert systems. To ensure the GO! and

9Live audiences receive the glitch-free viewing experience they demand,

InStream Splice inserts content directly into live transport streams without

the need to decode back to baseband. Splicing is clean, frame accurate,

controlled, and synchronised with MediaHub’s existing automation system.

Enensys’ IPGuard provides automatic 1+1 redundancy of IP networks, or

network appliances that output IP streams such as encoders, multiplexers,

and DVB-T2 gateways, providing 100 percent protection of the solution in

case of power outage. IPGuard is composed of two products – IPGuard E2:

1+1 Smart IP switch for data port redundancy, and IPGuard S5: Seamless IP

switch for 1+1 stream redundancy.

Ian Fellows, director of marketing at Magna Systems commented,

“MediaHub are committed to transitioning to an all-IP infrastructure,

and InStream from Mediaware satisfied all of the requirements for cost

efficient ad insertion into multiple WIN regional markets. WIN is conducting

an exhaustive

technology refresh

that includes

IP-based Cisco

encoders so the

combination of

InStream Splice

and seamless IP

switching from

Enensys was an

ideal fit.”

Fellows continued, “Scott and his team immediately saw the value in the InStream Splice solution for WIN. With a single InStream Server system in 1+1 configuration system licensed for the 22 individual services, InStream can handle 32 markets, and the complexity of regional time zones, simply and seamlessly.”

Scott Jolly concluded, “Magna Systems and Mediaware have provided us with a cost-effective, efficient, frame-accurate ad insertion solution which now allows us to overlay any content into the transport stream without reducing the quality of the stream itself. Use of off-the-shelf hardware and transportable Mediaware licences will keep costs down, and we have been impressed with how the Magna Systems and Mediaware team have ensured the solution satisfies MediaHub’s requirements.”

Visit www.mediaware.com.au and www.magnasys.tv

Mediahub Chooses Mediaware and Magna

AUSTRALIA’S NETWORK TEN has announced the relocation of its Perth television station to a brand new state-of-the-art property in the thriving Perth suburb of Subiaco. Ten says the move is an integral part of the Network’s commitment to deliver the highest standard in television broadcasting through high-tech television stations that are industry-leaders in the digital era.

Network Ten’s General Manager Adelaide, Perth and Operations, Frank Filosi, said, “Our innovative new purpose-built office, newsroom and operating systems will truly transform the way we work. The long term investment in this cutting-edge workplace demonstrates Network Ten’s commitment to the Perth market and leading the digital transformation of the television industry. The modern station is ideally located in the exciting new property development Subi XO precinct, 502 Hay Street, Subiaco,

close to Perth’s CBD. We couldn’t have found a better location and we are excited to be able to call Subiaco our home for many years to come.”

Leasing director, Paul Collins of Lloyd Collins Property Consultants, said, “Network Ten is our first signing at Subi XO since its launch. Network Ten will be at the centre of a new, vibrant retail and commercial hub comprising two 10,000sqm office buildings, a 168 room four-star Park Regis Hotel, five cinemas, and Subiaco’s newest retail plaza. We welcome Network Ten and wish them many years of successful broadcasting from their new hub in Subiaco.”

TEN Perth will leave its current site at Cottonwood Crescent, Dianella after 28 years. The move is scheduled to commence during late 2016.

Visit http://tenplay.com.au/corporate

TEN Perth to Move to New High-Tech Station

CHANNEL NINE’S NEW HOME in Perth, Western Australia, is advancing on

schedule for a September 2016 launch. Construction of the new digital

studio on St Georges Terrace is well advanced, with Nines’ technology team

now on site having commenced the job of integrating new technology

throughout the commercial fit-out.

Nine’s fit-out contractor, Renascent Constructions, is also advanced, having

commenced on the site in early January – working closely with Cooktown

constructions who are the base builder and responsible for the delivery of

the of the new studio building.

Project Director, Scott Soutar said, “The Nine Perth team are very excited

to see it all coming together. Its an enormously co-ordinated approach to

deliver a project of this scale in the timeframe, and immensely satisfying to

witness the development as it starts to come together.”

Visit www.ninentertainment.com.au

New Nine Perth Station Well Advanced

lan Sweeney, Chief Executive Officer, MediaHub Australia.

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• Supports HEVC (H.265) in addition to HD & SD• Mosaic viewing of up to 25 videos• Electronic Program Guide Guide• Advanced VOD services including time-shift

lan Sweeney, Chief Executive Officer, MediaHub Australia.

NEWS + PEOPLE

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DEANNE WEIR HAS JOINED FOXTEL as Executive Director of Channel Aggregation and Wholesale.

Ms Weir, who spent ten years as Group Director, Corporate Development at Austar, is currently Chair of the boards of captioning business Ai-Media; Emmy and BAFTA award-winning production company Hoodlum and concert streaming business Moshcam. She was, until recently, Deputy Chair of Screen Australia, and is active in the not-for-profit space including as Chair of the Australian Women Donors Network.

Foxtel CEO, Peter Tonagh said, “Deanne will take the lead in working

with our channel partners to ensure that great brands like Disney, BBC,

Discovery, Fox, Turner, NBCU and Viacom continue to deliver world

leading content to our subscribers. Deeper relationships with these

extraordinary companies will enrich both Foxtel and their Australian

operations. She will also work closely with our Executive Director of

Television, Brian Walsh and his team to ensure that we continue to

deliver our subscribers a better entertainment experience.”

Visit www.foxtel.com.au

Deanne Weir Joins Foxtel Executive Team

FOLLOWING THE OPENING OF Professional Audio & Television’s office in Auckland early this year, the company has just announced the appointment of Evan Purnell as General Manager for its new subsidiary.

Mr Purnell, who comes from a long career in international broadcast production, has previously worked for companies such as Al Kass in Qatar, Sky TV in New Zealand and worked in Europe as a freelance engineer on many international broadcasts.

“Evan’s experience and business acumen speaks for itself,” said Patrick Salloch, Managing Director of Professional Audio & Television. “The people within our company are the reason behind our continued successes and growth, and to find the right fit in Evan was crucial for the New Zealand market. He has a unique skill set in that he has staff management experience, has been an operator and engineer on international broadcast events, and he is very enthusiastic about the technology solutions we provide.”

Mr. Purnell enthused, “I can’t wait to start my new role with PAT in New Zealand. The expertise and brands PAT offers in New Zealand make for a very compelling case that we will be able to grow the market share significantly. Brands such as LAWO, VSM, DirectOut, RTW, Pearl Microphones, ENCO and Dimetis provide a very solid platform from which to establish ourselves as a trusted solutions provider, just like PAT has done in Australia.”

Mr Purnell will start his new role in Auckland from the 1st of July.

Visit www.proaudiotv.com.au and www.proaudiotv.co.nz

Evan Purnell to Head PAT New Zealand

Evan Purnell [right] with PAT MD, Patrick Salloch.

Ben Roberts-Smith GM for Seven Brisbane, Seven Queensland

SEVEN WEST MEDIA HAS APPOINTED Ben Roberts-Smith VC MG as

General Manager of Seven Brisbane. Mr Roberts-Smith takes on this

new role – in addition to his current role as General Manager of Seven

Queensland – following the resignation of Max Walters.

Announcing the appointment of Mr Roberts-Smith, Tim Worner, CEO

of Seven West Media said, “Ben has played a key role in our company

over a number of years and has been integral to the development

and implementation of valuable strategies to continue to drive the

company’s dominance in regional Queensland and beyond. His energy,

expertise and innovation will continue to steer Seven Brisbane and

Seven Queensland on their successful and progressive paths.”

Mr Roberts-Smith said, “This is a time of dynamic change for our

industry and Seven continues to lead. I look forward to the challenge of

this new role and leading the next phase of Seven Brisbane and Seven

Queensland’s multi-platform growth.“

Seven Brisbane and Seven Queensland will continue to operate

separately.

Visit www.sevenwestmedia.com.au

Rod Brown Named InfoComm Regional Director Oceania

INFOCOMM INTERNATIONAL, the trade

association representing the commercial

audiovisual industry worldwide, has

announced the promotion of Rod Brown,

CTS-D, CTS-I, to Regional Director – Oceania.

In his new role, he will be responsible for

managing InfoComm membership services,

the education programme in the region,

InfoComm certification and the Australia

Advisory Group.

“We are very pleased to see Rod take

on the role of Regional Director – Oceania,” said Jonathan Seller, Senior

Director Development, Asia-Pacific, InfoComm International. “This position

was created with our commitment in mind to further enhance services to

InfoComm International members in the region. Due to his longstanding

career in the AV industry and through his service as our regional staff

instructor, Rod is highly regarded by our InfoComm members. He brings

extensive experience and connections within the industry to this role.”

Prior to his promotion, Rod served as an InfoComm staff instructor, teaching

InfoComm University courses, presenting seminars at industry events and

delivering AV education webinars. He also worked on the creation of new

and updated learning content. He was the first Australian to earn his CTS-D

certification.

Visit www.infocomm.org

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OUTSIGHT, THE LIGHTING TECHNOLOGY COMPANY, has announced the

appointment of John Virtue as General Manager.

John will be driving Outsight revenue streams globally with a focus on the

APAC region. Other key functions include enhancing operational strategy and

delivering senior consultancy for customers.

John brings over 30 years of industry experience to the role, notably including

twelve years with Panavision as National Operations Manager and Digital Imaging Manager (APAC). He also spent several years with Sony, including a four-year role as Product Manager for Sony Australia, and served as Chief Operating Officer at DFT, the world leader in motion picture film scanning technology. He joins Outsight after two years with his own enterprise, Virtue Consulting, where he serviced film, TV and entertainment clients.

Visit www.outsight.com.au

Outsight Appoints John Virtue as General Manager

NEW ZEALAND’S BROADCASTING STANDARDS has announced the

appointment of Belinda Moffat as its new Chief Executive.

Ms Moffat joins the BSA having most recently held the position of Director

of Enforcement and Investigations at the Financial Markets Authority. She

has a legal background and brings extensive professional experience from

roles in the public and private sector.

The Chair of the BSA, Peter Radich, welcomed her appointment saying,

“We are delighted to welcome Belinda to the BSA. She joins us to lead the

BSA at a time when the sector is facing dynamic change and convergence.”

The Board thanked outgoing CEO Karen Scott-Howman for her

contribution to the BSA and wished her well for her return to the NZBA.

Visit www.bsa.govt.nz

Moffat New Chief for NZ Broadcasting Standards Authority

AUSTRALIA’S NETWORK TEN HAS ANNOUNCED that Executive General Manager, Sydney, Louise Barrett, has decided to leave the company, effective from the 30th of June.

Ms Barrett has held her current role since September 2015. She joined Network Ten in March 2013 as Chief Sales Officer.

Network Ten Chief Executive Officer, Paul Anderson said, “Louise has made an enormously valuable and important contribution to our business over the past three years, culminating in the innovative partnership with Multi

partnership with Multi Channel Network (MCN), a partnership that has transformed the way television advertising air-time is sold in Australia.

“Louise led our Sales team to great results and was a key member of our executive leadership team. She also played a key role in the successful transition of the Sales function to MCN.

“She leaves Ten with our sincere thanks and very best wishes for the future,” he said.

Visit http://tenplay.com.au/corporate

Network Ten Executive GM to Depart

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TAKING STOCKMoves in the business of content + technology www.content-technology.com/mediabusiness

TEN Signs Affiliation Deals with WIN, Southern CrossAUSTRALIA’S TEN NETWORK HOLDINGS has announced it had signed a new regional television affiliation agreement with WIN Network to broadcast TEN’s content and channels across regional Australia.

From 1 July 2016, WIN will bring TEN’s local and international programming, including MasterChef Australia, The Bachelor Australia, Offspring, Formula One and the KFC Big Bash League, to regional viewers in Queensland, Southern NSW, Victoria, Tasmania, South Australia, Western Australia and the Australian Capital Territory.

Reaching more than six million viewers across 23 markets around the country, WIN broadcasts to more of regional Australia than any other free-to-air television network. WIN is one of the most prolific producers of regional news bulletins in the country, with a long-standing commitment to providing local content and a local voice for its viewers.

TEN Chief Executive Officer, Paul Anderson, said: “We are delighted to announce our new agreement with WIN and that our unique and fresh content will reach more Australians through the WIN regional network.

“WIN’s strength in regional Australia, particularly its unmatched commitment to local regional news, combined with TEN’s growing audience

will deliver a great experience for both viewers and advertisers.”

WIN owner, Bruce Gordon, said: “As the largest and one of the longest-standing shareholders in TEN, I am absolutely delighted to formally partner with TEN in WIN Network’s markets throughout regional Australia.”

WIN Chief Executive, Andrew Lancaster, said: “WIN Network is excited to be bringing TEN’s program line-up to regional Australia. Our viewers will get to enjoy TEN’s fresh and innovative programming and sport in high definition and our advertisers will get the benefit of a network whose audience is heading in the right direction.”

Under the five-year agreement, WIN will pay TEN a higher affiliation fee than that currently paid under TEN’s existing regional program supply agreements. No other details of the agreement will be released.

The deal follows the announcement of an affiliation agreement between TEN And Southern Cross Media for Northern New South Wales, Australia’s most highly populated regional licence area.

That agreement is for a term of five years from 1 July 2016 at an increased licence fee to that applying under the previous TEN/SCA affiliation agreement, which expires on 30 June 2016.

Visit http://tenplay.com.au/corporate, www.wintv.com.au and www.sca.com.au

NEW ZEALAND’S Sky Network Television Limited and Vodafone Group Plc have announced they have reached an agreement to create an integrated media group in New Zealand through the combination of SKY (also owner of Prime TV New Zealand) and Vodafone New Zealand Limited.Vodafone NZ is New Zealand’s leading mobile and number two broadband provider, with over 2.35 million mobile connections and over 500,000 fixed-line connections. SKY is New Zealand’s leading pay TV provider with over 830,000 subscribers.SKY will acquire all the shares in Vodafone NZ for a total purchase price of NZ$3.437 billion (USD$2.443 billion), cash and debt free, through the issue of new SKY shares giving Vodafone Europe B.V. a 51% interest in the Combined Group and cash consideration of NZ$1.25 billion, to be funded through new debt. The new SKY shares will be issued at a price of NZ$4.25 representing a 21% premium to SKY’s last close of $4.47 and 27% premium to SKY’s 1 month VWAP of $4.25 on June 7th, 2016.SKY Chairman, Peter Macourt said, “The merger with Vodafone is a transformational strategic step for our company. The transaction is also highly attractive to our shareholders. Our shares are being issued at a premium to market price and shareholders also participate in the substantial synergy benefits we expect from the transaction.”SKY Chief Executive, John Fellet said, “This is a significant and positive step in SKY’s evolution as a premium entertainment company. We already enjoy an excellent partnership with Vodafone, bringing together our two highly complementary businesses is in the best interests of shareholders and customers. The Combined Group will offer exciting new packages with SKY’s premium entertainment content, Vodafone NZ’s communications and digital

services of the future.”

Vodafone NZ Chief Executive, Russell Stanners said,” This is an exciting time for the rapidly evolving communications and entertainment industries. The merger brings together SKY’s leading sports and entertainment content with our extensive mobile and fixed networks, enabling customers to enjoy their favourite shows or follow their team wherever they are. The combination with SKY will bring greater choice, enhanced viewing experiences and will better serve New Zealanders as demand for packaged television, Internet and telecoms services increases.”

A shareholder meeting to vote on the proposal is expected to take place in early July.

Following completion, the Chairman of SKY, Peter Macourt, will be Chairman of the Board of the Combined Group, Russell Stanners, currently CEO of Vodafone NZ, will be appointed CEO of the Combined Group, while John Fellet will be appointed CEO of Media and Content, reporting to Mr Stanners.

A video of the announcement can be viewed at http://video.skytv.co.nz/public/SKY_ANNOUNCEMENT.mp4

Visit www.sky.co.nz and www.vodafone.co.nz

SKY NZ to Merge with Vodafone

[L-R] SKY Chief Executive, John Fellet; Vodafone NZ Chief Executive, Russell Stanners; SKY Chairman, Peter Macourt; and SKY CFO, Jason Hollingworth, announcing the proposed merger.

Nine Signs Landmark Affiliation Agreement with Southern Cross AustereoAUSTRALIA’S NINE ENTERTAINMENT CO. (Nine) (ASX:NEC) and Southern Cross Austereo (SCA) (ASX: SXL) have announced the signing of a regional television affiliation agreement. The five year agreement will see SCA broadcast Nine’s metropolitan free-to-air television content into regional Queensland, Southern NSW and regional Victoria from 1 July 2016.

Under the agreement, the SCA channels will carry Nine’s branding and broadcast its premium Australian and international content including The Voice and The Block, as well as all NRL and Cricket broadcasts, providing a seamless Nine brand across metropolitan and major regional markets.

SCA will pay Nine an affiliation fee of 50 per cent of its television revenue.

As part of the new affiliation deal, Nine and SCA have agreed to work together on a number of opportunities to mutually grow their businesses.

The agreement provides for a substantial expansion of news services broadcast by SCA. Nine’s market leading News bulletins featuring international, national and locally produced news will be broadcast to regional markets across Queensland, Southern NSW and Victoria.

As part of the arrangements, SCA will provide national sales services for Nine’s NBN channel in Northern NSW and NTD9 in Darwin. This will provide advertisers with a centralised port of call for their regional advertising on Nine’s content across the entire Eastern seaboard.

Visit www.nineentertainment.com.au and www.sca.com.au

© 2016 Quantum Corporation. All rights reserved.

POWER WHAT’S NEXT

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to predict the impact of advances like 8K, UHD, OTT, or EST, not to mention computing,

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Quantum® can show you how to POWER WHAT’S NEXT.

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MPEG Completes Extensions to HEVC StandardMPEG’S RECENT 114TH MEETING marked the completion of Screen Content Coding (SCC) extensions to HEVC – the High Efficiency Video Coding standard. This set of tools augments the compression capabilities of HEVC to make it the flexible standard for virtually any type of video source content.

Screen content is video containing a significant proportion of rendered (moving or static) graphics, text, or animation rather than, or in addition to, camera-captured video scenes. The new SCC extensions of HEVC greatly improve the compression of such content. Example applications include wireless displays, news and other television content with text and graphics overlays, remote computer desktop access, and real-time screen sharing for video chat and video conferencing.

The technical development of the SCC extensions was performed by the MPEG and VCEG video coding joint team JCT-VC.

Meanwhile, MPEG has completed verification tests of SHVC, the scalable form of HEVC. These tests confirm the major savings that can be achieved by Scalable HEVC’s nested layers of data from which subsets can be extracted and used on their own to provide smaller coded streams. These smaller subsets can still be decoded with good video quality, as contrasted with the need to otherwise send separate ‘simulcast’ coded video streams or add an intermediate ‘transcoding’ process that would add substantial delay and complexity to the system.

The verification tests for SHVC showed that scalable HEVC coding can save an average of 40–60 percent in bit rate for the same quality as with simulcast coding, depending on the particular scalability scenario.

Further verification tests were also conducted on MV-HEVC, where the Multiview Main Profile exploits the redundancy between different camera views using the same layering concept as scalable HEVC, with the same property of each view-specific layer being decodable by the ordinary HEVC decoding process. The results demonstrate that for the case of stereo (two views) video, a data rate reduction of 30 percent when compared to simulcast (independent HEVC coding of the views), and more than 50 percent when compared to the multi-view version of AVC (which is known as MVC), can be achieved for the same video quality.

Finally, the recent MPEG meeting also marked the first full meeting of the Joint Video Exploration Team (JVET), a new partnership between MPEG and ITU-T’s VCEG formed to identify advances in video compression technology. The two groups have joined together to explore new technology possibilities for video coding that lie beyond the capabilities of the HEVC standard.

The team has developed a Joint Exploration Model (JEM) for simulation experiments in the area, and initial tests of the first JEM version have shown a potential compression improvement over HEVC by combining a variety of new techniques. A new Call for Evidence or Call for Proposals will likely be issued in 2016 or 2017 toward converting this initial JVET exploration into a formal project for an improved video compression standard.

Visit http://mpeg.chiariglione.org

Broadcast Solutions Joins Alliance for IP Media SolutionsAT THIS YEAR’S NAB SHOW IN LAS VEGAS, Broadcast Solutions

GmbH signed up for membership of the Alliance for IP Media Solutions

(AIMS), making it the first international system integrator to join

the association which was established to promote the adoption,

standardisation, development and refinement of open protocols for

media over IP.

Headquartered in Germany, Broadcast Solutions has offices in Russia,

Dubai, Ukraine, Hungary and Thailand.

AIMS is organised as an independent trade association for broadcast

industry members to promote open protocols and standards to ensure

the transition to IP in the broadcast business. At the core of AIMS’

roadmap is to promote IP standards in the broadcast industry that have

been developed using a collaborative, non-proprietary approach such as

SMPTE 2022-6, VSF TR-

03 and VSF TR-04.

With the transition to

IP taking place in the

broadcast business

it becomes crucial to

foster open standards

for the manufacturers

and systems integrators

to work on a common

basis. Being an

international and

hardware independent

system integrator, for Broadcast Solutions it is of paramount importance

to offer future-proof solutions to our customers. Promoting open

standards in accordance with major trade organizations such as SMPTE,

VSF or AES we are very much looking forward to contribute to the goals of

AIMS for the benefit of all in the broadcast business,” said Rainer Kampe,

CTO at Broadcast Solutions.

Visit www.aimsalliance.org and www.broadcast-solutions.de

Rainer Kampe, CTO of Broadcast Solutions, signs the AIMS membership agreement together with AIMS Administrator, Tina Lipscomb.

NAB SHOW 2015 PREVIEW

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Auckland +64 9520 1582 Hong Kong +852 2563 4453 Jakarta +62 8181 43923

Singapore +65 6282 3613 Sydney +61 2 9417 1111 [email protected] www.magnasys.tv

Some say that the future is uncertain. But with Magna,

it couldn’t be clearer. For almost 50 years, Magna has been

Asia Pacific’s leading systems integrator for Broadcast Media,

Pay TV and Service Providers. With Magna, you’ll always

know what’s beyond the horizon. We’ll get you there

securely – we owe it to our reputation.

Contact your local Magna office for more information

and a free consultation today.

Your future is in safe hands

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IP Production Goes Live at NABJust as the quality of service for IP-based play-out has improved to the point of viability, so too has the robustness of IP in the live production arena.

GRASS VALLEY ANNOUNCED A MAJOR COLLABORATION with Sony to develop industry-wide IP interoperability based on the two companies’ IP-based solutions and devices. As a result of the agreement, Sony will become a full member of the Alliance for IP Media Solutions (AIMS).

In order to foster better interoperability across the industry and ensure a pathway for customers to a standards-based approach, Grass Valley plans to implement an IP-to-IP gateway card compatible with its GV Node Real Time IP processing and edge routing platform. This card will ensure compatibility between Sony’s Networked Media Interface (NMI) and Low Latency Video Codec (LLVC) technologies and systems based on standards supported by the AIMS roadmap.

Sony’s NMI, a key technology of Sony’s IP Live Production System, ‘packetises’, transmits and clean-switches HD and ultra high-definition (4K) video, audio and metadata in real time over standard network infrastructures.

Another result of the collaboration is Sony’s participation in the AIMS initiative to promote the adoption of widely supported, open standards to enable IP-based interoperability and further industry migration to IP-based platforms. Grass Valley is a founding member of AIMS, which launched in December to promote and advocate for widely accepted, open IP standards that will lead to assured interoperability for devices based on industry standards such as SMPTE ST 2022-6 and TR-03 and TR-04, proposed by VSF and AES67.

Grass Valley has also entered into a Memorandum of Understanding (MOU) with Cisco to develop IP workflow solutions for broadcast that will improve customers’ business agility. The MOU creates an environment for widespread collaboration between the two companies, covering IP networking, virtualised computation and security solutions. Of note is the more immediate plan to develop a solution that combines the strengths of Grass Valley’s Broadcast Data Centre architecture, with Cisco Media Blueprint solutions comprising IP-based, virtualised, and media-aware network infrastructure and applications based on open IP standards. Visit www.grassvalley.com and www.sony.com/nabshow

Sony has unveiled solutions to further enhance its interoperable IP Live Production system with Networked Media Interface.

The expanded offering now includes:

• HDC-4800: an integrated 4K 8x/HD 16x Ultra High Frame Rate Camera system

• BPU-4800 base-band processor unit with replay sever capability that can record up to 4 hours of 4K ultra-high speed content for replays.

• BPU–4500 base-band processor unit enabling the routing of 4K signals which support long distance transmission either over an IP Network or through standard SMPTE or single mode fibre cables.

• HDCU-4300 combined camera control unit (CCU) / base-band processor unit (BPU) for Sony’s HDC-4300, which optimises the space needed within an OB environment.

• PWS-4500 multiport A/V Server that can handle 4x 4K signals/8x HD Signals using XAVC 10bit Codec for high quality recording & playback including High Dynamic Range (HDR).

• XVS-8000, XVS-7000 and XVS-6000: multi-format switchers that accept hybrid SDI and IP I/O’s with powerful 4K and HDR operations, inheriting the operational features of MVS series

Sony’s IP interoperability group, the IP Live Alliance, has grown to 49 vendors across the live production space and, in addition to SMPTE 2022-6 - the protocol for Audio and Video mapping, the company is focussing on other ‘planes’ of interoperability – timing, identity, discovery and registration, flow control, flow switching and compression.

Sony has made submissions to SMPTE on a Low Latency video Codec (LLVC) and will also make submissions on a Network Device Control Protocol, and a Media Transport Format.

Sony says the real proof that its Networked Media Interface technology is ready and future-proofed comes from the challenging live environments it is being used in already. The biggest Brazilian commercial broadcaster, TV Globo has just started using the world’s first purpose-built 4K/IP outside broadcasting truck, based on Sony technology including the new HDC-4800, to cover the upcoming sporting events in Brazil.

Sony also showcased 4K IP Live and ASPEN Interoperability in collaboration with Evertz and Evertz’ Software Defined Video Networking (SDVN) solution.

The Evertz-backed ASPEN protocol allows for video, audio, and metadata to be individual IP multicast streams. Sony has been a member of the ASPEN Community since last September, at IBC 2015. At NAB 2016, Sony showed working prototypes which output and receive ASPEN streams for interoperability with other ASPEN products. Sony says it plans to develop its cameras and production switchers for interoperability in the ASPEN workflow.

Sony and Evertz will continue the collaboration for interoperability among the IP-based broadcast equipment of the two companies, based on the support of the Networked Media Interface as well as ASPEN.

Visit www.sony.com/iplive

ANOTHER IP-BASED PARTNERSHIP AT NAB2016 was that of Canon and Panasonic. Along with Canon, Panasonic demonstrated a proposed Video over Internet Protocol (VoIP) technology using the newly-developed VoIP Gateway for 4K and HD.

Despite the potential for confusion with Voice-Over-IP, Video over Internet Protocol (VoIP) is a technology for transmitting high-definition video over IP networks in nearly real-time which, Panasonic says, is sufficient for seamless video switching.

Panasonic says its position is that an open and flexible approach to the use of IP technology in the field of video production is absolutely essential to furthering VoIP for the whole industry. Specific initiatives have included collaboration with Grass Valley (announced at IBC 2015) and officially joining the Alliance for IP Media Systems (AIMS) in March 2016.

Panasonic has been collaborating with Canon on VoIP trials in anticipation of 4K/60p transmission. At NAB, a 10Gb Ethernet cable connected the two companies’ booths where each had a 4K camera. The Panasonic booth also had a 4K video server. Together, the booths exhibited a system using the VoIP Gateway in which users could select video to display from the server, with support from switching software.

Panasonic’s VoIP Gateway converts 4K/60p baseband signals into IP packets

Sony’s HDC-4800 integrated 4K 8x/HD 16x Ultra High Frame Rate Camera system.

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and uses TICO compression to enable transmission of up to three channels of 4K/60p on a single 10GbE cable. It enables two-channel 4K/60p signals or eight-channel HD signals in a 1U size complying with SMPTE 2022, SMPTE 2059 and SMPTE RDD 35, as well as time-synchronization through the IP network.

The lightweight TICO video compression makes 4K video transmission realistic, and to achieve this Panasonic is partnering with intoPIX, the developer of theTICO codec.

In the future, Panasonic anticipates building the VoIP gateway functionality directly into products, allowing video production equipment to seamlessly connect by VoIP.

Visit www.panasonic.com

BLACKMAGIC DESIGN ALSO ANNOUNCED its adoption of the ultra low latency TICO compression technology developed by intoPIX.

Blackmagic Design will be launching video solutions that support live transmission over Ethernet networks. The TICO compatible products will include the TICO 4:1 visually lossless compression algorithms from intoPIX that make it possible to convert and transmit high-quality video streams with extremely low latency and allows them to transport HD or Ultra HD video streams over IP networks.

“Broadcasters have been asking us for video over IP solutions for quite some time” said Grant Petty, CEO Blackmagic Design. “The TICO codec delivers incredible image quality with extremely low latency and we believe it is the ideal codec for our IP video solutions. Our partnership with intoPIX means we will be able to offer our customers advanced HD and Ultra HD video over IP products that will integrate with other TICO compatible studios and broadcasters around the world.”

Visit www.intopix.com and www.blackmagicdesign.com

MEANWHILE, NEWTEK ANNOUNCED NewTek Connect Pro, a multi-purpose software tool designed to seamlessly connect IP video formats of new and existing video production hardware and software to work together.

NewTek Connect Pro provides a simple, affordable bridge for producers and facilities transitioning to IP-based video production workflows. It

brings together IP video standards including Newtek’s NDI and support for streaming IP formats found in cameras from JVC, Panasonic, PTZ Optics, Sony, and Vaddio. Users can take advantage of a true end-to-end IP live production workflow. Further, combining these IP video sources with SDI capture cards, customers can expand production capabilities as needs develop and grow. With announced support of ASPEN and SMPTE 2022, users can also build production workflows with confidence regardless of format.

NewTek Connect Pro transforms a host computer into a multi-channel video converter for stored media playback, local webcams, or video signals from compatible sources. NewTek Connect Pro also includes NDI Connect Webserver. This additional application distributes video sources to the web browser of any suitable device on the network. Remote viewers can each select up to 16 different video sources, displaying them in a web browser in a variety of convenient layouts.

Once installed, NewTek Connect Pro provides any production workflow up to 4 video sources as inputs or outputs. Access the I/O of any cameras, decks, and devices connected via compatible capture cards, serve up stored media files for live playback, or increase camera count with local webcams. Tally and AutoPlay functions are also supported via NDI.

NDI Connect Pro Highlights:

• Up to 4 input or output channels, independently configurable with built-in standards conversion

• Support for a range of capture devices from vendors that include AJA, Blackmagic Design, Bluefish444, DELTACAST, Magewell, Matrox, Teradek and others; DirectShow devices, webcams, desktop computer capture, and more

• Support for Key + Fill pairing on input and output

• Support for common IP cameras including models from Panasonic, JVC, Vaddio, PTZ Optics, and Sony

• Links common IP standards including NDI, ASPEN and other SMPTE 2022 integrations

• Built-in media playback for video files and still images (including alpha channel) provided

• Support for common computer system audio and sound sources, including professional audio cards, AES67, and Dante

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• 8-channel audio, with per-channel level control and headphone monitoring

• Integration between hundreds of software solutions, including those from NewTek, VizRT, Chyron, BrainStorm, Broadcast Pix, and hundreds more

• High-quality still image grab from any source, with motion adaptive deinterlacing

• NDI Connect Webserver for remote viewing of NDI sources from the web browser of any networked device, including iOS and Android devices

• Fully configurable colour correction settings, including white balance, proc amp controls and automatic colour correction

• Integrated Waveform and Vectorscope for real-time signal monitoring and adjustment

• Full field-rate multi-view monitoring, with supplemental NDI program return monitor, selectable layouts, support for dual-monitor workspaces, and configurable graticule overlays, including VU meters, title safe, 4:3 safe, alpha channel checkerboard and centre cross

• Frame-rate and resolution cross conversion, frame sync and audio reclocking on all inputs

NewTek Connect Pro is available as a one-time purchase for US$995, or as a subscription for $49 per month. A free version called NDI Connect, allowing for 2-channels, is also available.

Visit www.newtek.com

LASTLY, JVC PROFESSIONAL VIDEO introduced a new fibre studio system based on its 800 Series ProHD cameras. Built exclusively for JVC by MultiDyne Video & Fiber-Optic Systems, the system supports 3G-SDI 1080p/60 camera feeds and returns, and takes advantage of the camera’s built-in streaming engine for video-over-IP functionality.

The camera module connects directly to the back of GY-HM890 camcorder via 68-pin interface – no external cables required – for full studio functionality. It transports multiple bi-directional 3G-SDI signals as well as control, audio, sync, and intercom between the camera and the FS-900 Base Station.

Up to three cameras are supported by the Base Station, and its redundant power supplies provide up to 150 watts for each camera, as well as prompters and talent monitors.

With built-in gigabit Ethernet, the lightweight, 2 RU Base Station also allows video-over-IP, control and advanced configuration. JVC will offer an optional multi-viewer card for the Base Station, and the module will be available in multiple configurations to address specific customer cable and intercom requirements. Both the camera module and base station will be available in June 2016

Visit http://pro.jvc.com

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Bird Dog Provides ‘IP Glue’ for SDI and HDMI CamerasBIRD DOG, THE MAKER OF NDI enabling hardware has announced the global launch of Bird Dog Studio which will enable any camera with SDI or HDMI to work with the open IP protocol NDI.

“With the release of NDI, the amazing open IP platform, it became clear to me that the real enabler of this technology would be to have cameras giving your production workflow NDI rather than baseband video. This seemed like a great idea for a product but with so many companies making mini-converters we needed to make something really great,” said Dan Miall, co-founder and technical director at Bird Dog.

“To set ourselves out from the crowd we had to make the best product possible. We feel we have nailed that by adding an awesome Tally

interface, flexible powering abilities, innovative mounting options, and with a distributed fleet management console to control your whole pack of Bird Dog Studios. The logo and name probably helps us stand out a bit too,” continued Dan Miall.

Bird Dog Studio enables existing cameras to be included into a new IP workflow for live productions. Once users convert their HDMI or SDI signal to IP, any network connection becomes a live video input into a switcher or live production workflow.

Bird Dog Studio will be available later in 2016 and the company is currently recruiting re-sellers and distributors globally.

Visit www.bird-dog.tv

ALEXA Mini to the Max for DoPIN 2015, HAVING WORKED in film and television in a variety of roles for ten years, Melbourne-based Josh Stafield made the decision to go fulltime as a freelance cinematographer, and the camera he chose to accompany him was the ARRI ALEXA Mini supplied by ARRI.

Stafield had used the ALEXA classic, amongst other cameras, on previous jobs and had achieved good results on it, but he also felt the user experience as an operator was far superior with the ALEXA .

“I also felt more confident using ALEXA for daytime exteriors and hard light sources,” he says. “I felt it handled highlights better. So, when it came to purchasing a camera I went with the camera that was user friendly and could be used effectively in a range of situations, in other words the ALEXA Mini.”

When deciding on the camera Stafield did his research – not only with the technology but also with the market.

He explains, “I toyed with the idea of purchasing an ALEXA classic but the reality is that productions often demand the most recently released models of camera. Also the small form factor of the ALEXA Mini meant it could be configured for a variety of different jobs. That was important to me because my work requirements are quite varied, everything from simple corporate interviews through to high production value drama. Sometimes I’m on my own and sometimes I’m with a reasonably sized crew. Many people also require gimbal or drone work so the Mini increases the number of jobs I can go for. While I don’t often use the 4K recording, it’s good to have the option if a production has that requirement. I also like having the option of shooting anamorphic even though budgets make that a rare occurrence. Built in NDs is also a huge help, particularly if I’m operating on my own. I also wanted a camera that was tough enough to rent out to other operators if I’m not using it.”

With the camera choice made Stafield began to realise that the ALEXA mini also gave him an edge when shooting that other cameras did not.

He said, “The ALEXA look is widely respected throughout the industry and most of my clients and collaborators agree that it produces the best image on the

market. Combine that with an adaptable form factor, high resolution, high frame rates and you have a very attractive bit of gear. I’m often hearing that the ALEXA Mini is quickly becoming the ‘go to’ camera for high end productions so it helps my business to have access to a camera that is in demand. As a result my Mini has been used in run and gun, drone, Steadicam, Tero, gimbal and car mount configurations. It also stays on the sticks for some shoots because it’s a great A-camera in its own right.”

For Stafield, handheld work is a staple, something his new ALEXA Mini is an ideal weight for, as he added, “Not too heavy, not too light. The other great thing about the Mini is that the short length allows you to get into tight corners or get close to the ground for low angle shots. It’s amazing what a few extra inches can mean when composing images in restrictive spaces. Every job I do with the Mini leaves me more impressed with the camera. I’m very critical and particular when looking at my own work so it’s a nice feeling to see the rushes from every job come back and see the results have exceeded expectations, even with just a stock standard LUT applied.”

For more on Josh Stafield and his work, go to: www.joshstafield.com

Visit www.ARRI.com.au

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ARRI’s LCUBE Signal Converter and Cforce Plus Lens MotorARRI HAS INTRODUCED two new ECS products: LCUBE CUB-1 and cforce

plus Lens Motor.

The LCUBE CUB-1 is a miniature signal converter that converts LBUS

protocols to serial protocols and vice versa. Previously it has not been

possible to view the readout from ultrasonic distance measurers such as

ARRI’s UDM-1 on the Wireless Compact Unit WCU-4 when using the ALEXA

Mini with integrated lens motors. Now, the UDM-1 can be connected to the

ALEXA Mini via the LCUBE and a daisy chain of one or more cforce motors,

delivering distance readings to the WCU-4. This allows focus tracking in

the same manner as with other ALEXA cameras or the Universal Motor

Controller UMC-4.

Many different functions and many different camera setups are possible

with this multi-purpose protocol converter. In the future LCUBE CUB-1

will support various other serial protocols, permitting the latest ARRI ECS

accessories to communicate with third-party cameras.

Visit www.arri.com

Grass Valley’s LDX 86N Native 4K CamerasDEMAND FOR 4K UHD content is increasing, and Grass Valley aims to meet that need with the latest range of its LDX 86 series of cameras – the the LDX 86N series.

Built using Grass Valley’s UHD 2/3-inch imagers, the LDX 86N provides native 4K resolution in true 16:9 aspect ratio, using lenses intended for broadcast with no cropping or zooming effects. The cameras are suited to outside broadcasting as well as live and studio productions, giving broadcasters the option of selecting between the highest image resolution with native 4K, or switching to native 3G/HD for all applications where 3G/HD performance is required.

Each camera uses three native 4K XensiumHAWK CMOS imagers that support full native 3840×2160 4K resolution and offer a pixel technology called DPMUltra (dynamic pixel management). With DPMUltra, the camera also provides native 1920×1080 HD acquisition inside the imager without the intrinsic downsides of 4K acquisition, such as rolling shutter and decreased sensitivity.

The LDX 86N system cameras work with the XCU XF fibre base stations and XF Transmission adapters. The LDX 86N series will be available in multiple configurations that are switchable with software licenses.

Visit www.grassvalley.com

GOOGLE AND IMAX Corporation recently announced that the companies are working to develop a cinema-grade virtual reality (VR) camera – the IMAX VR camera. IMAX’s engineers and camera specialists will work with Google to design the high-res cameras from the ground up, leveraging IMAX’s capture technology.

IMAX developed its first 2D 15perf/65mm film camera in 1976. To this day, it remains the highest-resolution camera in the world – providing approximately

10x more resolution than 35mm film. IMAX has built a suite of high-end capture devices, including recent developments of a lightweight 3D digital camera as well as a new 2D digital camera developed in partnership with ARRI.

IMAX will also provide Google with exclusive access to pre-existing IMAX documentary content for conversion and use with Google’s VR technology.

Visit www.imax.com

Google and IMAX to Develop VR Camera

ALEXA SXT produces images in HD, 2K and 4K, while delivering high dynamic range. Not only does ALEXA SXT meet the resolution needs of 4K and UHD distribution with easy workflows, it is also equipped to create content that will take advantage of emerging HDR display technologies. ARRI recently announced new recording formats for the range.

ALEXA SXT cameras offer a total of 14 recording formats, including the following new modes:

• ProRes 2K and 4K Cine Anamorphic – The camera creates a ready-to-view ProRes image in the 2K or 4K DCI delivery format, with no debayer, cropping, re-scaling or de-squeezing needed in post.

• Open Gate with a lower data rate. Combines the immediacy, speed and economy of ProRes with the resolution advantages of Open Gate.

• ARRIRAW 3.2K – Offers the largest pixel raster that also fits inside the image circle of most ARRI Super 35 PL mount lenses and reaches 120fps. Less of a data load than 4K, but enough resolution for padding or up-sampling.

• ALEXA SXT now features four independent monitoring outputs, catering to the needs of different people on set. Each output has completely independent settings such as: image processing, surround view, status info, peaking, and false colour.

Visit www.arri.com

ARRI Adds Features to ALEXA SXT

BLACKMAGIC DESIGN recently announced that the Blackmagic URSA Mini 4.6K and the Micro Cinema Camera have commenced shipping, and that specifications of the two cameras have been changed. Blackmagic Design understands some customers who have back ordered an URSA Mini 4.6K may like to change their order as a result of this feature change.

With the URSA Mini 4.6K, customers can choose between two different models of URSA Mini. Originally URSA Mini 4K was intended to be the entry level model and the URSA Mini 4.6K to be the higher end model. However, now these two cameras are targeted for different kinds of work. Customers can choose between URSA Mini 4K if they want global shutter for fast action

sports, and URSA Mini 4.6K if they want wide dynamic range for high end digital film work. The URSA Mini 4K is the global shutter model, able to shoot global shutter high frame rate 4K footage at up to 60 frames per second, making it suitable for shooting fast action live sport.

Visit https://www.blackmagicdesign.com

Blackmagic’s URSA Mini 4.6K and Micro shipping

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ACS Moves in with Silver Trak’s Media RoomTHE AUSTRALIAN CINEMATOGRAPHERS SOCIETY (ACS) has become the latest organisation to invest in Silver Trak’s Media Room smart media storage, management and delivery service. The society, of which Silver Trak is a platinum sponsor, will now have access to customised Media Rooms for each of its state branches and a National ACS Media Room.

ACS national president Ron Johanson explained, “This is a wonderful and very natural step for the ACS as the possibilities and opportunities when using Media Room are endless. As Media Room is so instantly accessible we will be using it for a wide range of things including sharing content between committee members such as awards submissions that were previously handed around on hard drives, archiving precious ACS footage and viewing pre-screeners - all at the simple touch of a button.”

Media Room addresses the specific needs of any content owner who has media assets they want to store, manage and deliver from the convenience of any web connected device. In simple terms, it gives the user 100 percent control over their assets and the ability to use Silver Trak’s services such as QC, file storage or Aspera fasp high speed data transfers without paying any licence fees and without leaving the comfort of their seat.

In addition to archiving, the safe and secure sharing of content nationwide is a service that Media Room immediately brings to the ACS and its members.

Visit www.silvertrak.com.au

Vale Bruce Hillyard ACSWEDNESDAY, JUNE 1ST saw the loss of a stalwart of the Australian Cinematographers Society with the passing of Bruce Hillyard ACS.

Bruce was born in Gisborne, New Zealand in 1931, and lived there until he was nineteen before attending Wellington University doing a BA degree. He worked at a Wellington-based photographic business, living rent free in a flat above the company’s dark room, before gaining a position with the New Zealand National Film Unit as a camera operator. There he received training in the Unit’s film laboratory, in camera operation, repair, and editing.

His work included numerous short films and documentaries, including: Peter Weir: Short Film Collection (Video), 2005, The Fifth Facade, The Making of the Sydney Opera House (documentary short), 1973, Top End (documentary), 1973, Gentle Strangers, 1972, Incredible Floridas (documentary short), 1972, Bullocky (short), 1969, Personnel, or People? (short), 1969, Sculpture Australia ’69 (short), 1969, Canberra (documentary), 1968, Sailor (documentary), 1968, Aircraft at Work (documentary), 1966, Painting People (documentary short), 1965, Festival in Adelaide, 1962, Oil: Our Hidden Wealth (short), 1962, The Karri Forest (short), 1962, and Under the Nullarbor (short), 1962.

Hillyyard also wore many ACS hats over his long career, including NSW Vice President, Federal President, Federal Secretary & NSW/Federal Treasurers.

According to ACS National President, Ron Johanson, “The latter showed his uncanny ability to wisely manage the ACS investments to the extent that the ACS National Executive was able to finally fund the dream originating back in 1958 when the ACS was formed, to have our own National Headquarters. He left many legacies and these are a further testament to his contribution and his great love of the ACS and the industry.”

Bruce Hillyard ACS was inducted into ACS Hall of Fame in 1997. The ACS National Headquarters, located at Level 2, 26 Ridge Street, North Sydney, is now is home to the Bruce Hillyard Library, housing hundreds of publications, all donated to the ACS.

Visit www.cinematographer.org.au

Fujinon Fujifilm Sponsors NZCS Awards, Renews with ACSSHOWING ITS SUPPORT for cinematographers on both sides of the Tasman,

Fujinon Fujifilm has announced it is not only sponsoring the newly

established New Zealand Cinematographers Society (NZCS) Awards,

but has also signed up as a major national sponsor of the Australian

Cinematographers Society’s (ACS) for the ninth consecutive year.

This year heralds the establishment of NZCS Awards that will celebrate,

honour, and encourage cinematography in New Zealand.

The NZCS Awards will be celebrated at a prestigious black tie dinner in the

Grand Tea Room of the Heritage Hotel Auckland on Saturday 15 October

2016. Fujinon Fujifilm was one of the first trans-Tasman companies to offer its

support.

According to the company’s GM of recording media and optical devices, Marc

Van Agten, “We are delighted to be able to support the NZCS, another great

society, who puts advancing the needs of its members and the great craft of

cinematography in New Zealand first.

“We’re looking forward to a long partnership with the NZCS as the feedback

we get from cinematographers helps us develop, manufacture and refine

the Fujinon lenses, such as the recently released Cabrio XK 6×20 zoom lens,

which they in turn use to create their magic on the screen.”

NZCS President, Richard Bluck said, “We are delighted to have Fujinon

Fujifilm on board. It’s a great fit since they have such a long and productive

relationship with our colleagues at ACS. In particular, it’s great to have

Fujinon’s Marc van Agten and Chris Royal on board, given their experience

and standing in the industry.”

One or more Gold, Silver, and Bronze awards will be made in each of

14 categories encouraging wide participation and providing plentiful

opportunities for sponsors. The NZCS Awards will be capped by a New

Zealand Cinematographer of the Year award, a best-in- show award selected

by the judging panel.

The NZCS Award categories include: Student films; Experimental and

installation; Music videos; News and current affairs; Magazine, lifestyle, and

reality; Corporate and educational; Short films; Documentaries; Dramatised

documentaries; Specialised cinematography; Commercials; Teleseries;

Telefeatures; and Feature films.

Meanwhiile, Fujinon Fujifilm has signed on to be the Australian

Cinematographers Society major national sponsor for the ninth straight year.

The company has had a long and successful relationship with the ACS that

includes initiatives such as the Fujifilm motion picture film contributions

which helped in the establishment of the ACS national HQ in North Sydney,

being a major participant in all state and national awards ceremonies and

providing support when top international DoPs visit the society.

ACS National President Ron Johanson said, “Clearly everyone at the ACS is

delighted that Fujinon Fujifilm have again decided to be our major national

sponsor for the ninth year. The relationship between the ACS and Fujinon

Fujifilm is one built on mutual respect and without the support and the

collaborative spirit from not only Fujinon Fujifilm but all our ACS sponsors,

the society would not have made the impact it has, both nationally and

internationally. Our ACS National Awards, along with our ACS National

Headquarters are testament to the positive relationship forged with Marc van

Agten and the team. We are very much looking forward to next year where

we can celebrate a decade of support from Marc and everyone at Fujinon

Fujifilm.”

For more on the upcoming NZCS Awards go to www.nzcine.com/Awards

Visit www.FUJIFILM.com.au

TAKING STOCK NAB SHOW 2016 PREVIEW

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SEE EVERY FRAME WITH THE C300 Mark II VIEWFINDER BUNDLE

SmallHD Sidefinder 502 KitOffer period from May 15 to July 15, 2016

The EOS C300 Mark II viewfinder bundle includes: • EOS C300 Mark II (EF or PL)• SmallHD 502 Sidefinder Kit• SmallHD Universal Mounting Kit• Canon RD-1 Rod Clamp

For C300 Mark II information see your authorised Cinema EOS dealer or visit canon.com.au/c300mkii

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SPORTSCASTINGSPORTSCASTINGSport coverage worldwide www.content-technology.com/sportscasting

Video at Forefront of AOC’s Rio Games StrategyTHE AUSTRALIAN OLYMPIC COMMITTEE (AOC) is a non-government, not-for-profit organisation supporting development of high performance sports and athletes in Australia through funding and other initiatives. The AOC holds the responsibility for selecting and funding Olympic and Youth Olympic Teams to represent Australia at all Olympic Games.

The AOC is also responsible for spreading the Olympic spirit and ideals throughout the wider community, and educating Australians on the history of Australians at the Olympics since 1896. The AOC’s website hosts relevant content about Australian teams at the Games to provide the Australian public a sense of the journey behind the scenes of those chasing the Olympic dream. As a non-for-profit organisation, the AOC relies upon support from its sponsors, contributions from the Australian Olympic Foundation (AOF), fundraising at corporate events, and the backing of state governments. As such, the digital strategy of the AOC helps generate interest from sponsors and foster interest in Australian athletes.

Video has long been a part of the AOC’s broader content strategy. Its video content is primarily produced in-house. However, these videos tended to be produced sporadically. In an effort to engage consistently with the public, and also noting the high engagement metrics of video to attract and retain audiences, the AOC continues to put greater emphasis on consistent video content as part of the its content marketing strategy. Beijing 2008 was the beginning of this campaign, London 2012 with 470 videos took another large step, with the Rio campaign marking the next level in the quality of video content.

The AOC looked to accomplish several goals with its revamped marketing strategy, including better control over its content, driving further website traffic, along with a more effective representation of the AOC-associated brands. Back in 2009 it built its own media centre to store and manage video material – other video channels provided less control over the content than was required, especially considering the association of related sports and athlete metadata.

The AOC was committed to invest in its online presence and looked to generate a new revenue stream through its new offerings; something the organisation was unable to do under its previous online model.

In addition, the AOC found it extremely time consuming for its in-house media team to upload, transcode, and manage its portfolio of videos. Consequently streamlining these backend workflow processes was of utmost importance. The AOC set a number of goals surrounding the change, such as the delivery of a consistent user experience across devices, gaining of greater control over video content and advertising, generate additional revenue streams, and simplify backend processes.

The AOC realised a focus on video was key to engaging the public throughout the year – outside of official Olympic dates. To power this revamped video marketing strategy, the AOC selected Brightcove’s Video Cloud solution. With the implementation of Video Cloud, the organisation was able to overhaul its online video workflow, simplifying and optimising the way videos are uploaded, ingested, transcoded, and published to websites, mobile devices, and social media channels.

“As a not-for-profit organisation and with such a small team, we need to work efficiently and streamline processes whenever we can,” said

Andrew Reid, Digital Manager at the AOC. “With Brightcove we are able to streamline the workflow. We can upload a video once and the software automatically transcodes the video to ensure it plays seamlessly for all consumers, regardless of the device, browser, or operating system.”

The organisation also achieved greater control over its video content, increasing its viewer reach and retention. Instead of hosting video content across third party channels, the AOC’s video content is hosted on its own website. By leveraging Brightcove’s YouTube Sync capabilities, the AOC can provide a sample of video content on YouTube while driving traffic to its own site.

Video Cloud has eased the process of sharing video content with other Brightcove Video Cloud customers. During the Sochi 2014 Olympic Winter Games the AOC shared highlights and athlete interviews with Network Ten directly through the Brightcove portal. This annihillated upload and transcoding bottlenecks.

”Before we adopted Brightcove Video Cloud, we had to share video content on CDs and then transcode that data to ensure it played in our players,” Reid said. “This was time consuming and inefficient. But for the Rio Olympics, using Brightcove’s cloud-based video platform we can share and publish content quickly and easily. It’s definitely something we’re looking to do more of in our bid to increase our reach and engage with our fan base.”

Building on this momentum, videos have been added to AccuWeather’s iOS app, making this content even more accessible worldwide. Via the app, users can view new and trending videos across iOS devices. Additional global content expansion is planned in 2016 to reach more users with localised content.

Since partnering with Brightcove, the AOC has completely overhauled its approach to video. Not only has the process of uploading and publishing video been simplified, but the AOC has increased video reach and improved engagement levels.

Between 2011 and 2015, monthly video views on the website increased 273 percent – significantly higher engagement than the organisation had previously experienced. Those metrics are expected to play out through the 2016 Olympics. The AOC is forecasting 280,000 online video views during the Games, an uptick of at least 30 percent compared to the London Olympics in 2012

In the lead-up to the Rio 2016 Olympic Games, the AOC is aiming to create and host more video content on its website. The organisation is planning to create 400 videos about Australian athletes, targeting the team to create online interest for the Games and to educate new fans.

The AOC will now be placing a greater focus on ways to share content across both its own, and partner social channels, to boost its reach and improve fan base engagement. But that’s not all. Now the AOC is planning a new revenue stream through the insertion of pre-roll ads into videos. This will open a new monetisation opportunity – an important funding stream for the non-for-profit organisation.

Visit www.brightcove.com

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IBM AND THE ALL ENGLAND LAWN TENNIS CLUB (AELTC), recently

unveiled new technologies for ‘The Championships’ 2016, marking the next

phase in the AELTC's digital transformation.

New for 2016 is an Apple TV app for Wimbledon developed by IBM Interactive

Experience that will enable fans to engage with Wimbledon in the comfort of

their homes. Users will be able to browse real-time scores, watch the Live @

Wimbledon studio show, listen to three live radio channels, and delve through

all of Wimbledon's video and photo content, bringing the 2016 Wimbledon

experience into their homes.

New Wimbledon smartphone apps for iOS and Android, responsive to all screen

sizes, will provide multi-content personalised feeds for fans at home and on the

move. The new apps also provide an enhanced experience for visitors onsite at

Wimbledon , including personalised messaging, and the opportunity to create

their own Wimbledon Story.

Also new is a Cognitive Command Centre built using IBM's ‘Watson’ and hybrid

cloud technologies. The solution will ingest feeds across multiple social media

channels to automatically understand, reason, and learn the most relevant and

emerging topics of conversation as they relate to Wimbledon, as well as other

major sporting events.

By identifying common topics of interest, IBM can help Wimbledon identify

opportunities to serve related articles, posts and images. For example, the

Cognitive Command Centre could identify emerging conversations around a

Swiss football game at the same time as a peak in interest around a moment in a

Roger Federer match. Using these insights, Wimbledon will be able to make rapid

content decisions to engage and inform sports fans during a summer filled with

numerous major sporting events.

"We are proud to be continuing to evolve and develop our digital strategy,

further enhancing the Wimbledon platforms to ensure that they are the

incomparable Wimbledon destination for millions of fans around the world. As

our content vies for attention in an increasingly competitive sporting landscape,

IBM's technology innovations are key to maintaining our prominence in the

collective mind of our global fan base," said Mick Desmond, Commercial

and Media Director at the AELTC. "With help from IBM, we are providing new

on-site features in the smartphone apps allowing fans to plan their trip to The

Championships in advance, and share their moments on the day. In the home

we are also taking the best and most relevant real time content, and delivering

it to fans in the form of an Apple TV app. Through beautiful design with unique

data driven content and insights these apps will provide fans with a truly unique

Wimbledon experience."

During The Championships, IBM typically captures 3.2 million data points

from 19 courts across 13 days, with an accuracy target of 100 percent and a

sub-second response time. It does this using highly trained tennis analysts and

transforms that data in near real time to provide insights to commentators and

media helping to bring The Championships to life for TV fans.

The AELTC's digital strategy for The Championships is powered by the following

enhanced IBM innovations:

• Real-time content delivery – by providing real time insights around breaking match records faster than anyone else, IBM supports Wimbledon in being first to market with content, helping it rise above the noise of other global media outlets. There will be even more context than ever before, with leader boards of all-time greats and alerts in advance of newsworthy milestones being hit.

• Hill vs. World vs. Queue – a piece of social interaction is rendered in a responsive web page across all digital channels. Questions are posed to those on The Hill via the large screen on The Hill, to those in the Queue, new for 2016, and to the world via Wimbledon's social channels. The responses are analysed and presented back to both communities.

• SlamTracker – extended to mobile web making the most of Wimbledon.com digital experience. This allows fans to go beyond scores to analyse real time and historical player, match and tournament data. Additionally, SlamTracker enables fans to share insights on their social media accounts with the push of a button in the SlamTracker environment.

Wimbledon's digital offerings are delivered via IBM's secure hybrid cloud infrastructure, which enables secure and efficient expansion of existing services and deployment of new services. IBM technologies make it simple to add a workload to the cloud platform within minutes. This improves time to market with a new feature or application. As a result, application deployment time has been reduced by over 95 percent.

As Wimbledon's focus on their digital platforms increases, so does the need to be ever more vigilant around cybersecurity. During the course of The Championships, IBM will detect and block thousands of suspicious events. During the peak Wimbledon period in July 2015 there was a 500 percent increase in cybersecurity attacks year to year, demonstrating an ever changing threat landscape as new forms of digital engagement come into play. Irrespective of this, the challenge for IBM is still to deliver the experience for fans around the world flawlessly.

Visit http://www.wimbledon.com and http://www.ibm.com

IBM and Wimbledon Launch Cognitive and Hybrid Cloud Solutions

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Augmented Reality Graphics for Sports BroadcastingERICSSON HAS ANNOUNCED the launch of Piero Augmented Reality, a software system that gives broadcasters the ability to enhance sports programming and create more immersive viewing experiences.

Ericsson's Piero Augmented Reality enables broadcasters to overlay 3D graphics in real-time during live studio productions and sports games. Sports analysis graphics can be produced instantly either by a system operator or by a presenter using a tablet device. The graphics are then projected onto the studio floor in 3D allowing broadcasters to illustrate the analysis sequence without cutting away from the studio environment. The software is currently being tested by the BBC for its iconic football highlights TV program, Match of the Day.

The market-leading technology, which made its global debut at NAB 2016 in Las Vegas, integrates easily with major studio tracking systems including Motion Analysis and nCam and popular sports information service Opta. In addition to the effects already available in Piero Sports Graphics system, some new ones include:

• 3D Virtual Replay - visualize a replay of the match on the studio floor

• 3D Heat Map - a customizable heat map based on Opta touch data

• Goal Build Up - visualize the passes sequence to a goal or a shot

• Pass Map - visualize a team's passes map during a game

• Actual game footage projected in 3D on the studio floor

• 3D Shots on goal - visualize shot trajectories and attempts on goal

• Penalty Heat Map - customizable heat map based on Opta penalty shots data

Thorsten Sauer, Head of Broadcast and Media Services, Ericsson, said, "When sports programming was first broadcast on TV, data visualisation was confined to basic statistics reporting, separated from the actual sports clips, and relied only on expert commentaries to make data understandable. Piero Augmented Reality

allows broadcasters to go beyond rudimentary, pre-built 2D graphics and bring events to life through data-driven stories for even more compelling viewing and create deeper engagement through stunning artistry. With some major sporting events on the horizon in 2016, we're confident that this industry-first technology will really elevate sports programming to an even bigger stage."

Piero Augmented Reality is a part of Ericsson's Piero product suite. Piero is Ericsson's real time sports graphics software specifically designed to enhance and analyse sports for broadcasters and TV service providers.

Using image recognition and state-of-the-art graphic overlays, Ericsson's Piero enhances sports video media with visually engaging and informative illustrative effects and statistics. The Piero platform enables a wide range of graphical effects to be added to video; from simple markers and counters to more sophisticated effects such as heat maps, formations and 3D flyarounds that can be used for live productions or highlight shows. Piero offers bespoke modules for a wide variety of sports, from football and tennis to hurling and handball.

Visit www.ericsson.com/broadcastandmedia

Nine Network and Netball Australia Strike Landmark Media DealTHE NINE NETWORK, NETBALL AUSTRALIA AND TELSTRA have announced an historic, five-year agreement designed to “supercharge” the sport in Australia – providing netball fans with unprecedented access to domestic and international games.

The deal will significantly increase the exposure on free-to-air television of netball, one of Australia’s most popular sports, with Nine having all broadcast and other free media rights to:

• Two live games and two delayed games in the new national netball league each week, to be played as a prime-time, Saturday night double-header

• All international matches

• All Fast5 domestic and international championship games

• The Constellation Cup (Australia v New Zealand)

• The Quad Series (Australia, New Zealand, South Africa and England)

All these games will be seen on Nine’s broadcast platform as well as streaming service 9NOW.

Telstra will simulcast Nine’s two live games each week and provide the other two weekly games live on the “Netball Live” App, enabling fans to watch these games via subscription on their mobile devices.

In addition, Nine and Netball Australia will work together to commercialise all netball assets, whether they are signage and on-court assets or broadcast integration opportunities, and will share the revenue from such endeavours.

Chief Executive of Netball Australia, Kate Palmer, said: “This is the most significant broadcasting rights agreement in the history of Australian women’s sport. It is truly transformative. This partnership will deliver higher salaries for players, higher distributions to the clubs, enhanced sponsorship opportunities for Netball Australia and individual teams, and unprecedented exposure for netball.”

More details about the national competition and the broadcasting agreement will be announced in the near future.

Visit www.nineentertainment.com.au

FOLLOWING THE LOSS OF English Premier League rights to Optus, Australian subscription TV operator Foxtel has signed broadcast partnership agreements directly with six major English football clubs which it says will deliver subscribers dedicated new sports channels and programming featuring English Premier League games and exclusive behind the scenes content.

From July 1, 2016 – and for the first time in Australia – the official club television channels from top EPL teams Chelsea, Liverpool FC and Manchester United will broadcast 24 hours a day, seven days a week on Foxtel.

Additionally, dedicated programming blocks from high profile teams Arsenal, Manchester City and Tottenham Hotspur will join the FOX SPORTS line-up each week.

Chelsea TV, LFCTV and MUTV are an addition to the Foxtel Sports pack and will boost that pack’s offering to 15 sports channels at no extra cost.

The channels and programming blocks will be available in both high definition

and standard definition. The new channels will give fans unprecedented access and exposure to their favourite clubs, including all games from the Premier League, FA Cup and League Cup.

The new deal will give viewers access to all home and away EPL matches from the six teams, and fans of other clubs will see their teams play 12 times, providing subscribers with more than half the games played each EPL season.

In addition, there will be exclusive access to each of the major clubs including pre-season games, player and management interviews, manager’s press conferences, and extended in-depth pre-match build up and post-match analysis.

All of the new sports channels will also be available to stream via the Foxtel Go and Foxtel Play services.

Visit www.foxtel.com.au

Foxtel Signs Directly with English Premier League Clubs

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NBC Gears Up for RIO GamesTHE SINGLE BIGGEST PRESENCE at any Olympics International Broadcast Centre, U.S. broadcaster NBC has a long history of sportscasting innovation and the 2016 Rio Summer Games will be no exception.

NBC Olympics has selected Avid to provide content creation and media management workflows for its production of the Games of the XXXI Olympiad, which take place in Rio de Janeiro, Brazil, from August the 5th through to August the 21st, 2016.

To streamline production for the Rio Games, NBC Olympics has selected the Avid MediaCentral Platform. The Avid MediaCentral Platform is the foundation of the Avid Everywhere, and is composed of four product suites that will enable NBC Olympics to streamline the entire workflow, from media creation and collaboration, through to delivery

Avid Interplay | Production will help NBC Olympics to manage content creation, automate workflows, and aid collaboration across multiple production facilities worldwide. Avid Interplay | MAM media asset management will enable teams to find assets, streamline media operations, and make the most of revenue opportunities. Avid MediaCentral | UX provides a web-based user experience for all production tasks.

“To produce the 2016 Rio Olympics, we will need to create, manage, distribute, and monetise an extraordinarily large amount of content,” stated Darryl Jefferson, VP of Post and Digital Workflow at NBC Sports and Olympics. “The Avid MediaCentral Platform allows our team members in multiple locations to collaborate in real time, providing us with the capacity to create high-quality content quickly and efficiently.”

The NBC Olympics production compound within the International Broadcast Center (IBC) in Rio will be outfitted with Avid Media Composer editing systems connected to an Avid ISIS 7500 shared storage system with 512TB of total raw capacity. The Olympic Venues are each equipped with a 128TB ISIS 7500, AirSpeed 5500, and Interplay Production systems with connectivity back to the IBC.

Meanwhile, Grass Valley is providing a number of new products to enhance NBC Olympics’ production efficiency. This year, the SME-1901 Streaming Encoder will be in the product line-up, providing multiformat video/audio over IP and featuring 3G/HD/SD SDI inputs. This will offer flexibility for the production team and journalists to view video feeds from any camera directly and edit low- and high-resolution content from their desktop or laptop. The SME-1901 can accept any video format and provides two H.264 streams, one high resolution and one low resolution, and is housed in the new Densité 3+ FR4 Frame alongside the XVP-3901, which handles all essential video, audio and metadata signal processing functions on a single module. The XVP-3901 offers up/down/cross-conversion, colour space conversion, frame synchronisation, audio embedding and de-embedding, and supports fibre optical I/O.

Another component in the infrastructure is Grass Valley’s iControl customised facility monitoring and control system. iControl will be used to build an integrated monitoring and control surface for QC operators, consolidating multiple key functions into a single interface, such as control of XVP-3901, monitoring of WFM feed and control of the QC router. iControl will also allow operators to select feeds that they wish to pay more attention to.

Other solutions provided to NBC Olympics for their coverage of the Rio Games include the Densité remote control panel for Densité cards, three NVISION 8500 HYBRID routers, the NVISION Compact CQX router for 3G/

HD/SD signals and six auxiliary outputs for preview or monitoring, LUMO series high density fibre converter, 36 SFP-based fibre converters, and 34 Kaleido-IP Multiviewers for monitoring both IP and SDI sources.

In addition, Grass Valley will provide NBC Olympics with infrastructure for their coverage at remote venues in Rio. Three NVISION 8500 HYBRID routers and Kaleido multiviewers will be deployed anywhere a flypack is needed.

“NBC Olympics has been working with the Miranda, now Grass Valley, brand since the 2004 Athens Games, and they

have always provided the highest quality products and expertise required for our coverage,” said Terry

Adams, vice president, IBC Engineering, NBC Olympics. “There are hundreds of incoming

and outgoing feeds, in multiple locations, all requiring routing, control, and monitoring. Grass Valley’s integrated iControl system allows us to deliver and maintain the technical quality demanded by our teams, and helps us tell the compelling stories that surround each event.”

On the graphics side, NBC Olympics has selected ChyronHego’s Lyric PRO running

on the Mosaic XL platform to provide on-air graphics for its production of the Games of the

XXXI Olympiad.

NBC Olympics will be deploying the Lyric PRO software on 12 Mosaic XL systems for the creation and

on-air playback of fast and on-the-fly data-driven graphics, during its presentation of the 2016 Rio Olympics.

Philip Paully, Director Graphics Engineering and Operations, NBC Olympics, said, “We are pleased to once again to use the ChyronHego Mosaic XL with Lyric PRO. These units will use the newer Matrox cards which will provide us, in combination with an improved operating system and solid state drives, a further increase in speed and reliability.”

Lastly, in the area of audio, NBC Olympics has selected Calrec to provide seven audio mixing consoles for its production of the Games.

Calrec Audio has supplied four Artemis and three Summa audio mixing consoles to provide full audio mixes for the coverage. Three of the 40 fader Artemis consoles will be stationed at NBC Fly-pack venues to provide coverage of basketball, cycling, triathlon, marathon, volleyball and diving. The fourth will be based in Audio Control Room X in the Compound within the International Broadcast Center in Rio. This console will be in use with venues moving audio and video over IP. One 24+8 fader Summa console will provide the main output in the X Audio Control Room, while the remaining two will act as back up consoles in Audio Control Rooms A and B.

“This year is the first time we are connecting with Dante on the Hydra2 network, and we are delighted to continue this strong innovative relationship as NBC Olympics continues to push the boundaries of sports audio,” said Dave Letson, Vice President of Sales, Calrec.

“We are delighted to once again be working with Calrec, their consoles and their support personnel for our coverage. They look forward to using the latest advancements in Calrec processor technologies as well as newly updated interfaces which have been developed based on their feedback and the feedback of many Calrec users worldwide,” said Karl Malone, Director, Sound Design, NBC Sports & Olympics.

In addition to the seven consoles, Calrec will supply 26 x I/O boxes, creating a comprehensive and fully redundant Hydra2 network which will provide signal management and full control across MADI and Dante.

Visit www.avid.com www.grassvalley.com www.chyronhego.com and www.calrec.com

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To become bigger, better and more relevant, The Sportscasting Expo is evolving in 2016.

The Sportscasting Conference + Expo has evolved to incorporate News & Live Production, which are key areas of focus that play a vital role in the future of broadcasting. This targeted niche event is perfectly located at Etihad Stadium in Melbourne for convenience and to maximize networking opportunities for visitors and exhibitors.

A dedicated exhibition for these fast growing market segments of the broadcast market will provide a platform for decision makers who are looking for ideas and solutions, to meet with the industry leaders in broadcasting, technology and sporting bodies.

The Sportscasting, News & Live Production Conference & Expo is a must attend with innovations, upgrades and improvements in technology that you will only find at this event. Where will you be?

For more information please contact: Rod Hodgins Ph: 02 9452 7520 or E: [email protected]

Exhibition Organiser:

events

Conference Organiser:OCTOBER 26 – 27, 2016Etihad Stadium, Docklandswww.sportscasting.com.au

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Euronews Backs Start-UpsTHE EURONEWS GROUP has launched Euronews Ventures, a new project designed to back start-ups that develop innovative products and services for consumers worldwide. The purpose of the programme is to accelerate the development of promising start-ups by providing them with a complete array of media and marketing services: global communication levers, media coaching, events, and networking through the international network of Euronews and Africanews.

In return, Euronews says it will trade media for revenue or even media for equity in the start-ups.

“For more than 20 years, Euronews has been experimenting with new technologies which have radically redrawn its business sector. This pioneering spirit now drives us to back initiatives by talented and ground-breaking entrepreneurs,” said Michael Peters, CEO of Euronews and Africanews.

First start-up off the rank is Kiwi Plug, an infrared, connected device capable of controlling everyday electronic devices (TVs, air conditioners, speakers, video projectors, cameras, etc.).

Visit www.euronews.com

AN AUD$6.5 MILLION CUT in funding has led the Australian Broadcasting Corporation’s News Division to shed jobs and restructure ahead of the launch of a new national newsroom later in 2016.

Although this year’s Federal Budget was largely positive for ABC’s News Division, with two-thirds of its annual tied funding renewed, a funding cut from AUD$20 million pa to approximately $13.5 million pa has required the national broadcaster to find more savings.

In a statement to staff, Gaven Morris, Director ABC News, said “In the process of renewing the funding for a further three years we prioritised local and regional coverage and state digital services. Consequently, under our proposal, the state digital teams, suburban bureaus and regional reporting and operational resources would not be affected.”

The proposal sees around 30 positions being affected with about 10 being made redundant and four contract positions not being renewed. The remainder would be reassigned.

The main proposals are:

• ABC Fact Check would close as a separate unit, with two positions going, three positions being re-assigned elsewhere in the News Division and three positions being transferred to the Interactive Digital Storytelling Team to form a new unit called ABC Interactive and Data.

• Five positions from the National Reporting Team would be impacted, with a net loss of four positions in Sydney, Perth, Melbourne and Canberra, and a position in Brisbane reclassified.

• A total of three positions would be removed from the News Digital newsroom and the Interactive Digital Storytelling Team in Brisbane.

• NewsRadio would lose three positions provided under the tied funding.

• Network desks would be merged, resulting in a reduction of three positions on the Production Desk. This reduction is in response to the loss of tied funds and for operational reasons.

“We are merging the Production and Newsgathering desks ahead of the creation of a national newsroom later this year,” said Gaven Morris. “The new national hub we’re developing will embed more network video and audio output within the key production hubs at News 24 and NewsRadio and add additional digital expertise to daily news output. It will have three core functions: Planning, Newsgathering and International. This change is the first significant step in moving from a network operation split across two floors to one where the key network teams will be together, in the same work space.”

Morris said News 24 would contribute a number of positions and funding. Current vacant positions would mean no additional roles would be lost.

“The News budget will remain under pressure as we continue to ensure the coverage and journalism we do is sustainable, and that we’re able to invest in our digital future and support our commitment to original and investigative journalism and local and regional newsgathering,” Morris concluded.

Visit www.abc.net.au

ABC News Restructures Ahead of National Newsroom Launch

NINE RECENTLY UNVEILED two new data products, Election Boundaries and Voter Preferences, that will provide advertisers with audience-targeting capabilities in the lead-up to the 2016 Australian Federal election.

“Harnessing the breadth of Microsoft’s 15.3 million registered users, combined with the power of our digital network, our ability to deliver multiscreen advertising solutions at scale is established,” said Nine’s Chief Digital and Marketing Officer, Alex Parsons. “By leveraging our data partnerships, we have been able to segment our users into geographical election boundaries and voting preferences across the five key political parties, enabling advertisers to engage relevant consumers at the optimum moment in the lead-up the 2nd of July federal election.”

The capabilities of Nine’s new federal election data products include:• Election Boundaries: In partnership with Experian, 2016 Election

Boundaries are defined by Australian Electoral Commission federal election data for the House of Representatives. This aligns 150 safe and marginal seats across Australia with more than 15.3 million registered users.

• Voter Preferences: In partnership with Roy Morgan, Nine has segmented voter intentions and key voter issues for these 15.3 million registered users across five political parties: the Liberal Party, National Party, Labor Party, Greens and Independents.

Visit www.ninemsn.com.au

Nine Unveils Data Solutions for Australian Federal Election

Archive of UK Telegraph Spans 145 yearsONE OF THE UK’S BEST-KNOWN newspapers, The Telegraph, is now available in a new fully-searchable digital archive. ‘The Telegraph Historical Archive, 1855-2000’ is the result of a partnership between Gale, a provider of library resources and part of Cengage Learning, and The Telegraph, which opens the way for researchers to full-text search more than one million pages of the paper’s back issues, from 1855 to the end of 2000, including the Sunday Telegraph from 1961.

“The Telegraph is one of the most requested newspapers amongst researchers. By digitising the complete archive of the important national institution we are opening up new opportunities for research into history, culture and society, confirming Gale’s place as the market leader in newspaper archives for research and teaching,” said Seth Cayley, Director of Research Publishing, Gale International.

As well as providing researchers with 145 years of reportage across social, cultural and political stories, The Telegraph Historical Archive includes content on foreign affairs, initially born out of the paper’s support of former prime minister Benjamin Disraeli over the ‘Eastern Question’. Among the paper’s contributors, researchers will find the articles of the renowned George Augustus Sala, the eccentric and gifted writer who reported on the U.S. Civil War, and Winston Churchill who contributed a series of war letters from India at the close of the 19th century.

In-depth research into the pages of The Telegraph can now be conducted in ways that were never before possible thanks to analytical tools in the Gale Primary Sources programme including Term Frequency, Term Clusters and Text + Data Mining.

Visit www.gale.cengage.co.uk

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www.ateme.com

Software-Based Live Video Compression for the Converged Headend

TITAN© Live is a high video quality, high density software compression solution, designed for Cable, DTH, OTT Live delivery of SD, HD and Ultra HD content. TITAN Live is a True virtualized software based solution, pure CPU solution, hardware agnostic, running on any OS: Linux, Windows and Virtual Machine.

TITAN© Live is based on ATEME 5th Generation STREAM© compression engine, delivers the highest video quality at minimum bitrates with accelerated parallel processing.

Addressing main screens and multiscreen applications, from small resolutions up to UHDp60, TITAN© Live addresses current and future requirements.

TITAN© Live is a complete distribution solution: encoder, transcoder, multiplexer, Statmux, packager and origin.

With powerful user interface, management system and extensive set of APIs, TITAN Live can easily integrate with any ecosystem, reducing time-to-market and OPEX.

Key features

High Video Quality – High Density Pure CPU solution, Linux, Windows, VM Mobile to UHD resolutions HEVC, H264, MPEG2 Low-Latency mode Audio levelling Channel branding – logo insertion Optimized statistical multiplexing over IP Flexible Redundancy Scheme 1+1, N+1, N+M

Benefits

Increase QAM-network density with High Video quality at minimum bitrate

OPEX savings, with complete integrated distribution solution

Reduce data-center CAPEX with software only, high density solution

Research Tools for Inception NewsROSS VIDEO RECENTLY ANNOUNCED its partnership with x.news to integrate its research and intelligence tools into Inception News, Ross Video’s browser based newsroom content and editorial system.

x.news has been developed as a research module plug-in to Inception, embedded within its browser-based user interface. Journalists will now be given the ability to drag and drop content and projects between the two systems.

“Journalists need their workflow to be as simple and seamless as possible, and that is what we are setting out to achieve,” said Andy Pongratz, CEO

of x.news information technology, the company behind x.news. “Ross’ Inception News is an important new player in the newsroom system market, and we are very pleased to be working with them.”

“The research capability of x.news will be an important addition for our customers,” said Shawn Snider, Director of Inception at Ross Video. “Working with trusted partners like x.news helps us to provide our users

with more production power, flexibility, and a better user experience.”

Visit www.rossvideo.com

MAGNA SYSTEMS AND ENGINEERING is undertaking a comprehensive SI upgrade of the ABC’s ENG trucks across Australia. The upgrade comes as a result of the recent frequency band change from 2.5GHz to 2.0-2.3GHz and requires the trucks to be refitted accordingly to accommodate the change.

Having won the tender for the systems integration work on the project Magna has been responsible for designing and installing new mounting hardware, installing and commissioning all new transmitter systems and ensuring all the IP based systems are working to the ABC’s high standards.

All RF equipment including the GPS steering equipment has been supplied by Jantec and includes particularly intuitive geo location technology, two-way IP communication with the network and a clever network management system for communication with the trucks.

Part of the tender required Magna Systems to design a mounting solution for the diverse antennae array equipment that was not only practical but ergonomic and efficient too. This included designing all the relevant metalwork and fitting all the equipment into the vehicles making sure the antennae were perfectly positioned and had the correct clearances and spacing.

Magna also had to devise an efficient method of integrating all the vans’

existing equipment alongside the new systems and products that meant creating a clean pathway from the external, roof-mounted kit to the internal workings of the truck. Whilst integrating the equipment was a relatively straightforward task, designing new hardware for the antennae array and transmission units was a much more precise operation that took a great deal of skill and experience to perfect.

Magna completed the first truck for ABC Brisbane with the rest coming on line shortly thereafter. In addition to Brisbane the trucks are located in Sydney, Darwin, Perth, Hobart, Adelaide, Melbourne and Canberra. With the complexities of distance also to factor in, Magna built vehicle specific kits and shipped them to each location to make the installation as easy as possible therefore minimising the risk of error.

Visit www.magnasys.tv

Magna Systems Upgrades ABC TV ENG Trucks

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NZ Broadcast and Radio Choose LiveU TechnologyLIVEU HAS ANNOUNCED expanded deployments of its portable transmission technology throughout New Zealand.

NZ customers include: TVNZ, MediaWorks, Sky Network TV NZ, Maori TV, Kordia, Radio NZ, Christchurch TV and more. Service and support is provided by LiveU’s partner, Pacific Live Media.

TVNZ has recently doubled the number of LU200 units in the field with plans to adopt LiveU as its predominant method for live feeds in the coming months.

Lindsay Chalmers, TVNZ’s GM Enterprise Operations, said “LiveU has been a game changer in giving us live capability directly from where the news story is developing. Its performance has been so impressive that it’s allowed us to rethink many of our pre-conceived ideas on delivering lives.”

The majority of the units are being deployed in New Zealand, with its London, New York and Sydney bureaux receiving LU200s. LiveU LU200s weigh just over 500 grams and available in a pouch or camera-mount configuration.

LiveU is being used by the media for news and sports coverage, such as the recent protests over TPPA legislation, live casts from Fiji after Cyclone Winston, and live coverage and remote production of local rugby games.

Doron Meirom, LiveU’s VP Sales, APAC said, “It’s great to see the vote of confidence given to LiveU by all the main TV and radio stations in New Zealand. The LU200 is achieving everything they need for mobile newsgathering in terms of performance, quality of HD video, reliability and functionality in a low cost solution. LiveU’s portable technology is ideal for New Zealand’s geographically diverse territory.

“We’re now increasing our presence in the online media market with one of the country’s leading service providers having recently selected LiveU for web streaming services.”

Customers are also using LiveU’s LU-Smart mobile app and Go-Plan, which gives broadcasters the opportunity to maximise their content gathering potential by providing LiveU software access to unlimited users within the organisation. Broadcasters are able to purchase a pool of data every month for use among as many LU-Smart, LU-Lite and integrated Panasonic devices as they need.

Visit www.liveu.tv

Ross Video, Grass Valley Integrate GV STRATUS into Inception News

ROSS VIDEO HAS ANNOUNCED a collaboration with Grass Valley to

integrate the GV STRATUS video production and content management

system into Inception News, Ross’ browser based newsroom content and

editorial system.

Grass Valley works closely with third-party newsroom computer systems

to streamline the workflow process for mutual customers. The integration

into Inception News will include playout with GV STRATUS Rundown,

which will follow Inception’s broadcast running order.

“The newsroom is a very dynamic environment, with content coming

from a lot of sources,” explained Mike Cronk, Senior Vice President of

Strategic Marketing, Grass Valley. “It’s critically important that these

systems talk to each other so that producers can easily bring it all

together to tell the news stories in a compelling, comprehensive way.

The integration of GV STRATUS with Inception News makes it possible

for newsroom staff to bring more automation to the workflow while also

staying flexible to address changes as they happen.”

Visit www.rossvideo.com and www.belden.com

ANTON/BAUER HAS UPDATED its Performance Quad Charger to satisfy new regulations set by the IATA. The new function makes the Performance Quad Charger the only charger on the market which allows the user to discharge a battery to any level, including the level specified in new IATA regulations.

Anton/Bauer has developed a feature for its Performance Quad Charger that allows the battery to be assessed and discharged to the user’s desired preset level including the 30 percent SoC level required for safe air transportation. As a result, this free firmware update allows current owners of the Performance Quad Charger to travel hassle-free, and comes included in all new Performance Quad Chargers. This firmware update is Anton/Bauer’s latest solution to IATA’s new travel restrictions.

Andrew Butler, Product Manager at Anton/Bauer, says “Anton/Bauer continues to be at the forefront of the mobile power solutions industry. I am extremely pleased we have been able to react so quickly and create this feature to allow our customers to stay within IATA regulations. Of course, as an alternative to a workflow involving discharge before shipping, customers could switch to Anton/Bauer’s HyTRON products which use nickel metal hydride cells and do not face travel restrictions.”

All current generation Anton/Bauer Li-Ion batteries have an accurate power gauge so users can tell if their battery is cleared for travel. For the CINE and Digital Series batteries, the display provides the battery charge percentage while the Dionic HC Series will show a single bar of charge to represent less than 30 percent SoC.

New and current users can obtain the firmware and installation instructions by going to http://vitec.ftpstream.com/?lid=2cot2ask# and opening the Anton/Bauer Performance Quad Update folder.

Information or actions outlined above are only relevant Anton/Bauer’s current generation of Lithium batteries and does not apply to discontinued models or non-Lithium batteries. Lithium batteries are considered dangerous cargo and should never be shipped if the battery has been damaged in any way or modified in any manner irrespective of the SoC mentioned.

For more information regarding the new regulations of battery transportation, visit the IATA website at http://www.iata.org/whatwedo/cargo/dgr/Pages/lithium-batteries.aspx.

Visit www.antonbauer.com

Anton/Bauer to Offer Air Travel Discharging for Li-ion Batteries

TVNZ using LiveU's LU200 for live news coverage.

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Premamurti Paetsch - Bridging the Technical and the ArtisticPremamurti Paetsch was born in Australia and raised in Germany. He joined Rising Sun Pictures in 2005 shortly after graduating from Die Akademie für Datenverarbeitung, Böblingen, with a degree in Computer Science and Media Design.

STARTING OUT as a technical assistant, Prema quickly rose through the ranks at RSP and currently serves as Senior FX Technical Director. In 2015, he was part of the team that won a VES Award for Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture for their work on X-Men: Days of Future Past. His many other credits include Gravity, The Hunger Games and Harry Potter and the Deathly Hallows Parts 1 & 2. His latest project is X-Men: Apocalypse.

How long have you been interested in visual effects?

“I’ve always been fascinated by computer graphics. As a teenager I was quite interested in video games and visual effects movies. I started doing some low level work in Open GL as a gateway to graphics programming. Eventually, I picked up a copy of 3D Studio Max. I taught myself 3D graphics as a hobby never thinking I’d be good enough to make it a profession. Instead, I picked something that I thought was more grounded in reality: software programming. But I soon realized it was too dry for me. I wanted to do something that was a hybrid of the technical and artistic. So I produced a show-reel and after I graduated from college, I sent off applications to Australia. I always wanted to move back to Australia and thought I’d try doing both things at the same time. My first job was at RSP.”

What did they have you do?

“I had to start pretty low. I was hired as a technical assistant. It was scripting, data wrangling and delivering frames to the client. I got to understand the pipeline and how to do low-level programming and scripting. Then I got to do some modelling on the fifth Harry Potter movie. I progressed from there to Junior TD. I went through a phase of doing everything related to effects, lighting and shading. Eventually, I became a Senior TD and then effects lead … where I am now.”

Can you describe your job?

“I mainly work on shots. On the new X-Men, I’m prototyping and look-developing a particular effect that will be used in several shots. I also mentor artists and provide quality control and technical assistance. I collaborate with other departments—lighting, comp, modelling—to ensure the inputs are what we need. I communicate with downstream departments to understand what they need from us. I also come up with strategies for complex shots.”

Tell us about some of the more memorable projects you’ve been involved with?

“Well, there’s X-Men: Days of Future Past. It was very difficult, but also rewarding. It had a very cool concept. It was fun exploring ‘Quicksilver time’. It required a different way of thinking. The challenge was to make everything look believable in slow motion and to build things well enough for the detail to hold up.”

Were you surprised by the results?

“Yes, a bit. When you are looking at a shot over and over, you lose perspective. Once it’s cut together in sequence with music and sound design, it’s quite different. Sometimes details that we spent a lot of time on become secondary in the flow of things. Your brain fills in the details and you perceive it as a story, rather than a sequence of shots. So, it was very surprising to see that sequence rush past after we spent so much time art directing water splashes and even individual droplets of water hanging in mid-air.”

What other project has affected you?

“Gravity. It was similarly difficult but equally rewarding. We did the entire sequence of the space station breaking apart, burning through the atmosphere and falling to earth. It was meant to be hyper-real and believable, like the rest of the movie, but the tricky part was, there was no actual footage that you could reference. We had a blurry video of an Apollo spacecraft showing some of the events we were trying to create and footage of super-heated plasma in

a lab, but in the end we had to extrapolate and take some artistic liberties. The difficulty was selling the immense sense of speed.

“That scene was also quite amazing to see in context. I didn’t realise at the time that it was the apex of the movie and that all the tension builds to that moment. It was a little overwhelming when finally watching it at the cinema.”

What advice would you give to a young artist just starting out?

“It depends on what they want to do, there are plenty of different disciplines. If they want to do something similar to what I do, I’d recommend at least a short course in computer science. You need to understand how your machine works so you can get the most out of it. I’d also suggest some visual effects and animation training to complement the technical component. Many of the best people I work with are self-taught. They spent their evenings doing tutorials, constantly practicing, improving and learning by trial and error.”

And how do you like being at RSP?

“I love it. It’s a relatively small company, but we do first class work on first class projects. It has a very friendly atmosphere, there’s a lot of knowledge sharing. We help each other out. Because it’s small, you get to work on different things and are exposed to different parts of the pipeline. So, it’s a great place to work. Yes. Absolutely!”

Visit rsp.com.au and education.rsp.com.au (#rspvfx and #rspedu)

Rising Sun Pictures’ Premamurti Paetsch.

Quicksilver scene from X-Men: Days of Future Past.

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Introducing

Avid NEXIS™

The world’s first software-definedstorage platform for media

Media production is unpredictable. Avid NEXIS gives you the agility to adapt quickly.Give high-priority projects and teams maximum performance with shared assets, while throttling less important workflows. That helps you meet critical deadlines and fully utilise high-priced talent. This is the next generation of intelligent storage.

For product enquiries contact Amber Technology | www.ambertech.com.au | 1800 251 367

© 2016 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, and Avid NEXIS are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

Current storage not keeping up with content and production demands?

Take your storage to the next level with

D Y N A M I C V I R T U A L I S A T I O N

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Avid’s Next Gen Intelligent Media StorageAVID RECENTLY INTRODUCED the Avid NEXIS, a software-defined storage

platform designed for storing and managing media. Avid NEXIS enables

fully virtualised storage so media organisations can adjust storage capacity

mid-project without disrupting workflows. Powered by the Avid MediaCentral

Platform, Avid NEXIS delivers media storage flexibility, scalability, and

control for both Avid-based and third-party workflows. It has been designed

to serve the smallest production teams as powerfully as the largest media

enterprises.

Due to the openness of Avid Everywhere, Avid NEXIS works with all media

creation applications, including Media Composer, Pro Tools, Apple Final Cut

Pro, Adobe Premiere Pro, Grass Valley EDIUS, and many others. Production

teams can access a shared pool of virtualised storage resources.

The software-defined storage architecture of Avid NEXIS is what allows

customers to select components that meet their current needs. Customers

can give critical projects maximum performance, while throttling back on less

critical workflows.

The modularity of Avid NEXIS enables teams to mix and match storage

engines and elastically scale capacity from as little as 20TB to over 1.4PB in a

single system, without any interruption in service or down-time.

Visit www.avid.com

AJA Ships KONA IP, Releases v12.4 for KONAAJA VIDEO SYSTEMS has released KONA IP, the company’s first

desktop video and audio I/O product for IP-based workflows.

Simultaneously, AJA rolled out a free v12.4 desktop software update for

KONA, Io and T-TAP, adding support for Adobe CC June 2016 releases,

Avid Media Composer 8.5.3, and updated Avid DNxHR support in AJA

Control Room.

KONA IP is the next generation of AJA's KONA line of PCIe capture

cards and is already supported by several content creation software

and solutions companies, including Avid, Adobe, and Grass Valley.

KONA IP works with AJA Desktop software, including AJA Control Room,

Control Panel, and SDK tools. A founding member of the AIMS Alliance

and participating member of the Aspen Community and Sony's IP Live

Alliance, AJA designed KONA IP to be a flexible platform that offers

support for SMPTE 2022-6 IP-encapsulated uncompressed 3G-SDI

video, audio and VANC data. Through future firmware updates and

codec package offerings, KONA IP will also support compressed codecs

like J2K and advanced IP protocols including VSF TR-04, VSF TR-03 and

others.

Visit www.aja.com

DaVinci Resolve 12.5BLACKMAGIC DESIGN has announced the final release of DaVinci

Resolve 12.5 is available. DaVinci Resolve 12.5 is a massive update with over

1,000 enhancements and 250 new features which include major additions

to the editing toolset, new and enhanced colour features, including improved

HDR support, and new effects.

DaVinci Resolve 12.5 adds dozens of new editing and trimming features such

as new swap and shuffle edits, seven entirely new trim operations including

head and tail trimming, ripple cut and paste insert commands, an expanded

edit overlay with ripple overwrites, append edits, and of course, much more.

In addition, timeline performance has been improved and editors can use

native or optimised media files so editing is faster. The new cinema viewer

option plays video full screen, making it easier for customers to preview their

cut on laptops or systems with a single display.

DaVinci Resolve 12.5

also introduces an

entirely new way to

navigate clips using

audio waveforms. The

source viewer features

an audio waveform

overlay that allows

editors to see the audio

waveform and video clip at the same time. This is the fastest way to navigate

to different parts of a clip based on spikes, silent areas or other visual cues in

the audio waveform.

Visit www.blackmagicdesign.com

Blackmagic Design Fusion 8.1BLACKMAGIC DESIGN has announced a free Fusion 8.1 update that adds Fusion Connect for Avid, as well as compatibility with the latest Avid Artist DNxIO video interface. The Fusion 8.1 update is available now for both Fusion 8 and Fusion Studio customers.

Fusion Connect for Avid is an AVX plugin that Avid editors can use to round trip single clips, sequences of clips, or even stacks of layers from Media Composer to Fusion for adding visual effects and motion graphics. Once Fusion Connect for Avid is applied to clips in the Media Composer timeline, it will create a Fusion composition with a node tree that is linked to the correct Media Composer sources.

Fusion 8 is a professional 3D visual effects and compositing system that is suitable for independent effects, motion graphics, and broadcast design artists. Fusion 8 features integrated 2D and 3D compositing and motion

graphics software with a massive toolset featuring paint, rotoscope, titling, animation, multiple keyers, a 3D particle system, advanced key-framing, GPU acceleration, and support for importing and rendering 3D models and scenes from other applications.

Fusion 8 Studio for Mac and Windows is available now from US$995. Fusion Studio has all of the same features as the free version, but adds optical flow image analysis tools for stereoscopic 3D work, retiming and stabilisation. Fusion Studio also includes support for third-party OpenFX plugins, unlimited distributed network rendering, and generation for studio wide multi user collaboration to track, manage, review and approve shots when working with large creative teams on complex projects.

Visit www.blackmagicdesign.com

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Flanders BoxIO Dual Channel LUT BoxBOXIO FROM FLANDERS SCIENTIFIC is a colour management device designed for both colour critical post production environments and on set colour management applications. BoxIO has various capabilities including simultaneous support of 3D and 1D LUTs, ethernet, USB, and WiFi connectivity, and the ability to operate in dual channel mode making BoxIO two LUT boxes in a single device. Clean loop throughs are possible so BoxIO is not relegated to being an end of chain device. The unit additionally features real-time LUT update capability for use with on set grading applications, and frame capture support – allowing select applications to grab thumbnails or reference stills directly from BoxIO.

BoxIO supports real-time LUT updates over IP allowing for direct integration with on-set colour management tools like Pomfort’s LiveGrade Pro. BoxIO also supports frame capture over IP allowing select applications to use this feature to generate thumbnails and/or reference stills. BoxIO can operate in a single or dual channel mode. In single channel mode you can apply a LUT to either the SDI 1 or SDI 2 input, and then output the processed signal on the two SDI outputs and DP output simultaneously.

Visit www.flandersscientific.com

BLUEFISH444 RECENTLY announced new 4K functionality for its hardware

on the Mac OS X platform. Available immediately via a free driver upgrade,

the new capabilities allow creative professionals using the Adobe video tools

to work with high resolution, high frame rate (HFR) and high dynamic range

file formats and deliver content for 4K and UHD platforms.

Bluefish444’s video cards are suited to the raft of new features available in

Adobe video applications with pixel format support and 8/10/12 bit SDI I/O,

allowing Bluefish444 to support Adobe Mac OS X workflows from SD to 4K

HDR. Bluefish444 Epoch | 4K Neutron Turbo and Epoch | 4K Supernova S+

Turbo customers can now access 4K workflows such as high frame rate 4K

UHD, at 48 to 60fps, and 4K HDR monitoring.

Bluefish444 Mac OS X support for Adobe Mercury Transmit includes:

• SD/HD SDI output.

• 2K/4K SDI output.

• 8/10/12-bit SDI output.

• SD/HD/2K/4K HDMI preview.

• Quad Split 4K UHD SDI.

• 2 Sample interleaved 4K UHD SDI.

• 23, 24, 25, 29, 30 fps video output.

• 48, 50, 59, 60 fps video output.

• Dual-link 1.5Gbps SDI.

• 3Gbps level A and B SDI.

• Quad Link 1.5Gbps and 3Gbps SDI.

“We are excited to bring this update to Adobe Premiere Pro CC customers

on Mac OS X who have been demanding advanced 4K video support from

Bluefish hardware,” said Tom Lithgow, Bluefish444 Product Manager.

“It’s a highly competitive environment out for media producers today, but

there’s also huge opportunity for artists who can create work that stands out

using Adobe,” said Sue Skidmore, Head of Partner Relations for Professional

Video at Adobe. “Bluefish444 and Adobe continue to push the envelope for

the advanced video I/O technologies that professionals rely on for creating

and delivering brilliant video content.”

Visit http://bluefish444.com

Bluefish444 4K OS X Support for Premiere Pro

FilmLight Baselight 5.0 and Colour Bundles with AvidFILMLIGHT HAS ANNOUNCED the introduction of Baselight 5.0, a new version of its colour finishing system – boosted with over 50 new features. The most notable new concept to improve colour grading techniques is ‘Base Grade’. To give colourists natural, instinctual access to subtle grading, this tool moves away from the traditional lift/gamma/gain approach, to a set of controls which accurately mimic the way the human eye perceives colour.

Baselight 5.0 also provides added HDR capabilities through colour space ‘families’ – which simplify the deliverables process for distinct viewing environments such as television, 4k projection, and handheld devices – and gamut optimisation to provide natural gamut mapping deliverables and avoid clipping when captured colours can’t be displayed on a cinema or television screen.

Baselight 5.0 boasts several tools tailored to give colourists further creative control and reduce the time and energy spent out of the grading suite. Features include ‘Perspective operator’ to allow easy screen replacement and re-projection, perspective tracking of images, shapes, paint strokes and grid warps using either four 1-point trackers or a new perspective-capable area tracker, a dedicated keyer for production quality blue and green screen keying, and support for Flame Matchbox shaders.

Baselight 5.0 will be available for all BLG-enabled products from FilmLight, including the Daylight dailies and media management platform, as well as Baselight for Avid and Baselight for NUKE.

FilmLight has also announced a new collaboration with longstanding partner, Avid, which will see the introduction of a new Professional Colour bundle. The Professional Colour bundle brings together Baselight for Avid, with Avid Media Composer in a single package, and is available for Mac OS X or Windows. Baselight for Avid is a real-time plugin, so colour corrections can be played directly on the Avid timeline. It provides unlimited primary and secondary grades in a single layer, including mattes, automatic object tracking and full keyframe animation.

Visit www.filmlight.ltd.uk and www.avid.com

LOOKAT 3.0 IS A VR/360° production platform, allowing VR/360° video

makers to share, review and make on-footage comments on 360/VR videos.

LookAt 3.0 allows you to privately share files and give on-video comments,

and compare video side-by-side. Featuring integration with a multitude of

editing tools, editors can see comments on their timeline while they edit and

render to LookAt. Connectivity supports cloud services such as DropBox, Box,

Google Drive, and Vimeo.

Also supported is segmented sharing and reviewing, where users can

share and review one video with different groups privately, so each team

sees only what they need. Over 100 video and file formats are supported,

encompassing audio, images, text, presentation, PDF files, and more –

enabling production companies to manage all production assets in one

accessible cloud space.

Visit www.lookat.io

LookAt 3.0 Released

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Mistika VR – SGO Goes 360WITH VIRTUAL REALITY being touted as the next frontier of post-

production innovation, SGO is prepared with solutions for the challenges

VR presents. SGO recently unveiled a preview of Mistika’s Immersive

Reality Toolset, combining stereo 3D functionality with a new VR mode.

Mistika provides tools for colour, HDR, stereo 3D, high frame rate and

compositing for VR, in one complete system.

Mistika’s finishing toolset provides a dedicated VR finishing environment

that can be applied to VR projects, as well as automatically handling

projection mapping of equi-rectangular content to a new 360º image-

processing and finishing engine. Mistika handles relationships between

the spherical world and the flattened source and delivery files, so the user

can work in the same way they always have, and without the technical

headaches of VR delivery. The operator can switch between normal space and VR space by controlling the spherical VR viewing port with a grading panel tracking-ball, a newly developed GUI control, or with a VR device gyroscope.

Mistika will also enable users to connect live video output to VR devices so the result can be viewed in real-time, not just in the visual-editor mode.

SGO recognises the importance of working with its customers through the evolution of VR, and will be rewarding those who already have the Mistika stereoscopic 3D option by giving them access to the ‘Immersive Reality Toolset’ free of charge – this incorporates a new VR mode alongside the existing stereo 3D functionality.

Visit www.sgo.es

Eyeheight Updates BroadcastSafeFX Legaliser for FCPro XEYEHEIGHT RECENTLY ANNOUNCED a design update which supplies timed licenses to clients on a project/job basis. BroadcastSafeFX allows true file-based workflows from concept to playout by enabling users to verify and conform their content prior to submission to any file-based quality control system, all from within the Apple Final Cut environment.

The legaliser is designed for use with high end video source files employed in broadcast content production. It supports any combination of file formats and source colour-space available in Final Cut Pro X. Capabilities include composite, RGB, RGB-plus-Y and simultaneous composite-plus-RGB legalising, all with user-adjustable soft clipping at high and low thresholds. High-precision colour-space conversion allows accurate limiting to ensure gamut compliance while keeping the full

gamut available for creative use. Eyeheight’s ‘clobbeRing’ non-linear predictive filtering process further reduces visible luminance overshoots.

BroadcastSafeFX users can select from a range of presets or work in custom mode which gives full access to 15 configurable parameters. Facility administrators can assign which built-in presets are available to users, create new presets, or disable the custom option to ensure users only use approved configurations.

An integral safe-area generator provides a range of broadcast safe-area markers covering all requirements for SD, HD and 2K, including 16:9 and 14:9 requirements in SD. Administrators can modify the set of markers available to users, add new custom markers, or restrict access entirely.

Visit www.eyeheight.com

EXTENSIS RECENTLY RELEASED Suitcase Fusion 7. The font manager helps designers store, maintain, manage and search their font collections. Suitcase Fusion 7 takes font collections to the cloud via TypeSync, a securefont repository that enables designers to synchronise their font collection on any machine.

Suitcase Fusion 7 extends font management to motion graphics artists with the font plug-in for Adobe After Effects. Suitcase Fusion’s Font auto-activation ensures fonts are accessible directly within After Effects. This feature joins other auto-activation plug-ins for Adobe Creative Cloud 2015 applications.

“The number one thing motion and graphic designers say they want more

of is time to create,” said Clint Daeuble, Product Owner of Font Services at Extensis. “As typography’s imprint on the modern business world continues to grow, tools like Suitcase Fusion 7 will give designers back the time chasing down missing fonts takes away. With the average font collection size hovering at around 4,500 typefaces, that means a whole lot of time.”

Every copy of Suitcase Fusion 7 includes Suitcase Attaché for Microsoft Windows and Font Doctor. These additional applications extend font management to Microsoft Word and PowerPoint, and helps designers diagnose and repair font corruption before problems develop.

Suitcase Fusion 7 is compatible with all Mac OS X and Windows systems.

Visit www.extensis.com

Extensis Launches Suitcase Fusion 7

FAIRLIGHT AND GRASS VALLEY have collaborated on the development of two different hardware control surfaces for tactile control in Grass Valley’s EDIUS 8.1. The collaboration combines Fairlight’s expertise in designing and manufacturing hardware controllers with integrated control surfaces, with Grass Valley’s experience in providing enterprise level video production solutions.

The two companies have succeeded in incorporating Fairlight’s new PYXIS video editing and mixing controllers into the EDIUS 8.1 platform. The incorporation of Fairlight’s Picture Key technology allows users to customise the control surface layout with their preferred editing functions. The Picture Keys change label and function instantly, repurposing the control surface to the task at hand.

EDIUS 8.1 offers support for more formats and more resolutions than any other editing solution, delivering real-time editing of popular SD/HD and 4K formats with no rendering required. EDIUS 8, with Windows 10 support, includes a new GV browser tool to manage video, audio and still image content on the host PC, prior to importing into EDIUS for editing.

The PYXIS for EDIUS controllers come in two models: PYXIS.Edit and PYXIS.Mix. PYXIS.Edit delivers functional scope, fewer keystrokes and less hand movement, all while keeping the operator aware of the currently available commands. The control of editing functions is augmented with a high-resolution jog wheel for zooming and transport control. The PYXIS.Edit controllers can be extended with up to 10 faders by adding a PYXIS.Mix fader sidecar. Each PYXIS.Mix adds five channels, each with a touch-sensitive pan pot, motorised fader, writing strip with metering, along with solo, mute and gang buttons.

Visit www.fairlight.com.au and www.grassvalley.com

Fairlight Brings Tactile Control to EDIUS 8

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DIGITAL FILM TECHNOLOGY counts major archives worldwide among its customers, including the British Film Institute, The Korean Film Archive, The Film Archive of Thailand, National Library of Norway, National Film and Sound Archive of Australia, Library and Archives Canada, The Slovak Film Institute, Film Institute Netherlands, National Audio-visual Archive of Finland and The Royal Thai Archive.

At this year’s NAB, the company is announcing new technology developments for its latest Scanity HDR film scanner. A full wet-gate system will be demonstrated at the DFT’s stand. Specifically designed for Scanity HDR, it provides a real-time solution for ingest and management of difficult-to-solve historical film transfer issues – such as dust and scratch removal – at the same time surpassing prior transfer standards. The wet-gate is ideal for archive owners that require a scanner that’s able to handle a range of problematic and historically-aged film issues.

New 16/8mm small gauge film gate: DFT will also demonstrate its new small gauge film gate strategy, showing the optional ‘16plus’ LGA for its Scanity and new Scanity HDR models.

New software release: DFT’s Scanity HDR, developed in response to the demands of both the post production and the film archive and restoration industries, will be demonstrated with the latest Scanity software release. Scanity HDR offers a host of user friendly features that serve a variety of film scanning applications, including – but not limited to: film archive scanning for mass digitisation, EDL/conform scanning, low resolution browsing for archive and restoration, short-form commercials, and 4K UHD ready and digital intermediate scanning.

Scanity HDR has a number of advantages over other scanner solutions, namely its touch-less patented capstan drive Lens Gate Assembly (LGA) system. This provides both automatic shrinkage compensation and gentle film handling, whilst delivering image stability.

Key features include a black and white HDR function, a new triple exposure (executed once) in realtime 2K or 4K data ingest. This means the scanner speed remains constant, creating time and cost benefits and allowing access to previously unseen details from the high- and low-lights of the film.

Visit www.dft-film.com

Edit Bridge to Interface with Multi-Vendor Systems

Marquis Broadcast has recently announced Edit Bridge, its

integration application for Adobe Premiere Pro CC and Avid

Interplay, has been developed to interface with multi-vendor

systems such as Apple Final Cut Pro X or Grass Valley’s Edius. The

application will be shown at NAB for the first time, on booth SL8730.

“Edit Bridge was awarded the IABM’s Design and Innovation Award

in the Post Production category at the prestigious IABM awards

ceremony held at IBC last year,” confirmed Chris Steele, Managing

Director, Marquis Broadcast.

Edit Bridge offers a solution to enable competing manufacturers’

products to work together, allowing users to search Avid Interplay

from within the Premiere Pro or After Effects interface, view

thumbnails, find media and select it for editing. Content is either

streamed directly, or copied and re-wrapped to Premiere Pro or After

Effects for immediate editing. Delivery of the completed story and

associated metadata back to Avid ISIS is achieved with Avid interplay

check-in.

“The new Edit Bridge Client now provides the same connection

into Avid Interplay for non-Adobe specific workflows.” confirmed

Steele. “Users can now source content from Interplay by browsing

and searching within the panel before triggering a drag and drop

import into the chosen application. The Edit Bridge Client has been

designed to support both Windows and Mac platforms.

Visit http://www.marquisbroadcast.com

Imagine Products’ PreRoll Post UpgradedPreRoll Post from Imagine Products is aimed at making LTO tape archiving easier and more efficient. The system automates indexing of camera originals, complete with thumbs, proxies, and metadata, while backing up full-resolution media to local disk, long-term LTO tapes, or optical disc.

Apple or Windows users can now use PreRoll Post to create nonproprietary backups of any file or folder using the open-source Linear Tape File System (LTFS). The archiving application streamlines the process of placing any file type onto an LTO-7, LTO-6, or LTO-5 tape, or onto Sony’s Optical Disc Archive.

PreRoll Post takes advantage of LTFS, which is supported by many tape drive manufacturers. LTFS mounts a tape as a volume within the operating system. This makes it possible to read and write from the tape as if it were a hard disk – without proprietary software formatting. It also makes PreRoll Post hardware-independent, enabling use with any LTFS-compliant tape drive or Sony ODA.

Visit www.imagineproducts.com

DFT’s Scanity HDR Upgraded

New Avid Media ComposerAVID HAS ANNOUNCED a new version of Avid Media Composer which enables video editing professionals to work faster and more easily, is now available.

The new version of Media Composer enables video professionals to take on HDR projects. Along with Avid Resolution Independence and high-resolution workflows, Media Composer’s support for HDR workflows enables editors to overcome today, and tomorrow’s technology challenges. This version of Media Composer also enables editors to work up to 64 audio tracks – 250% more than previously available.

Visit www.avid.com

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businessofmedia.com.au

KYLIE ROGERSManaging Director

Mamamia

PETER CAMPBELLGeneral Manager - AFL Media

AFL

JOHN O’SULLIVANManaging Director

Tourism Australia

MIKE MORRISONVice President

ESPN Asia Pacific

MARINA GOGeneral Manager - Hearst Brands

Bauer Media

MARK LOLLBACKChief Executive Officer Australia & New Zealand

GroupM

ANTHONY EVERARDGeneral Manager

Big Bash League

JONATHAN HARLEYDirector of Media Partnerships

Twitter

MICHAEL EBEIDChief Executive Officer & Managing Director

SBS

JACQUI FEENEYManaging Director

Fox Networks Group Australia & New Zealand

RUSSEL HOWCROFTExecutive General Manager

Network Ten

STEVE WEAVERGroup Director, Audience Analytics & Insights

Nine Network Australia

STEPHANIE KUMARHead of Category Insights

Pinterest (USA)

STEPHEN SCHEELERManaging Director, Australia & New Zealand

Facebook & Instagram

13 & 14 September 2016 · Amora Hotel, Sydney

M E D I A U N B O U N D

businessofmedia.com.au

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Media Moves Over IP at NAB2016THE IN-FACILITY AND MEDIA MANAGEMENT impacts of maturing IP-based technologies were showcased at this year’s NAB show with vendors not only going native, but also bridging the gap.

Avid recently announced its plan to accelerate the media industry’s transition to IP by supporting real time IP signals in the Avid MediaCentral Platform. In technology presentations at the recent NAB Show, Avid demonstrated native IP-based workflows as well as hybrid SDI/IP workflows that enable media companies to leverage standard IT infrastructure, while managing the transition to IP at their own pace.

Avid MediaCentral is being extended to support emerging open technology standards for the delivery of professional audio and video streams over standard IP networks. Future updates to the Avid MediaCentral Platform will enable Avid customers to orchestrate automated content flows that span all facets of media content creation and distribution, incorporating Avid tools and infrastructure as well as partner solutions from its growing ecosystem. By integrating file-based workflows with live signal-based workflows, Avid aims to complete the digitisation of the entire media value chain.

Avid says it conducted market research with members of the Avid Customer Association to develop and optimise its strategy for the transition to IP. In addition to implementing open technology standards across the MediaCentral Platform, Avid is collaborating with customers in key industry groups to promote interoperability and enable new workflows. Avid says it will also enhance existing solutions that have previously offered SDI signal interfaces (e.g. ingest, playout, editing, graphics) by adding IP interfaces in future versions.

Key highlights of the IP technology presentation during NAB 2016 included:

• Demonstrating interoperable IP workflows with partners including Grass Valley and Sony.

• Demonstrating IP interfaces for Avid products that have historically supported SDI signals, such as Media Composer.

• Announcing an open, agnostic, standards-based architecture for IP signals in the MediaCentral platform.

• Announcing support for open technology standards and industry consortia, including the AIMS Alliance, which Avid recently joined.

Visit http://www.avid.com

Also at NAB 2016, NewTek announced NDI for Adobe Creative Cloud, a software plug-in with NewTek’s Network Device Interface (NDI) technology. The NDI integration enables users of Adobe Premiere Pro CC, Adobe After Effects CC and other Adobe Creative Cloud applications to send real-time video and audio to any NDI-enabled receiving product, such as production switchers or capture cards, across a standard Ethernet network.

With NDI for Adobe Creative Cloud, creators and producers can accelerate their pre- and post-production pipelines, bypassing rendering and uploading of creative elements for a faster, more efficient delivery for content review and approval. It also allows teams in different locations to work together in one interface in real-time, making creative decisions collaboratively—and saving time in the process.

The NDI integration for products in Adobe Creative Cloud also enables just-in-time editing workflows over IP for live production environments, such as news programmes and live sporting events. Producers will be able to deliver edited content, including key and fill, directly from the Adobe Premiere Pro CC timeline into their production switcher for use on air, without needing to render and push to playout servers.

Visit www.newtek.com

Meanwhile, AJA Video Systems announced KONA IP, its first desktop video and audio I/O product for professional IP-based workflows. KONA IP is the next generation of AJA’s KONA line of PCIe capture cards and works with AJA Control Room and Control Panel software and SDK tools along with third-party content creation applications. AJA has also joined Sony’s IP Live Alliance.

KONA IP is designed as a flexible platform that supports SMPTE 2022-6 IP-encapsulated uncompressed 3G-SDI, HD-SDI and SD-SDI video, audio and VANC data, and via future firmware updates and codec package offerings, will also support compressed codecs like J2K and advanced IP protocols including VSF TR-04, VSF TR-03 and more.

KONA IP Features:

• SMPTE 2022-6 support, offering uncompressed video and audio, with future support for other IP standards.

• HDMI output for local monitoring.

• Multi-channel input and/or output to read or send multiple IP-based encapsulated 3G-SDI, HD-SDI and SD-SDI video streams to and from software applications.

• Two 10GigE SFP cages for easy routing of video over IP and 10GigE networks.

• Support for major third-party NLE, compositing and streaming applications.

• Software compatibility with AJA Control Room and Control Panel software.

• Compatible with AJA’s widely adopted NTV2 SDK, for easy integration by AJA Developer Partners.

• 8-lane PCIe 2.0 video and audio desktop I/O card.

Visit: https://www.aja.com/en/products/kona-ip

SECURITY CONCERNSWhile broadcasters today enjoy the many benefits of increased connectivity through open technologies such as IP, they also find a growing need for integrated security. Digital assets that include video files, graphics, data and more are moving freely across IP networks, making them more vulnerable to individuals outside the previously closed, proprietary broadcast workflow chain.

At NAB 2016, Grass Valley and sister Belden-company Tripwire were among the few companies addressing this issue with the unveiling of a new blueprint for secure playout.

“We are fortunate to have both the broadcast and the security technology in the same corporate organisation, allowing us to create a solution that directly targets the needs of broadcasters today,” said Mike Cronk, Senior Vice President of Strategic Marketing, Grass Valley. “Our blueprint for secure playout combines the best practices of 50 years of Grass Valley broadcast expertise with the security knowledge and expertise of Tripwire, which is trusted by more than 50 percent of Fortune 500 companies. As the industry migrates to IP, security has to be a fundamental pillar of the transition to ensure the protection of these valuable digital assets.”

At the heart of the blueprint for secure playout is a three-step principle: secure the network, secure the servers, and secure dedicated broadcast equipment. Grass Valley is applying this blueprint to its iTX Integrated Playout platform first.

The Tripwire blueprint includes Tripwire IP360, a vulnerability and risk management solution, providing visibility into the enterprise network, including all networked devices and their associated operating systems, applications and vulnerabilities.

When applied with iTX, the blueprint for secure playout technology maintains security across the network, offering advanced threat detection to ensure broadcast systems are protected against new threats. The iTX Playout platform is the first in the broadcast industry verified to support the Tripwire security solutions and, according to the company, is just the first of many Grass Valley products to be offered as part of a Tripwire solution.

Visit www.grassvalley.com and www.tripwire.com

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A Modern All-IP Infrastructure for Your Media Digital Transformation

By Charles SeviorTHE TOP TRENDS IN MEDIA TECHNOLOGY today point to the adoption of IT technology very broadly across the entire media workflow – from content creation and content broadcast to multi-platform content delivery and

archive. New converged-infrastructure and scale-out storage data centre solutions are now being applied to live broadcast and post-production workflows for improved efficiency and reliability.

Anybody who has attended one of the major Media/Broadcast trade shows over the last 6 – 12 months would know that most of the large solution vendors are now building solutions designed to take your media workflow into an “All-IP” future state – away from the past infrastructure built on dedicated hardware like video/audio routers and industry-specific cabling such as SDI with embedded audio. The vendors are working hard to adopt standards from SMPTE, VSF and other bodies and to prove system interoperability. The task of replacing the reliable and rugged (but inflexible and single-purpose) SDI backbone in your facility with a robust and interoperable All-IP fabric has been accepted by AIMS – the Alliance for IP Media Solutions. This is an industry-lead collaboration of some of the largest M&E vendors, including:

But, more than just replacing your SDI cable and video router with Cat-6 and a network router, this multi-vendor industry alliance is also focused on fully-virtualised software-defined media solutions. What this means is that solution vendors are now re-engineering their applications to “behave nicely” in the virtualised and containerised environment that is commonly adopted in Enterprise IT and Cloud-Scale operations today. This is different to the bespoke engineering of the past that assumed full control over some “bare metal” hardware. Whilst this may be seen as introducing some performance constraints due to the overheads of virtualisation, it actually results in a more robust solution that can leverage the enormous resources of IT scale available today, and has improved features of monitoring & control with graceful failure and rapid service replacement.

The major solution vendors are also starting to re-engineer their commercial business models, because in this new era of well-built and supported converged infrastructure, there is no value in having broadcast equipment vendors build generic IT components such as servers, storage and networking. The refresh cycle is only so fast and the investment funds available are only so large as the potential revenue and ROI to that one vendor. As all of these systems are closely tied to Moore’s Law, it makes more sense to procure the underlying infrastructure from IT vendors with the best-of-breed products and support to ensure that all of the “plumbing” in your facility is leveraging the latest advances and efficiencies that the IT industry (with all of its massive R&D investment) can deliver.

In the Enterprise IT industry, vendors like EMC bring to market new solutions every year such as all-Flash storage systems, software defined networking and hyper-converged, virtualised hybrid-cloud solutions. And, they can only be successful in the market if they deliver reliable, well-supported and competitively-priced infrastructure solutions. But, there are so many IT technology buzzwords it can be a bit disconcerting to sort through and determine what is real, proven and safe to be adopted into a conservative technology environment such as broadcast television with

mission-critical services that must be highly reliable and intolerant to even minor glitches.

The good news is that apart from leveraging workstations and storage – which have been well-adopted IT categories with proven reliability for many years – we are now seeing real deployments of multi-channel broadcast chains entirely in software running on converged Infrastructure with a hypervisor such as VMware. During the recent NAB 2016 show, EMC demonstrated an example of this infrastructure which has already been adopted by major broadcasters for these applications – in partnership with Imagine Communications. The Vblock is a pre-built engineered solution for best-of-breed IT infrastructure. You can use it to deploy fairly constant services such as channel playout, but it really shines when you need to spin up new services (such as a new channel, or additional MAM processes) with very short notice.

This helps the media industry which has traditionally been based on quite static service offerings with long lead times to be able to react quickly to changing market conditions and new competition for entertainment. One of the promises of “cloud” and “software-defined” is agility, and we certainly had no trouble proving that by using that core infrastructure (combining Isilon storage with a VCE Vblock) to power ALL of the demonstrations on the EMC stand during NAB – including multi-channel playout, real-time bit-perfect native 4K editing, VOD & Network PVR OTT content delivery, collaborative editing and real-time file system insights. Using the power of virtualisation, we could spin up and spin down services on demand.

As a new core technology, CI (converged infrastructure) – and the even more homogenous solution known as hyper-converged infrastructure (where components like SAN storage and network routing are fully integrated into the server software fabric) – will form the future foundation of the media industry. During the next 1-2 years, we will witness many more CI solutions being adopted for real-world media applications. This will start with the cloud-scale entertainment companies (it is already well-adopted by the internet giants Google/Apple/Microsoft), then move into the realm of service providers, Telcos and big VFX shops, but will soon be adopted by most major media companies operating in Australia and New Zealand. The media solution vendors will be helping by delivering real-world applications specific to our industry, and proving reliability and interoperability across competitive boundaries through industry alliances such as AIMS.

The days of the “vertical stack”, “complete turnkey” vendor-branded solutions are fading into the past, as we enter into a more collaborative business environment – delivering innovative operational solutions, rapid application development and best-of-breed technology advances to the vibrant industry we call Media & Entertainment.

Charles Sevior is CTO for EMC’s Emerging Technology Division, based in Australia and covering the entire Asia-Pacific region.

Visit www.emergingtechsolutions.com/media-entertainment

• Grass Valley (Belden)

• Imagine Communications

• Snell Advanced Media

• Evertz

• EVS

• Lawo

• Sony

• Cisco

• Arista

• Harmonic

EMC Vblock demonstration with Imagine Communications at NAB 2016.


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WIN Network Chooses Tedial MAM Solution from MagnaTHE WIN NETWORK HAS PURCHASED a full Tedial Evolution media asset management solution supplied and installed by Magna Systems and Engineering.

WIN Network General Manager, Television Operations, Stevan Djokic explained, “We were looking for a solution that would allow us to pull files from our remote locations across Australia starting with Albury, Taralgon, Bendigo, Ballarat and Shepperton to our central HQ at Wollongong where we could edit and manage them for transmission. So began our discussions with Magna Systems and Tedial at NAB 2015.”

Tedial Evolution is an enhanced version of Tedial’s Media IT platform and significantly extends MAM functionality with advanced search and indexing tools, new services to surf and explore archives, and improved integration between archive and workflows engines to reinforce a collaborative environment.

Tedial Evolution offers a user experience designed to speed both manual and automated workflows. Built on the Tarsys MAM platform, the HTML5 User interface keeps frequently used tools on the screen for improved performance. True multi-screen and multi-platform operations allow users to manage tasks, validate media or monitor workflows status from smartphones, tablets and other mobile devices.

Djokic and the WIN team discussed the many and varied options that were available with Magna and Tedial in terms of efficient file movement, transfer, storage and transcoding, all of which would create a better workflow for the broadcaster. The discussions included a meeting with Tedial customer Fox in Los Angeles, followed by a Tedial demo at WIN with Magna’s digital solutions manager Dave Demmocks and Tedial’s David Abel.

With the demos and deal complete the WIN, Magna and Tedial teams began creating the workflow that would see Tedial at the core of bringing footage from all across the Eastern Seaboard to Wollongong.

Djokic continued, “With the Tedial system in place our news teams can

shoot and edit the story then add the metadata. From that point they can send the story back to Wollongong via FileCatalyst fast file transfer where the closed captions are added and the file is processed. With Tedial automating and managing the workflows the files are then sent to HQ where, once editorially approved, go straight to Pebble Beach, Neptune automation or through to our Ignite systems for studio automation and then onto our broadcast centre, MediaHub, in Ingleburn for playout.”

As part of the overall MAM and news solution Magna also supplied, installed and commissioned FileCatalyst fast data transfer, Caption Maker closed captions and an Oracle SL3000 deep archiving solution.

Djokic added, “The real benefit of the Tedial MAM is we can now create and automate what were previously manual processes and workflows including the transfer of files to and from WIN and the playout to all regional centres via MediaHub. We can also easily and efficiently view any part of the workflow, identify any errors or ‘choke points’ and correct them almost immediately. As a result of having Tedial at the core all our workflows are now running on a virtualised cluster.

“Tedial is not just an efficient working MAM system today but the way it has been developed it is completely flexible and particularly scalable which means critically it can grow and accommodate WIN Networks future needs without the need for any custom development.”

The Tedial Evolution MAM system at WIN Network manages, automates and controls an Oracle SL3000 deep archive system, Telestream Vantage media processing platform, local disk storage, Telestream Caption Maker, ENPS news files, Pebble Beach Systems Neptune automation, FileCatalyst data transfer and Nugen audio correction.

Visit www.magnasys.tv

WIN Network GM of Television Operations, Stevan Djokic.


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Catapult for High-Speed TransfersXDT HAS UNLEASHED Catapult, a high-speed point-to-point data transfer application available for Windows, Mac OS X and Linux platforms. Addressing the shortcomings of common network transfer protocols such as FTP, Catapult enables companies to utilise any internet and VPN connection via its built-in TCP and UDP accelerated transfer protocol.

As a free alternative to existing FTP servers, Catapult allows broadcasters, studios, post-production facilities and content creators to reduce file transfer times and manage data via a familiar interface. Employing both TCP and UDP, Catapult provides a path for any network, regardless of latency or packet loss. Catapult’s transfer protocol is able to saturate internet and private networks more efficiently than FTP.

Built-in bandwidth management provides on-the-fly control of WAN utilisation, allowing for dynamic adjustment of in-progress transfers.

Secure 256-bit AES data encryption is also available for enhanced security on untrustworthy networks.

Catapult’s capability to operate at near line speeds provides high-speed transfers using 10Gb, 40Gb or 100Gb connections without using hardware resources. Local SAN or NAS storage can also be shared over single or multiple LAN connections at disk speeds. Catapult’s predictable stream access characteristics make for SAN friendly loads, with large, in order, read and write sizes, virtually eliminating fragmentation.

The additional SlingshotCopy is a flexible command line Catapult client enabling high-speed file transfers between client systems and Catapult servers. Available for Linux, Windows and Mac OS X, SlingshotCopy allows for automation or integration into scripted custom workflows.

Visit www.catapultsoft.com

Ross Supports Scale Logic Remote Storage

ROSS VIDEO’S XPRESSION CLIPS production server now supports storage solutions from Scale Logic. Multiple products are available from the company, including the Scale Logic Genesis NX server class NAS, Genesis Unlimited shared SAN appliance, and Scale-Out NAS Gateway, allowing users to tailor storage for particular application and performance requirements.

These newly certified storage solutions provide large-scale direct-attached gigabit ethernet connections to XPression from Scale Logic’s Genesis line.

The bandwidth and performance offers more streamlined workflows between creative service workgroups and playout, and can scale up to multi-channel enterprise environments.

“Our lab certification of the XPression and Genesis products represented seamless integration, great reliability, and impressive performance as extension storage for the Ross solutions,” said Daryl Heinis, CTO at Scale Logic, “The pairing of our server class products with XPression represents a valuable long term investment combination and offers the flexibility of choice that is our hallmark.”

Visit www.rossvideo.com and www.scalelogicinc.com

Square Box Systems Manage Your MediaSQUARE BOX SYSTEMS recently revamped its range of digital asset management and media asset management solutions. The company’s products are designed to accelerate collaborative media asset management operations, and empower enterprises of all sizes to repurpose and monetise millions of assets.

CatDV 12 is a new version of the company’s media asset management system. CatDV 12 features an updated user experience along with native support for Square Box Systems’ recent release of Server 7. The system’s logging and ingest capabilities have also been updated. CatDV features 64-bit architecture and natively supports the latest broadcast and camera formats.

Worker 7 is the successor to the company’s workflow automation solution for CatDV MAM deployments. Now supporting Linux environments, Worker

7 makes CatDV suit the need to manage huge volumes of assets. Worker 7 includes many new functions designed to make workflow automation and integration more powerful and easier to deploy.

The CatDV Pegasus Server enables fast, Google-style searches across millions of assets and includes support for Oracle and Microsoft SQL Server databases.

CatDV Enterprise Server 7 now features web-based system administration, a REST administration API, as well as core improvements including support for larger customer deployments, centralised path mapping, along with more efficient search tools.

Square Box Systems has also launched CatDV Archive to Cloud in response to customer demand for the ability to leverage cloud services in MAM operations.

Visit www.squarebox.com

Mediaproxy Updates Logserver AUSTRALIA’S MEDIAPROXY recently introduce several updates to its LogServer suite of products. LogServer provides integration with OTT streaming sources to provide broadcasters a solution to maintain a handle on internet based streams via built-in real-time analysis and confidence monitoring. With support for live streaming sources and included profiles, both outgoing encoder and on-air CDN feeds can be monitored and analysed in real-time using the tools provided by TSAnalyzer and Monwall. Live

streams may also be recorded for long term archiving or compliance reviews using the LogPlayer multi-player user interface.

Mediaproxy’s products includes Monwall IP multiviewer and TSAnalyzer. Both client applications allow connection to any LogServer ASI or IP via a low-bandwidth connection. This offers decentralised access to TS monitoring that would usually require access to the high bit-rate multicast source directly. Once connected, options around closed captions, SCTE-104/35 and TS events are made available via the client applications.

Visit www.mediaproxy.com

ATTO Launches Fibre Channel SAN Upgrades

ATTO TECHNOLOGY recently announced the availability of a range of fibre channel SAN kits providing the components needed to update existing direct-attached storage to a high-performance, low-latency storage area network.

ATTO fibre kits enable system admins to increase lifespan of existing storage by converting direct-attached SAS RAID, JBOD or JBOF storage to SAN technology. The solution allows for storage to be scaled and will benefit any environment experiencing slow host-to-host data transfers. It also provides faster live migrations in virtual environments such as VMware vSphere, along with redundancy for rapid virtual machine restarts

in the event of failure.

Three ATTO Fibre Channel SAN Kit options are available:

• Entry-Level – For updating a small number of direct-attached storage

products to shared storage.

• Mid-Tier – Allows system admins to connect a small storage

infrastructure to dual ATTO Storage Controllers.

• High Availability – Lets system admins create a larger infrastructure with

up to eight attached host servers and no single point of failure.

Visit www.attotech.com

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AUDIOAUDIODigital soundwaves www.content-technology.com/audio

Kai Media Pioneers MPEG-H Audio in 4K UHD Encoder for KoreaKOREAN MANUFACTURER KAI MEDIA has become among the

first manufacturers of professional broadcast encoders to integrate

Fraunhofer IIS’ MPEG-H Audio software for the Korean market. The

company’s KME-U4K broadcast encoder will support MPEG-H Audio

encoding of immersive and interactive sound.

The interactive functionality of MPEG-H Audio will give consumers the

ability to adjust the sound mix to their preferences. For example, choosing

between different commentators in a sporting event.

The immersive sound function, meanwhile, has been ompared to

moving from stereo to surround sound with MPEG-H adding 3D audio

components to deliver an immersive experience.

The KME-U4K is a high-performance 4K UHD live encoder. Developed with

dedicated hardware on a server, the KME-U4K features MPEG-H Audio

encoder software from Fraunhofer IIS in addition to real-time encoding up

to 4K UHD and four FHD channels.

“Kai Media’s adoption of MPEG-H Audio software for the KME-U4K

encoder represents another milestone in Fraunhofer’s continued efforts

to deliver high quality applications of advanced audio technologies to

the evolving media world, particularly in South Korea,” said Robert Bleidt,

Division General Manager at Fraunhofer USA. “MPEG-H Audio enables

professional broadcasters to deliver premium content to viewers with the

next-generation quality of audio.”

MPEG-H Audio allows broadcasters and streaming services to deliver

the future of streaming and TV audio at comparably low bit rates and

in a cost-effective manner. MPEG-H Audio is under consideration for

next-generation UHDTV broadcast standards and for the ATSC 3.0 audio

standard.

“As a developer of a variety of functional solutions for broadcasters that

utilise international video and audio standard techniques, the added

benefits and features of MPEG-H Audio will be an industry game changer,”

said Jin Suk Kwak, Director of Kai Media. ”We are pleased to announce our

early adoption of the MPEG-H Audio software for our 4K UHD live encoder,

which offers professional broadcast customers features such as interactive

audio and immersive sound.”

Visit www.iis.fraunhofer.de/audio and www.kai-media.co

THE 2016 AUSTRALIAN OPEN Tennis tournament saw more than 720,000

visitors take in the iconic Grand Slam from January 18 to 31 in Melbourne,

with local host broadcaster the Seven Network sending the major matches

live Australia-wide. International broadcasters including ESPN, beIN Sports,

SuperSport, Eurosport, CCTV, NHK and Sky transmitted the action to hundreds

of millions more.

Backing up all the broadcasters with the infrastructure they needed to cover

the international sporting event was Gearhouse Broadcast Australia, whose

relatively new Event Communications division was on-site and using Clear-

Com’s FreeSpeak II full-duplex wireless communications system, supplied by

local distributors, Jands.

“We used three FreeSpeak II systems for three broadcasters including EPSN,”

explained Jason Owen, Manager of Event Communications at Gearhouse. “The

main driver behind choosing FreeSpeak II was the limitations we face with

regards to spectrum. Whilst we work very closely with [Government regulator]

ACMA for our broadcast and event communications licensing, there are

undoubtedly situations where there is simply not enough usable spectrum

available to deliver what our clients need. Systems like FreeSpeak II, which

operate in the DECT class-licensed band, give us more flexibility. It’s a tool

for us to use to save traditional LMR spectrum. It offers higher quality audio

than a two-way radio, and because it’s a multi-channel device, it means users

that users that currently wear two radios and two headsets can wear just one

FreeSpeak II beltpack instead.”

The Australian Open is a long-term client of Gearhouse Broadcast, whose

footprint at the Tennis Centre had been expanding gradually over the years.

Gearhouse’s Event Communications division, which started in mid-2015,

represents a significant part of the increase in their responsibilities. “We’ve

invested in Clear-Com because of our growth,” elaborated Jason. “We have

been contracted as the comms provider for broadcast productions such

as ‘Survivor’, ‘The Bachelor’, and ‘I’m a Celebrity … Get Me Out of Here!’, as

well as live productions like the Victorian and New South Wales Schools

Spectaculars.”

The Australian Open sees Gearhouse building and kitting out several small

studio spaces for guest broadcasters.

“They rent their own studio space, which we facilitate in terms of broadcast

equipment,” Jason continued. “They have all the normal staff a broadcast

studio would have, but they’re all on wireless comms. It forms an essential

part of their workflow. So, instead of wasting a two-way radio on such a small

environment, we can use FreeSpeak II and free up UHF channels.”

Jason and the Gearhouse team ran 26 FreeSpeak II 1.9GHz beltpacks and

three FreeSpeak II-Base basestations in the globally license-free 1.897 to

1.933GHz range through the course of the two-week competition.

“The FreeSpeak II systems worked flawlessly,” Jason reported. “We put

FreeSpeak II into shows that other product can’t handle, and we plan to

deploy double the amount of units on The Australian Open next year.”

Visit www.clearcom.com

Gearhouse Broadcast Serves Australian Tennis Open with Clear-Com

The KME-U4K broadcast encoder with MPEG-H Audio from Kai Media.

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G’day Sport!Marco Pelloni, Senior Audio Director (studios) at Fox Sports in Sydney moved to Australia from the UK thirteen years ago, after stints in local radio, London Weekend Television (LWT) and a decade as Head of Sound at GMTV.

IT WAS DURING THIS TIME, THAT GMTV took on a new Calrec C2 console which immediately improved work flow and facilities.

“After ten years at GMTV I left for Sydney and Fox Sports in 2003 and I was pleased to find Calrec consoles at Fox Sports. Fox Sports have never shied from acquiring the latest gear and we soon took delivery of two Zeta consoles and another C2 for our dedicated sports news channel.

“When Fox Sports moved to its purpose built facility in 2013 my decision on which sound desks to install was a straightforward one and the Artemis console was chosen.”

What changes are you seeing in the way TV sound is being captured, mixed and delivered to audiences?

“I find sports television offers some of the more challenging environments even when considering just the studio based part of a production. To a point, work flow or signal flow is very much the same thing when it comes to sports shows. Outwardly there are a number of studio-based presenters filling the gaps between one or a number of OBs, and at home it all appears seamless, which is how it should be. Inwardly however things get a little more complicated! One of the biggest shifts over the past few years has been the increase in signal paths to and from studio centres and OBs.

“Embedded audio is a wonderful thing but you need a very flexible matrix to handle all of the potential signals, and whilst most professional desks can achieve what you need, the logical lay out and colour matching of the surface controls on the Artemis and Apollo desks makes the task so much easier and much faster.

“We regularly pass various feeds from one of our OBs to another OB/network or customer. For example, clean FX or clean commentary is generally done via the Artemis if the OB is included as part of a studio show. This removes the need for our master control to send embedded audio on to somewhere else directly, but it also means that the desk can end up doing so much more than just mixing a television show, with a number of pre fader signals being sent on to various parts of the world.

“With a number of mission critical signals sitting on a ‘live desk’ that might not be using some of those feeds or might be using different signals from the same source at the same time as someone else, a very clear presentation of “what is going where and how” is vital and this is where the Artemis and Apollo excel.”

How do you use the console to overcome the challenges of modern live broadcasting?

“At Fox Sports, apart from one or two exceptions, we tend to have a single operator in the sound control room doing all the mixing. Even on a heavily sting or FX based audience show, we tend not to have a ‘gram-op’ so it is very much a one man band for the most part. I tend to mix most of our shows very ‘bright’ as far as EQ is concerned which includes audience reaction and applause. I think this is partly due to what I was used to hearing at ITV and partly due to what I call the ‘maximise and minimise’ process.

“Fox Sports’ two main production studios are not particularly large, and so a studio audience is always going to be close to the presenters, which makes managing PA spill a constant challenge. Maximising the audience participation without going over the top, which instantly sounds nasty, and minimising or compensating for the highly reflective sets that modern sports studios tend to have, involves some subtle gating and the use of

the auto mix function on the desk. The auto mix function on the Artemis is very quick and responsive without sounding artificial, and a Cedar noise reduction system across the main microphone groups tends to do the trick.

“Breaking it down further, the sets in the studios look great but have hard reflective surfaces and large monitor walls that are reflective from a sound standpoint; they also house a great many cooling fans that vary in speed and pitch depending on how hard they are working. Even the furniture and desks near the presenters tend to have a number of screens built into the front, which all add to the fan noise. Reducing the noise from equipment fans and air conditioning is done by the Cedar DNS 8 across the presenter and audience microphone groups, and the reduction in noise levels is dramatic.”

What are the biggest shifts that have changed the way you work?

“We see constant advances in technology, but the big changes are in how we use existing systems. Remotely controlling outside broadcasts is starting to happen in Australia, which effectively means the studio control room becomes the outside broadcast truck.

“Suffice to say, we suddenly need a whole lot more channels and routing flexibility. Working a studio control room like an OB truck means that patching often needs to be changed, and that’s where the Artemis PC application and interface proves its worth. When you have loads of set-up time you can afford to dig around a screen to find out what is what, but when you are mixing and patching on the fly you really appreciate a logical and well thought out interface. Freelancers, who might not get a lot of time on the desk, especially appreciate the logical patching screen and layout on the PC UI.

Are there any differences in the way you approach your job since moving to Australia?

“The UK makes thousands of hours of just about every type of programming and has very significant budgets to achieve this, particularly in drama production. In Australia, the focus is on sports production, and Fox Sports has been the leader in this type of coverage for 20 years. The way we capture sound has not changed a very great deal, although we have developed mic’ing techniques in OBs and in the studio, coupled with faster and harder compression techniques when required.

“The complexity of signal routing and the different requirements for those signals, like multiple destinations and uses for the same signal, mean that the sound desk is not just a controller of levels and simple signal distribution – although in truth it was never really that simple. Modern desks have to be very efficient routing tools, and the operator needs to be able to interrogate the desk to find out what is going where in a fast and easy to understand way.

“This to me is one of the deal-breaker selling points of the Artemis and Apollo, and to date I have not found another product that can show the whole picture as effectively.”

Visit http://calrec.com and www.ssd.com.au

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AUDIO-OVER-IP TECHNOLOGY OPENS NEW POSSIBILITIES for building audio infrastructure. Standard ethernet infrastructure is becoming the medium for audio that will be able to support any resolution, sample rate, or format of professional audio data. The Genelec 8430 two-way smart active monitor enables direct monitoring of the AES67 formatted digital audio stream directly.

Using Internet Protocol (IP) networks to pass the highest quality audio (and video) signals with low latency carries a great potential allowing flexible connectivity from any source device to any destination device, and the ability to pass any audio format, sample rate, and word length. This implies a change in the way professional quality level audio (and video) systems have been built up until today.

Audio-over-IP technology divides the samples of digital audio into packets and transports these packets to the destination devices over CAT5 or CAT6 cables, using IP networking protocols. Several protocols are needed, each responsible of particular details of the process. As these protocols handle data, they become capable of passing any format of audio sample data, irrespective of the sample rate, audio bandwidth, format of encoding, or any other such aspect of presentation that usually has been of great significance in terms of enabling system connectivity.

While the network itself does not limit the presentation of audio data, the significant topic in professional audio is audio-over-IP interoperability. This refers to the ability of devices from different manufacturers to confer with each other. This is where the AES67 standard comes in.

Traditionally audio interconnections accomplish interoperability with standards like the balanced XLR output and input for conventional analogue audio, and the AES/EBU interface for the conventional digital audio.

As IP networking systems must utilise a large collection of protocols and settings for each protocol in their communication, interoperability has not been a self-evident result of using IP audio networking. In fact, the numerous audio-over-IP systems on the market have contained enough small differences to render interoperability difficult to achieve.

A standard for audio-over-IP interoperability has been developed by the Audio Engineering Society and was published first in September 2013. This AES67 standard has been designed to allow interoperability between IP-based systems designed for audio transport with high dynamic range, low end-to-end latency, very high clock accuracy, and without a technical limit to the maximum number of audio channels the system can support. Examples of such systems include RAVENNA, Livewire, Q-LAN and Dante.

The AES67 is an Internet Protocol based solution and it uses protocols at or above layer three in the sever-layer Open System Interconnect (OSI) reference model. This makes AES67 fully compatible with existing cable-based IP networking hardware environments (ethernet). Audio-over-IP can transport on virtually any local area network (LAN) and benefits from the continuous increase in the speed of these networks. Today, the device connections operate at 1 Gbit/s while the faster switch-to-switch connections can exceed 10 Gbit/s.

Although ethernet is usually the underlying data link layer, the Internet Protocol is infrastructure-agnostic and can be used on virtually any network technology. To achieve interoperability, AES67 addresses the following tasks in audio networking:

• Device clock synchronisation pulls all audio devices in synch across the network.

• Media clock management defines the audio clocks and how they relate a common clock reference.

• Transport moves audio data across the network with sufficient priority.

• Encoding and streaming describes the formats of audio in the packets of a stream.

• Stream description communicates the data needed to establish a connection, specifying network addressing, encoding and origination.

• Connection management communicates the data needed to establish and maintain an audio stream connection.

INDUSTRY-FIRST IN AUDIO-OVER-IP MONITORINGSix years ago, Genelec publicly demonstrated its first audio-over-IP loudspeaker system at the Integrated Systems Europe exhibition. This system was selected as ‘Pick of ISE 2010’, one of the best innovations presented at the show.

In February 2016 Genelec launched the 8430 Smart Active Monitor, the first audio monitor to allow direct monitoring of audio-over-IP signals.

PROFESSIONAL INPUTSThe 8430 combines various connectivity options. The AES67 signal input is housed in an XLR-integrated RJ45 connector, enabling audio-over-IP signal connection. The AES67 input supports 44.1 kHz to 96 kHz sample rates, as well as 16-, 24- and 32-bit word lengths.With accurate clock synchronisation from a network-attached Precision Time Protocol grandmaster clock source, accurate monitoring of high resolution audio signals is enabled.

The 8430 also supports monitoring of professional analogue signals using a balanced XLR connector. The full 25dBu professional audio signal level range is supported.

EASY CONNECTIVITYThe digital audio in an audio-over-IP stream may contain any number of channels. On an IP network, all audio streams are visible to all monitors. The physical cabling has absolutely no significance in determining what audio channel goes where in the system. The cabling in an IP network system always follows the same principle; the monitor connects to an IP switch device using one IP network cable. All devices connect via IP switches. There is nothing further to know about the cabling for audio-over-IP speakers, except that the maximum length of the cable is 100 meters from the switch device to the monitor. Often this is ample, but can be extended using another switch device. After pulling these physical cables, the connectivity resides entirely in the software configuration (see Figure 2).

The routing of audio in the network is no longer dependent on cable routing. Connecting audio-over-IP devices is simple. You attach one cable to the network and you are done. All devices are accessible and visible through the network and when access to several configuration user interfaces is needed, all of these are available at the same computer display.

Audio-over-IP is attractive to audio infrastructure designers, because:

• More flexibility in cabling, system design and building.

• One network supports any audio format.

• Efficiency of maintenance.

• Lower overall facility level cost.

• Flexibility of connectivity.

• Easier setup and operation.

• Less limitations to improve product features and performance.

• Long term availability of technology with improving speed of networking.

PROVEN ACOUSTICAL ACCURACYAs part of Genelec Smart Active Monitoring (SAM) Series, the 8430 shares the same electro-acoustic design features such as Genelec MDE and DCW technologies, a flow optimised reflex port, very low distortion of the acoustic output across audible frequencies, high SPL capacity, and a wide bandwidth, uncoloured output on the acoustical axis as well into off-axis directions, delivered in a compact enclosure.

Being a member of the Smart Active Monitoring series, the 8430 uses the Genelec Loudspeaker Manager (GLM 2.0) control network and software which allows adjustments of all aspects of monitor settings.

UNICAST AND MULTICASTThe typical method of defining a connection between two IP devices is called unicast. This method transports the data packets across the network so there is only one transmitter and one receiver for the packets.

IP networking also supports multicasting. Multicasting implies one transmission is addressed to several receivers while the data packets are only sent once. Audio presentations are typically collections of several channels. While it is up to the system configurator, a convenient method of using an IP based audio sample transport is to pack samples from all the channels of one presentation into one data packet. Then, multicasting a stream of these data packets across the network allows all monitors and subwoofers to listen to this transmission and pick applicable audio channels from the data stream. Because only one audio stream is sent on the network, multicast can reduce the data processing load in the network IP switch devices, enabling higher throughput. Both multicast and unicast are defined in AES67.

Enabling Direct Monitoring of Audio-Over-IP StreamsBy Aki Mäkivirta, R&D Director, Genelec

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calrec.com/brio

Slogan created by: Name: Brendon Murphy Job Title: Broadcast Services Manager Company: Mediaworks NZ

190x127 C+T.indd 1 07/06/2016 15:26

ACOUSTIC CALIBRATION8430 monitors are calibrated individually at the factory to eliminate and any unit to unit differences.

The 8430 supports the smart SAM system calibration using the automated system measurement and calibration feature built into the Genelec Loudspeaker Manager software (GLM AutoCal) and is supported by room response measurement hardware. Genelec manufactures a room measurement microphone with calibrated frequency response and omnidirectional characteristics, enabling measurements for all professional reproduction configurations – including 3D systems. The automated measurement and calibration supports more than 30 monitors and subwoofers in one room and runs in a few minutes.

Supporting spot and wide area corrections at unlimited positions in a room, the GLM AutoCal system aligns at the listening position, the times of flight for all monitors, setting monitors at equal acoustic distance and aligns the reproduction levels enabling all devices to play at the same sound level – irrespective of their distance or other acoustic influences, and finally, equalises the frequency responses compensating for acoustic influences of the room.

ECO FRIENDLY DESIGN

The 8430 materials are recyclable, and the enclosures are manufactured of

already recycled aluminum. The die cast aluminum enclosure offers driver

protection against mechanical damage and electronic abuse, and versatile fixing

features integrated in the enclosure structure offer ease of installation and long

term reliability.

SUMMARY

The Genelec 8430 supports the interoperability standard AES67. It is also a fully

developed Smart Active Monitor, enabling fast and accurate multichannel or

immersive audio system calibration with detailed and individual compensation

of the acoustic influences of the listening room. Genelec 8430 is an industry-

first solution for monitoring audio-over-IP streams and integrates with facilities

offering modern IP networks.

Visit www.genelec.com

Figure 2. The ethernet connector for audio-over-IP input is visible in the middle; the standard analogue connector is to the right.

AUDIO WORKSTATION

AUDIO WORKSTATIONAUDIO WORKSTATION

IP SWITCH IP SWITCH IP SWITCH IP SWITCH

8430 MONITORS

MIXER

CONFIGURATION

Figure 3. Audio-over-IP devices physically connect to their nearest IP switch device while the system connectivity is determined by software configuration.

Figure 4. Genelec 8430 includes the standard GLM network connection for acoustic system calibration, two audio inputs, and a power input supporting universal mains voltage range.

Figure 1. Genelec 8430 offer direct monitoring of AES67 formatted audio-over-IP streams.

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Precision Headphone Amplifier from Rupert NeveRUPERT NEVE DESIGNS has announced the RNHP: Precision Headphone Amplifier, based on the headphone output circuitry from the company’s 5060 Centerpiece Desktop Mixer.

The RNHP is a dedicated 24V reference-quality headphone amplifier with level and impedance-calibrated +4dBu Line, unbalanced RCA, and 3.5mm inputs, housed in a rugged VESA-mountable steel chassis. It is designed with near-zero output impedance and high-power, high-headroom circuitry to drive any headphones on the market.

In addition to being able to drive a wide variety of headphones, the RNHP is also capable of receiving a wide array of signals with its three inputs, calibrated for optimum level and impedance. Input A is designed for +4dBu Line (XLR or TRS) Devices such as Studio Audio Interfaces (Line or Monitor Out); Headphone Mixers (Line Output or HP Out); Mixing Consoles (Line, Aux or Monitor Out); Professional Turntable Mixers (Line or Monitor); Professional Stereo Digital to Analogue Converters; Professional Cameras; and Studio Monitor Controllers.Input B is designed for RCA Devices such as CD / DVD Players; Stereo Tuners; Preamplified Turntables; and Prosumer Recording Devices/Cameras. Lastly, Input C is designed for 3.5mm (1/8”) Stereo Devices such as Mobile Phones; Portable Music Players; Computers; DSLR Cameras; Handheld Recording Devices; and any 3.5mm headphone output

Visit http://rupertneve.com

Dialogue Noise SuppressorIN RESPONSE TO THE REQUESTS for a “two-channel version of the DNS 8 Live”, Cedar Audio has released the DNS 2 Dialogue Noise Suppressor, a more portable device that can be used on location as well as in the studio or edit suite.

The new DNS algorithm requires nothing more than switching on the Learn function that identifies and adapts to the background noise and then dialing-in the amount of noise attenuation required.

This offers near-zero latency, so that the DNS 2 can be used for live sound and live broadcast. The device eliminates traffic noise, air conditioning, wind, rain, babble and general background noise from audio signals. It will also help to compensate for unfavourable acoustic conditions and poor microphone placement, and will even suppress excessive reverberation.

Being so small and light, the DNS2 can be slipped inside a pocket or equipment bag. The DNS 2 offers analogue line and ultra low-noise microphone inputs (the latter with switchable 48V phantom powering), an AES digital input, and both analogue and digital outputs. With its 12V power input and mounting points for use with other equipment, sound engineers can use it in the middle of a field as easily as in the studio or the edit suite.

Key features include:• Small, light and portable• Near-zero latency• The latest DNS algorithm with super-fast setup and control• Analogue (mic / mic 48V / line) and digital I/O• 12V powerThe DSP includes:• Two linkable channels of CEDAR dialogue noise suppression• Fully automatic processing in Learn mode• Floating point processor, 2.4 GFLOP/s, 40-bit resolution• Digital input and output (AES3)AD/DA conversion capabilities include:• 24-bit resolution• Sample rate (internal sync.) 48kHz• Sample rate (external sync.) 44.1kHz, 48kHz, 96kHzBalanced analogue line inputs and outputs feature:• Nominal level: +4dBu with 20dB headroom• Gain range: -6dB to +54dB• Dynamic range: > 102dBUltra low-noise microphone preamplifiers include:• Gain range: +18dB to +78dB• Dynamic range: >102dB (at 36dB gain)• Individually switchable phantom powerPower operates from 8VDC to 17.5VDC (nominal 12V) with a power consumption of 4W typical, 6W maximum. Mains operation (85VAC - 250VAC) is via a supplied adapter. The DNS2 measures 164mm x 110mm x 44mm, and weighs just 500g.Visit www.cedaraudio.com and http://cda-proaudio.com

High Output Studio SubwooferHARMAN HAS INTRODUCED the 18” JBL SUB18 High Output Studio Subwoofer that delivers the very high continuous output and extremely low frequency response required by music professionals in the EDM and hip-hop domains and those working in film and post-production.

Featuring JBL’s 2269 low frequency transducer with JBL’s patented Differential Drive technology, the new JBL SUB18 couples power and accuracy to produce an in-room response below 18 Hz and 137 dB peak output.

SUB18 answers the call for high SPL and deep low frequency performance in dance music production. In an effort to bring the “club vibe” to the control room, dance music producers and engineers resort to the use of live sound subwoofers. While in film production, the need for linear, low frequency response drives the use of multiple large subwoofers.

Specifically designed for studio use, SUB18 produces neutral low frequency response below 18 Hz, providing an accurate reference in the low frequency band and output equal to or greater than many double 18-inch subwoofers. Highest possible output and performance are obtained by powering the SUB18 with Crown iTech HD series power amplifiers.

The heart of the SUB18 is JBL’s 2269H low frequency transducer developed for use in club applications. With the 8,000-watt peak power handling capability, special technology was required for heat dissipation. The Differential Drive design incorporates two 4-inch voice coils that share the thermal load, greatly reducing power compression and resulting non-linear output. The result is sustained linear output at higher SPL than otherwise possible and true sub-bass response. The 2269H is housed in a birch plywood enclosure that is only 24 inches deep, allowing placement behind film screens.

Used in conjunction with JBL’s M2 Master Reference Monitor system, the JBL SUB18 Studio Subwoofer enables three times greater output from the system, allowing an M2 System to deliver the SPL required for large film post dubbing stages.

Visit www.jands.com.au

Connecting Analogue Audio to Dante NetworksAMPHENOL HAS UNVEILED the Amphe-Dante range of Dante digital to analogue audio adapters, engineered to simplify the connection of analogue equipment, including amplifiers and loudspeakers, to Dante networks. The adapters feature a cable dongle housing design, allowing systems integrators to mount the adapter without the costs and labour of additional rack or shelf space.

Amphe-Dante adapters receive audio channels from a Dante network and provide studio-quality, low-latency audio via an XLR connector to analogue audio equipment. Any audio available on the Dante network can be routed via the XLR outputs to an amplifier, powered speaker, mixing console, digital signal processor (DSP), or other analogue audio device.

The initial release offers a single- or two-channel option with premium XLR connectors and a durable moulded housing. XLR adapters (for example XLR-to-RCA and XLR-to-phono) can be used to connect to audio equipment without built-in XLR connectors, ensuring flexible options for customers.

Visit www.amphenolaudio.com

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RADIORADIOThe original broadcast media www.content-technology.com/radio

THE COMMUNITY BROADCASTING ASSOCIATION of Australia (CBAA) has welcomed the Australian Labor Party’s commitment to reinstating funding for digital community radio if elected.

The CBAA’s Keep The Community In Your Radio campaign has been calling for a commitment to the future of community radio on the digital spectrum, with the immediate restoration of funding to cover transmission costs. The campaign has attracted around 30,000 petition signatures.

The Shadow Minister for Communications, Jason Clare, recently joined Federal Member for Sydney and Deputy Leader of the Opposition, Tanya Plibersek, and Federal Member for Grayndler, Anthony Albanese, to deliver the news at FBi Radio’s studios in Sydney.

“We’re announcing that if Labor is elected on the 2nd of July, we’ll reverse the cuts that Malcolm Turnbull has made to digital community radio services,” said Mr Clare. “We understand how important community radio is, you’ve got about five million people right across the country listening to more than 440 community radio services every week.”

According to the CBAA, the recent Federal Budget failed to maintain funding for metropolitan community digital radio services in Sydney, Melbourne, Brisbane, Perth and Adelaide. The Association said the loss of AUD$1.4 million in funding per annum put all community digital radio services at risk, and came at the same time as commercial broadcasters are set to benefit from a 25 per cent reduction in licence fees.

CBAA Chief Executive Officer, Jon Bisset, welcomed Labor’s support, and urged the Coalition Government to match the commitment.

“Twenty-five percent of radio listeners in five capital cities are listening on digital radio. If this funding isn’t restored, people will find that buying a new DAB+ radio means no longer being able to receive your community radio station. Over five million Australians tune in to community radio each week.

“It is very encouraging that the Labor Party has recognised how critical it is to maintain community radio’s significant contribution to media diversity and local content on digital radio, both where digital radio is currently available and as it rolls out to regional Australia. Labor’s commitment is a huge step in this campaign – it’s set to be a close election and we need the Coalition Government to match Labor’s commitment, ensuring the future of community radio.”

The ALP has committed to maintaining ongoing targeted funding for community digital radio at least at the 2015/16 level of $3.686m per annum, addressing the $1.4m shortfall in the current budget. The funding would ensure the continued availability of a diverse range of community digital radio services across Sydney, Melbourne, Brisbane, Perth and Adelaide.

Visit www.cbaa.org.a

Labor Commits to Community Radio

Australian Commercial Radio Welcomes Cuts to Licence FeesAUSTRALIAN COMMERCIAL RADIO BROADCASTERS have welcomed the announcement in the recent Federal Budget of a 25 percent reduction in commercial radio licence fees, applicable from the 2015-16 licence period.

Joan Warner, Chief Executive Officer of peak industry body Commercial Radio Australia, said: “The cut in licence fees is a welcome relief to Australian radio broadcasters, who operate in one of the most intensively competitive industries in the world.

“We are disappointed that the relief is not greater, but will enter into discussions with the Minister on further cuts later in 2016 as mentioned in his Budget statement.

“This has been a key issue for the industry for some time. We need to be able to better compete against global players who are largely unregulated and do not carry the many costs, obligations and restrictions that local radio broadcasters do,” she added.

The Australian Communications and Media Authority’s Annual Report shows commercial radio stations paid a total of AUD$24.83 million in broadcasting licence fees in December 2014 for the 2013-14 period.

The Budget papers stated the licence fee relief is the result of the Government’s review of broadcast licence fee arrangements, which found that the rapidly changing media market was placing significant financial pressure on commercial broadcasters.

Visit www.commercialradio.com.au

MARCH 28 SAW THE successful launch by Radio Republik Indonesia (RRI) of DAB+ digital radio in Jakarta. The Director General of Communications and Public Information of the Ministry of Communications and Information Technology, Ms Niken Widiastuti launched the service and new RRI DAB + studios located at Medan Merdeka Barat in the Indonesian capital.

The Indonesian radio industry and regulator have worked together to move Indonesian radio onto the digital platform. With a population of more than 250 million people the adoption of DAB+ in Indonesia makes it one of the largest DAB+ markets in the world.

Ms Niken Widiastuti said the new service forms part of an integrated, converged cross media platform reflecting the way in which consumers access information via new channels. She described RRI DAB + as “a stepping stone” to becoming a global media provider in the manner of BBC English.

“It will enrich the service RRI,” she said. “I think, the position of RRI is now even more than that of broadcasters abroad, such as RTM, RTB.”

Indonesian radio broadcasters have previously travelled to Australia to hold technical and policy meetings with key digital radio stakeholders and visited the DAB+ Darwin trial to understand how the technology functioned under similar climatic conditions to Indonesia.

DAB/DAB+ digital radio is now available in over 40 countries.

Successful Launch for Indonesian DAB+ Digital Radio AVT Names Agile as

Australian DistributorAVT AUDIO VIDEO TECHNOLOGIES has announced Agile Broadcast

as its exclusive Australian distributor. AVT Audio Video Technologies

GmbH manufactures high quality audio transmission products for the

radio and television industries.

The product range includes systems for POTS, ISDN, Ethernet, 2-Mbit/s,

X.21 and V.35 lines. The main products are Telephone Hybrids/Talkshow

Systems, Audio Codecs and DAB/DAB+ Systems.

Agile Broadcast’s Business Development Manager Ian Thomson

stated, “We are immensely proud to be representing AVT. They are

an established company with products that fit our market perfectly.

Their technology is forward thinking and the emphasis on technical

development is impressive.”

The latest product from AVT is the IP Audio Codec MAGIC ACip3 and is

available now.

Visit www.Avt-nbg.de and www.agilebroadcast.com.au

Shadow Minister for Communications, Jason Clare.

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Wheatstone LXE IP Audio ConsoleWHEATSTONE RECENTLY INTRODUCED LXE, a new IP audio console for

radio with programmable switches, rotary controls, and fader groupings that

can be remotely located and operated from another room or studio.

The LXE is Wheatstone’s latest addition to its IP audio console line for use

with its WheatNet-IP audio network, a complete AES67-compatible network

system with audio transport, logic control, and an audio toolkit at every I/O

point in the network.

“Broadcasters kept telling us they needed a console surface that is more

adaptable for all the applications they’re doing these days. By eliminating

the usual hard-coded buttons and encoders and instead scripting out those

capabilities much like we’ve done with our audio network, we can give

them that,” says Kelly Parker, Wheatstone’s systems engineer who headed

up the development of the new LXE.

The new LXE console architecture is customisable, with pull-down

configuration software that allows every switch on the surface to be

programmed for function, mode, and even colour (switches are RGB LED

illuminated). Built-in software allows every button to be scriptable, letting

users create macros for as many controls as desired.

Multiple full-colour OLED displays on each panel keep pace with ongoing

operations, and event recall allows one-touch console reconfiguration.

LXE offers inherent control flexibility and the ability to access thousands

of signals (sources and destinations are limited only by the size of the

network).

The LXE can have up to 32 physical motorised faders, with full DSP processing available on all 32 channels. Surfaces interface into the WheatNet-IP Intelligent Network, and utilise BLADE-3s for audio, control and associated logic data flowing on single CAT6 interconnections. The system can ingest and convert analogue, microphone, AES/EBU, SPDIF, AoIP, MADI, SDI and AES67 signals. Loudness metering, phase reversal and full EQ and dynamics are included.

Visit www.wheatstone.com

Unit 2, 3 Dunlop Court, Bayswater • 1300 656 958 • [email protected]

LXEvolvedTHE ALL NEW LXE BROADCAST AUDIO CONSOLE

LXE is the recipient of NewBay Best of Show Awards from Radio

World and TV Technology

Wheatstone’s new LXE console brings control surface configuration to a new level. Going far beyond the usual “any source to any fader” network concept, the LXE is a fully flexible control interface, where every switch and rotary control is programmable to perform any desired function.

This means console architecture is completely customizable to client requirements, and limitations to functionality are no longer a factor. You can customize it yourself using our new ConsoleBuilder software.

Each module has full color OLEDs that will reflect the function of your setup, and inputs have motorized faders. Plus, there’s an all-new touchscreen GUI that comes with ScreenBuilder-LXE.

Physically compact, the LXE is available in several different form factors including countertop, countertop sunken, and split frames (split sections are not confined to one room, they can actually be in different studios). It’s the next step in IP audio control. T H E I N T E L L I G E N T N E T W O R K

Broadcast Electronics Reimagines AudioVaultBROADCAST ELECTRONICS has reimagined its AudioVAULT FleX and

repackaged it for any size application. Xpresso is aimed towards streaming

stations and multi-cast channels, yet is still powerful enough for large

operations.

Xpresso allows users to build a system to suit their needs so they are not

paying for features they won’t use. In addition, there are support options

designed to keep users covered based on their technical level and your

budget.

The AudioVAULT Xpresso comes in two configurations. The On-Air Package

includes: Studio Interface; Segue Editor; Voice Tracking; Quick Starts; CD

Ripper; Cart Builder; and Schedule Merge. A second Xpresso can be added

for backup/redundancy.

The Production Package includes: Production Interface; Editor; CD Ripper;

and Cart Builder.

Visit www.bdcast.com and www.luminabsa.com

Axia Audio Consoles Now AES67-CompliantTHE TELOS ALLIANCE—parent company of Axia Audio—has

announced that its Axia DESQ, RAQ, iQ, and Radius mixing consoles are

now AES67-compliant.

With full AES67 compliance, DESQ, RAQ, iQ, and Radius consoles are not

only interoperable with other Axia Livewire+ equipment, but with any

AES67-compliant equipment. Owners of these models can update their

consoles to AES67 simply by downloading the latest software update

for the QOR engine that powers their console.

In addition to AES67 compliance, the DESQ, RAQ, iQ, and Radius

consoles also feature the same aerospace-quality switches, premium

faders, super-sharp OLED channel displays, and textured machined

metal work surfaces with double-anodized markings as found on the

Axia Fusion and Element consoles. They also come with Telos Alliance's

24/7 support and five-year warranty.

Visit www.TelosAlliance.com.

Enco Visual Radio SystemENCO’S ‘Visual Radio’ solution for broadcasters uses Enco’s DAD radio automation and Presenter management interface to deliver a multimedia experience to web and mobile audiences.

Visual Radio gives broadcasters a content acquisition and production system for the scheduling and delivery of synchronised video and audio, with targeted advertising support. Broadcasters can cleanly deliver and monetise radio programming online, broadening reach as audiences change how they perceive and consume broadcast radio.

Visual Radio’s operational flexibility is especially important for radio broadcasters familiarising themselves with video production workflows. Enco’s Visual Radio solution delivers music videos, program audio and interstitials (targeted ads, promos). Enco’s familiar Presenter interface eliminates the need to learn new software and manage multiple content libraries. Instead, customers benefit from an intuitive live-assist application to suit each operator’s preferred balance of manual and automated control.

Visit www.enco.com

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enCloud Suite for Mobile Journalism, Remote Production and ControlENCO HAS COMBINED its solutions for mobile journalism and remote production with facility-based radio automation under the newly branded enCloud family.

The enCloud family essentially lays the foundation for future expansion of ENCO’s mobile and browser-based tools, which includes remote voice tracking for off-site audio production, remote content manipulation, remote control, and flexible iOS and Android apps to simplify live newsgathering and contribution from the field. ENCO has also added its new iDAD-Live application to the enCloud suite, which allows journalists to stream audio from their iOS device, in real time, to their DAD automation systems for playout.

“We continue to introduce new programs and applications that integrate with ENCO DAD radio automation workflows based on customer requests and industry trends,” said Ken Frommert, General Manager, ENCO. “The unifying element is making sure that these tools are accessible for our customers in

the cloud, from any connected location outside of the studio. The enCloud suite represents an important growth area for ENCO well into the future.”

ENCO’s iDAD and enDroid applications allow news reporters and announcers to record, label, transport, and even stream audio directly to ENCO automation systems, with ENCO’s Interchange utility enabling a secure connection between the two worlds.

Meanwhile, ENCO’s web-based Remote Voicetracking software allows broadcasters to voicetrack programmes from around the world using a web browser (Windows/MAC), iPad, or PC without a VPN requirement.

The company also has a growing array of mobile tools, including remote control via an iPad or Apple Watch. Lastly, ENCO’s Weblib2 application provides direct browser based access to playlists and libraries, and allows staff to easily modify, upload, download and audition new and existing content.

Visit www.enco.com

Scheduling in the CloudBROADCAST SOFTWARE COMPANY, RCS, has announced a move that it says will change the concept of music scheduling. The Selector Cloud is a new service that RCS will offer to radio stations and webcasters around the world.

The Selector Cloud provides constant and secure access from anywhere with a simple username and password, allowing the user to perform music scheduling functions, such as library management, clock-building, policy setting, log editing, transfer to the automation system, analysis and much more.

A single music library can be used across an unlimited number of stations and data is secured and constantly backed-up for ultimate safety.

Users can access their scheduler through the browser-based Selector2GO

interface with no software installation required on local hardware, thereby minimizing the need for engineering involvement. Of course, the full-scale GSelector desktop client can also be used, to access all functions.

One of the major advantages of The Selector Cloud is that all users will constantly benefit from the latest and greatest version of the world's number one music scheduling system; there's no software to request, install, update or download. The Selector Cloud is browser and device-agnostic; users can access the scheduler by Mac and PC desktop, or tablets and phones running Android or iOS.

With The Selector Cloud, there is no need to send backups around; data can be shared and accessed in real-time by colleagues and consultants. Existing station-based Zetta automation systems will still work in perfect synchronicity with The Selector Cloud.

Visit www.rcsworks.com

Unit 2, 3 Dunlop Court, Bayswater • 1300 656 958 • [email protected]

LXEvolvedTHE ALL NEW LXE BROADCAST AUDIO CONSOLE

LXE is the recipient of NewBay Best of Show Awards from Radio

World and TV Technology

Wheatstone’s new LXE console brings control surface configuration to a new level. Going far beyond the usual “any source to any fader” network concept, the LXE is a fully flexible control interface, where every switch and rotary control is programmable to perform any desired function.

This means console architecture is completely customizable to client requirements, and limitations to functionality are no longer a factor. You can customize it yourself using our new ConsoleBuilder software.

Each module has full color OLEDs that will reflect the function of your setup, and inputs have motorized faders. Plus, there’s an all-new touchscreen GUI that comes with ScreenBuilder-LXE.

Physically compact, the LXE is available in several different form factors including countertop, countertop sunken, and split frames (split sections are not confined to one room, they can actually be in different studios). It’s the next step in IP audio control. T H E I N T E L L I G E N T N E T W O R K

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BE Ships STX10 10kW TransmitterBROADCAST ELECTRONICS’ STX 10 10kW FM transmitter has been designed to offer a combination of audio quality, reliability, redundancy, serviceability and efficiency in a compact design. With an efficiency of greater than 70 percent AC to RF, the STX 10 saves electricity costs from install and for years to come.

With IP connectivity at the transmitter site, the STX 10 will provide all important transmitter operating conditions and control options from a laptop, tablet or smart-phone. Three levels of security controls from ‘View Only’ to ‘Chief Engineer’ ensures only the right personnel have access to the control functions through the GUI. And with SNMP Level 3 capability, the STX 10 is further protected.

The STX 10 can fit in any standard 19-inch EIA rack that is 30-inch deep, and is transportable to any transmitter location. The STX 10 is equipped with four power amplifier modules and seven power supplies. All power amplifier and power supply modules are hot-pluggable and hot-swappable, so there’s no reason to take the transmitter off-air to install a spare. The Combiner will even auto-adjust to the power change when a module is added or removed. Auxiliary power supply options are available for the PA power supplies and controller power supply providing the redundancy. Moreover, the STX10 has a redundant cooling system, allowing it to operate at full power with a fan failure.

Features include:

• Compact Size, only 22RU;

• 70 percent AC to RF efficiency;

• Hot-pluggable, swappable power amplifier and power supply modules;

• IP Connectivity with GUI for anytime, anywhere access; and

• STXe 500 exciter included.

Visit www.bdcast.com and www.luminabsa.com

ACCORDING TO TIELINE, its new ViA codec sets a new standard in wireless broadcasting and fundamentally changes the way you perform live remote outside broadcasts.

Leveraging Tieline’s approach to mobile reporting using the Report-IT Enterprise smartphone app, ViA delivers a simple and intuitive codec user interface. Going live is literally, power up, tap “Connect” and go live.

Connect using dual Ethernet ports, or two USB modems, or use the on-board Wi-Fi module to connect over Wi-Fi. Insert an optional POTS or ISDN module and the codec is instantly transformed to connect over alternative network transports.

With Tieline’s proprietary Fuse-IP data aggregation technology users can bond any IP interfaces they choose. For example, bond two USB modems, or a USB modem with a Wi-Fi connection, or bond two Ethernet connections. Then Tieline’s Fuse-IP technology will automatically manage the data capability of each link.

Tieline’s SmartStream PLUS dual redundant streaming software for redundant IP streaming over the public internet is also included as standard.

ViA seamlessly integrates with Tieline’s Merlin and Merlin PLUS audio codecs to transmit high fidelity, full duplex stereo program audio with a separate bidirectional IFB circuit.

Visit www.tieline.com/via/

Tieline Incites OB Revolution with ViA

THE TELOS ALLIANCE—parent company of 25-Seven, maker of the

Voltair Watermark Monitor and

Processor—has announced

a diagonostic-only version of

Voltair, the Voltair M monitor.

In 2015, the Telos Alliance and

25-Seven launched the original Voltair, which included both watermark-

monitoring and processing capabilities. The unit gave broadcasters visibility

into their watermark encoding, but also allowed them to process signals,

dramatically improving watermark performance. The Voltair M Watermark

Monitor includes all of Voltair's diagnostic features, but does not affect

the original audio in any way. This makes Voltair M suitable for facilities

that want visibility into their encoding system, but don't need Voltair’s full

processing capabilities.

Voltair M Watermark Monitor delivers:

• Encoding confidence information without altering the original signal.

• Expanded audio monitor output capabilities that let users toggle between

the raw feed, encoded feed, or the raw watermark tones. This gives them

an auditory understanding of how encoding and processing interact.

• Calibration tests that provide noise measurements for both Layer 1 and 2

encoders.

• ‘Encode Failure’ detection: Voltair Monitor features GPIO output alert in

the event that encoder signals fail. Detection is far faster than confidence

monitors.

• A lifetime Data Export License, which gives programmers access to

minute-by-minute confidence histories. This allows them to better analyze

programming by correlating it to other data sources, such as ratings

information and audio log files.

Voltair M runs on the same hardware platform as its namesake, and will

be priced at roughly half the cost of a full Voltair Watermark Monitor and

Processor. Voltair M can be upgraded to a full Voltair with an optional

software update.

Visit www.TelosAlliance.com

Audio Watermark Monitor

FM Composite CodecTHE TELOS ALLIANCE has announced µMPX, a composite FM Codec that enables high-quality MPX over a 320kbps IP connection.

µMPX ("micro" MPX) is a specially designed audio codec purpose-built for FM radio that is able to transport high-quality Multiplexed FM signals over a relatively small 320kbps data pipe. With conventional “linear” MPX over IP offerings, distribution of such streams requires high, dedicated bandwidth, typically 2 megabits (Mb) or more. µMPX slashes the amount of bandwidth needed for distribution by nearly 84% to 320kbps. By reducing data requirements, high-quality multiplexed audio can be economically routed from an audio processor, over IP, and directly into an exciter.

With µMPX, lower bandwidth IP connections and narrow band STL channels can now be used to transport MPX signals. µMPX will create new audio distribution options and cut equipment needs and costs, as it leverages advances in the world’s ever-growing IP infrastructure.

A Telos Alliance, Moseley, and Nautel live demo of µMPX at the recent NAB show transported an encoded MPX signal over IP from the Telos Alliance booth, through a Moseley Starlink STL, and directly into a µMPX decoder feeding a Nautel transmitter.

"The core technology is pretty far along in development. We wanted to share µMPX with the industry so we could broaden the conversation," said Frank Foti, CEO of the Telos Alliance. "We think µMPX will be good for all of radio, and our intention is to make it available under license to a wide variety of interested parties."

As master licensor, the Telos Alliance intends to make this new technology accessible to the widest variety of broadcast equipment makers for the good of the entire industry.

Visit www.TelosAlliance.com

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CONTENT DELIVERYCONTENT DELIVERYTerrestrial, Mobile, Broadband www.content-technology.com/delivery

Deluxe Launches Software-Defined TV Playout at SBS AustraliaONE YEAR AFTER ANNOUNCING their partnership, Deluxe Entertainment Services Group Inc. and Special Broadcasting Service (SBS) have successfully delivered – ahead of schedule – the first software-defined TV channel in Asia Pacific.

This transition, driven by SBS and enabled by Deluxe’s software-defined broadcast platform, MediaCloud, has allowed SBS to greatly accelerate its channel launch plans, gain significant operational efficiencies and optimise the value of its broadcast operation.

With the success of the World Movies and NITV channel launches, and SBS’s recently launched fourth free-to-air TV channel Food Network onto the MediaCloud system, SBS plans to transition across its remaining channels – SBS and SBS 2, to the Deluxe MediaCloud platform this year.

Noel Leslie, SBS Chief Technology Officer, said, “SBS is the first Australian media company to evolve to digital software-defined playout of its television channels harnessing new technology to transform and enhance the business.”

“The flexibility of a software-defined platform like Deluxe MediaCloud allows us greater agility and efficiencies as we continue to deliver great services, on Charter, with significantly less funding than other broadcasters. Having the infrastructure managed externally allows us the ability to be able to launch a complete channel from scratch with greater speed and agility then we ever could before.”

The goal of the initiative, part of an ongoing Deluxe contract to manage SBS’s playout operations, is to deliver an agile, resilient and futureproof workflow to give SBS complete visibility and control over all of its media content. The move from a capex-based legacy hardware infrastructure to a flexible and more cost-effective opex-based software-defined playout system was key.

Leslie continued, “SBS is leading the way in Australia with this transformation and with such a fundamental shift in operational and working practices, we were careful to plan a staged transition to the software-defined environment. We are absolutely delighted by the speed and ease of the transition, so much so that we were able to launch channels onto the platform earlier than planned.”

Deluxe MediaCloud CTO Alec Stichbury said, “We’re thrilled to extend our partnership with SBS on this transformational project that represents the future of broadcast television. Hosted from highly secure data centres, MediaCloud was designed to bring enhanced functionality at an affordable cost, whilst at the same time improving quality and reliability. This, together with increased flexibility, also means pop-up channels can easily be accommodated without long term commitments and high cost.”

Deluxe MediaCloud is a component of Deluxe’s delivery ecosystem, which offers content preparation and delivery for home entertainment, theatrical, linear and OTT.

Visit www.bydeluxe.com and www.sbs.com.au

9Now Launches on Apple TV, Deploys Brightcove Server-Side Ad-InsertionNINE HAS ANNOUNCED the launch of 9Now, its digital video streaming service, on the new Apple TV (fourth generation), along with server-side ad-insertion powered by Brightcove.

9Now on Apple TV will offer both live streaming and video catch-up in a single app, providing viewers with access to live streams of Channel 9, 9Go!, 9Gem and 9Life, along with thousands of hours of catch-up content, including programmes like The Voice.

“We have listened to the consumer at every stage of 9Now’s development. With over 60 per cent of our 1.2 million 9Now users on iOS, we believe our expansion to Apple TV adds tremendous value to our video offerings and ultimately the consumer experience,” Alex Parsons, Nine’s Chief Digital and Marketing Officer, said.

The launch of 9Now on Apple TV coincides with the introduction of server-side ad-insertion powered by Brightcove’s latest video and advertising delivery platform called Brightcove Once.

The technology delivers advertisers a broadcast-like experience across all of

9Now’s catch-up video inventory, enabling advertisements to be integrated into a single video stream, removing the need for client side ad-calls.

“With Brightcove Once driving our iOS and Apple TV video content and AppNexus powering our digital display ad-serving, Nine truly offers the most sophisticated advertising platforms in the market,” said Nine’s Chief Sales Officer, Michael Stephenson. “The latest update to 9Now continues a trend of ad innovation from Nine as we strive to deliver not only the best consumer experience when it comes to our brands and products, but also a world-class client experience.”

9Now’s upgrade to iOS includes AirPlay functionality across all iOS devices. 9Now enables all Australians to live stream and catch up on Channel 9, 9Gem, 9Go! and 9Life programmes via the web, iOS, Android, Telstra TV, HBBTV and, now, Apple TV.

9Now will launch on Chromecast, Smart TVs, PlayStation, Xbox and Fetch TV in the near future.

Visit www.nineentertainment.com.au

Vodafone-Hutchison Australia Bids for 700MHz 4G LTE SpectrumTHE AUSTRALIAN GOVERNMENT has received a proposal from Vodafone Hutchison Australia (VHA) to acquire 2 x 10 MHz of unsold 700 MHz ‘digital dividend’ spectrum.

Under the unsolicited proposal, VHA would acquire this spectrum for a licence term of 11 years and 9 months, for AUD$594.3 million, payable in three instalment payments over three years.

The government says the terms of VHA’s proposal are consistent with spectrum policy objectives, which include maximising the overall public benefit derived from the spectrum by ensuring its efficient allocation and use. In addition, VHA’s proposal replicates, as far as possible, the rules of the digital dividend auction to ensure that VHA is not advantaged by not participating in that auction process in 2013.

700 MHz spectrum is highly valued for 4G LTE mobile broadband services due to its technical propagation characteristics and benefits associated

with international harmonisation. 700 MHz spectrum is available under nation-wide spectrum licences, and forms a key element of a national mobile broadband network.

In 2013, the ACMA held the ‘digital dividend’ spectrum auction to re-allocate 2 x 45 MHz parts of the spectrum in the 700 MHz band. This spectrum had been vacated by analogue television transmission services.

The auction reserve price for these lots was $1.36/MHz/pop. Only two carriers participated in the auction, with the following results:

• Telstra purchased 2 x 20 MHz of 700 MHz spectrum; and

• Optus purchased 2 x 10 MHz of 700 MHz spectrum.

Following the digital dividend auction, 2 x 15 MHz of 700 MHz spectrum remained unsold. The ACMA’s allocation procedures for the digital dividend auction provided that any unsold 700 MHz spectrum lots might later be offered for allocation by a procedure, and at a time, to be determined by the Australian Communications and Media Authority (ACMA).

Visit www.acma.gov.au

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IP/Cloud Playout on the Rise at NAB2016

JUST AS IP-BASED DELIVERY HAS been an enabler for the competitors of traditional media, it is now reaching a new level of stability and maturity to enable established operators to streamline their own broadcast operations.

This trend was in evidence at this year’s NAB show in Las Vegas with a number of vendors showcasing options for IP/cloud-based content delivery.

Imagine Communications, a pioneer in transitioning to the IP-based world, announced that its playout, live encoding and dynamic ad insertion solutions are now available on the Microsoft Azure cloud platform.

Now Microsoft Azure Certified and available through the Azure Marketplace, the Imagine Communications solutions include:

Versio: The 100%-software, cloud-enabled solution offers integrated channel playout capabilities, including graphics, automation and master control. Versio enables channels to be developed and deployed in the cloud, with options for OTT distribution through the cloud and for traditional distribution, including OTA, cable, satellite, and IPTV.

SelenioFlex Live provides high-quality live encoding for high-value applications, from cloud DVR to live-event streaming to over-the-top (OTT) delivery of linear channels, and includes multiformat output flexibility and rich adaptive bitrate (ABR) streaming support.

xG Ad Insertion for Multiscreen supports advanced ABR streaming to deliver targeted ads to smartphones, PCs, tablets, connected TVs and virtually any other device that receives live or on-demand video programming. The software-based xG AIM provides relevant ads in real time across various stream types — including live, VOD and cDVR — and on subscribers’ preferred viewing devices.

As part of the Azure Marketplace, Imagine Communications’ software solutions are now available in 20 Azure datacenters, which serve businesses in 140 countries, including China.

Imagine Communications also introduced the Selenio Video Delivery Edge (VDE), an HTTP-to-User Datagram Protocol (UDP) gateway that bridges next-generation and legacy video delivery infrastructures. Selenio VDE is designed to enable cable operators and other content distributors to improve the efficiency, performance and revenue-generating potential of video delivery and ad insertion infrastructures, while paving the way for the transition of operations to a fully virtualised environment based on generic computing and networking resources.

Visit www.imaginecommunications.com

Snell Advanced Media (SAM) announced the next evolution of its channel-in-a-box strategy in the form of ICE IP. This incarnation of ICE provides customers with a path to IP playout, without sacrificing any of the functionality or performance of the ICE CiaB platform.

The announcement follows the launch of the software-only version of SAM’s ICE CiaB product ICE SDC (Software Defined Channel), designed for customers who want to move to a virtualised playout operation.

According to Neil Maycock, EVP of SAM, “We live in a rapidly evolving world

when it comes to both monetization patterns for our customers and also across backend playout technologies. We are already involved in trials with customers with ICE SDC and we expect these to grow in number and scale across 2016. In many ways it’s the same with ICE IP as we work with existing and potential customers, exploring IP playout strategies. With the announcement of AIMS and our involvement with that, we expect to back this up with multiple IP developments across the next year.”

Visit www.s-a-m.com

Evertz, another pioneer in bridging the SDI to IP gap, showcased the EQX10, a 10RU 180x180 10GE Hybrid UHD/3G/HD/SD-SDI router. The EQX10 platform unifies the traditional SDI router with Evertz high capacity IP switch fabrics (such as EXE-VSR and 3080IPX) by utilizing IP Media Gateway modules into the router frame. The EQX10 supports IP media gateways for SMPTE 2022-6, ASPEN, RFC 4175, and AES67 on both input and output modules. This enables customers to seamless integrate to Evertz’ Software Defined Video Networking (SDVN) 10GE infrastructure for all available sources and destinations of the EQX.

Features include: newly integrated audio (ADMX) and video routing crosspoint, audio embedding on either input or output modules (with access to the entire audio core), audio de-embedding on input modules (with DSP), direct routable MADI I/O connections - without reducing the routers total video I/O count. The audio core consists of embedded audio, AES, AA, MADI, Studer A-LINK and Calrec Hydra2 interfaces, AES67 and SMPTE ST 302 - all in a non-blocking and seamlessly expandable architecture.

Evertz also revealed new features of its MAGNUM SDVN, the software orchestration and control layer of Evertz’s IP-Based solutions. MAGNUM’s SDVN orchestration and control has been specifically developed to bridge all the major components in a hybrid SDI/IP or all IP based facility including Evertz 10/100GE high capacity switch fabrics, media IP gateways, evEDGE, and Evertz traditional SDI products. MAGNUM provides full end-to-end control of the video, audio, and data flows throughout the facility from production to playout. This includes uncompressed (ASPEN, SMPTE 2022-6, Sony NMI, NewTek NDI, RFC 4175 and AES67) and compressed (MPEG-2, H.264, HEVC, and JPEG2000) video flows.

Using VUE-WEB, MAGNUM SDVN enables broadcast engineers to create customisable dashboards to control and manage their hybrid SD/IP or all-IP facility. These dashboards provide intuitive configuration and monitoring views that include system topology, link status and device monitoring, source path views, and advanced logging.

Visit www.evertz.com

Meanwhile, on the monitoring front, TSL Products announced what it says are the world's first uncompressed video over IP (S2022-6) audio monitors. The new PAM-IP range is designed to smooth the transition to an IP based workflow and is suited to meet the needs of any facility involved in the production and transmission of live productions (such as sports, news, and live events).

The PAM-IP range can monitor video, audio and its associated metadata from either a traditional 3G-SDI connection or a S2022-6 IP stream. It is designed to work seamlessly in a hybrid environment where an SDI, AES and analogue based infrastructure can be monitored alongside an IP-based infrastructure.

"At TSL we recognise that the transition to an all IP environment will not be immediate. For the foreseeable future at least, infrastructures will be hybrids where existing standards and technologies co-exist and interoperate with the new. When developing the PAM-IP we were very aware the IP format wars are far from over and as a result have ended up with a highly flexible platform that will allow us to implement any Video over IP protocol or standard that may be of interest to our customers,” said Pieter Schillebeeckx, Product Director at TSL Products.

The PAM-IP range will be available with several options including: Video over IP (S2022-6 with other formats following), Audio over IP (Dante/AES 67) and 4k (12G and Quad 3G-SDI).

Visit www.tslproducts.com

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R&S®VENICE 4K VIDEO SERVERBe the first on air.The R&S®VENICE ingest and production server will streamline your studio production from ingest to playout up to 4K. R&S®VENICE will help you to be the first on air.

I Native 4K UHD-1 File Recording

I Highest quality Codec and Transform options

I Hardware Scaler with up and down-conversion in real time

Open PlatformI Native support for a variety of storage connections and file systemsI Simple integration to existing systems

For more information: [email protected]

Ericsson Launches MediaFirst Video DeliveryTHE RECENT BROADCASTASIA 2016 show in Singapore saw Ericsson launch its MediaFirst Video Delivery solution, the latest addition to Ericsson’s MediaFirst portfolio which follows the launch of Ericsson MediaFirst Video Processing at this year’s NAB.

MediaFirst Video Delivery is a modular video distribution platform which enables service providers and broadcasters to enhance the distribution of managed video services to mobile devices. Drawing upon content delivery network (CDN) technology for delivering adaptive live TV, video on demand (VoD) and Cloud DVR/time shifted content, the solution enables IPTV, cable and mobile operators to handle managed and unmanaged content by enhancing their network efficiencies and reducing associated costs.

According to Ericsson customer, Gary Traver, Head of Media Engineering, Telstra, “Developing innovative approaches to video delivery and the ability to focus on improving content experiences for our customers are key outcomes from our partnership with Ericsson. Together we have delivered the world’s first live stadium trial of LTE Broadcast. Components of the Ericsson’s TV portfolio have enabled us to better optimize our network for video, and provided agile CDN capacity in anticipation of our customers rising video consumption. We will be watching closely the next evolution of these technologies in the MediaFirst Video Delivery solution.”

Features of Ericsson’s MediaFirst Video Delivery solution for TV service providers include:

• Edge repackaging to HLS or DASH to allow seamless connection to iOS, Android and set top boxes (STB);

• Instant Channel Change for Live TV;

• Common encryption and Multi-DRM support;

• Targeted ad insertion capabilities anywhere in the media delivery pipe including mobile and set top box clients;

• Video delivery analytics;

• Mobile video optimization and support for sponsored data;

• Ability to participate in Ericsson’s Unified Delivery Network and partner CDNs;

• Multicast ABR, Multipath TCP; and

• Content providers and broadcasters will also benefit from a number of further key features, including origin packagers with Multi-DRM support, optimized CDN selection, co-located cache capabilities and access to Ericsson’s Unified Delivery Network, a growing network of operator and partner CDNs.

Carlos Gonzalez, Head of Media Delivery, Ericsson said, “With ever increasing volumes of video traffic being consumed, operators require complete content visibility and control throughout the entire delivery chain in order to differentiate their multiscreen OTT services. Mobile video traffic is forecast to grow by around 55 percent annually through to 2021, when it should account for over two-thirds of all mobile data traffic. This underlines the need for next-generation cloud based solutions to deliver a superior performance. Through Ericsson MediaFirst Video Delivery, we are enabling our customers to deliver seamless video across all networks and devices and radically enhance the quality of the video experience.”

Ericsson’s previously launched MediaFirst Video Processing solution comprises three elements:

• Software-defined management and workflow to orchestrate and manage any video processing configurations and architectures that span multiple compute platforms

• A suite of video coding algorithms and processing functions to build any business use case for head-end functions that deliver video with high quality and efficiency

• Support for any compute environment to give complete customer flexibility to deploy Ericsson MediaFirst Video Processing across private clouds, public clouds and on Ericsson custom platforms, enabling accelerated processing with Ericsson’s video chip.

Visit www.ericsson.com

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Cloud Playout – As Easy as ABC?Imagine Communications CTO Steve Reynolds Talks to C+T about US broadcaster ABC/Disney’s move to virtualised playout.

Imagine Communications has been working with both Disney Cable Networks and with ABC Broadcasting to move them to a virtualised play out platform.

According to Imagine CTO Steve Reynolds, the system has gone from concept and proof of concept through to an implemented system where a major North American customer is now going live on virtualised play out.

“So, they’ve moved the playout infrastructure. It’s no longer in New York and Los Angeles, they now have all of their play out posted in two cloud environments to fully virtualise data centres really, not even a broadcast centre any more, they’re data centres that they’re using to run all of the play out including things that are under master control from the traditional broadcast centres. So, everything will come across an IP network and everything running in a software-only play out model, so it’s pretty exciting.”

The two data centres, is one for redundancy and one for playout?

“No, the way that Disney chose to do it, so they have one data centre that their own owned and operated data centre and then they actually have a facility that they use for geographic redundancy. But, the way that they are running is hot-hot so every channel is running all the time out of both centres. It’s not a traditional DR model, everything is running in kind of a fully redundant hot-hot arrangement.”

So, they can just switch over?

“It’s not even a switch over. If for some reason a packet drops you can pick that same packet coming out of the other centre. So, it’s a different way to do redundancy, resiliency and disaster recovery, a much more kind of advanced way of doing that. So, there’s not a monitoring point where somebody makes a decision about switching over, everything is automated. They’re also using our SDNO, our Software Defined Networking Orchestrator, so they’re using Imagine products with that topology layer to manage the entire network and infrastructure and then using our playout applications on top of that. So, they have a very robust and manageable network all the way through.”

Is playout of pre-produced material easier than live programming?

“That was the easiest and that’s where we started, so with the Disney cable networks, Disney Channel, Disney XD all of those kinds of pre-produced linear channels, that was where we started. But now we’re moving into the live network as well.”

What are the challenges of doing live programming this way?

“Well, the most significant challenge that we had to face was latency. So, the way that the – the topology that they’re using is master control is in New York and all of the ingest comes into New York as well. It gets encoded into J2K so they’re using a Selenio encoder which is our very low latency encoder, so using J2K taking it down to a couple of hundred megabits per second, sending it across the link into the data centres, and all of the switching actually happens in the data centre environments.

“So, when there’s a feed change, what actually happens is there’s a master control panel in New York and somebody says feed change and that actually triggers the change in the data centre. The video then comes out of the Versios that are in that virtualised environment, back up the link to New York for distribution.”

So, we had to get that whole round trip to under half a second latency, so you can imagine there were substantial challenges there. We’ve been able to get down into that target range of half a second of round trip.

Are there any issues of syncing the live programming with the commercial breaks?

“That was actually one of the more interesting things that we had to solve, timing. So when we went into the project we knew that we wanted to use

PTP, that’s the easiest way to do time distribution across these IP networks,

but we actually had to come up with a master clock architecture. So, a time

architecture really, of how to keep everything synchronised all the way

down to the playout. So, we’re doing time synchronisation across all of these

different locations, the two data centre locations and the two broadcast

centre locations, and in doing that all in a single time domain. So, coming up

with that architecture of how to do PTP time across multiple physical sites,

but keeping everything within a single time domain was, again, another

interesting technical challenge and, candidly, we learned a lot about it

through the course of the implementation.

“If I could go back and start the program again, probably the first thing we

would have done is nailed down the time architecture. It would have been a

lot easier to have a consistent reference time all the way through the plant as

opposed to trying to build things out and then impose a single time domain

on top of everything.”

How does that affect the playout in the different time zones?

“It’s all under the same master clock. So, the way that they’re doing it they

are actually using multiple instances of Versio to handle each time zone. So,

there’s an Eastern a Central and a West Coast and they’re actually managing

it as separate streams of play out.”

Is this a model that is readily portable to other broadcasters?

“Yes, absolutely. In fact, we’ve already launched number two and number

three. So, Al Rayyan and Alrai TV are two different companies, both based

out of the Middle East. One is in Doha and the other one is in Kuwait. They’ve

already adopted this virtual approach as well. Al Rayyan is using it for their

disaster recoveries, so they’ve actually put up redundant channels in a

virtualised environment, and Alrai is actually using it for primary playout so

we’ve got a couple of other companies that have taken the leap and moved

into virtualised play out environments and I think the pace is starting to

accelerate now where you will see additional announcements coming along

fairly soon.”

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Streaming Video & QoE in Asia: The Need for Peer-Assisted DeliveryRecently adopted by Southeast Asian OTT provider, Thinkingtub Media, Voddler’s peer-assisted video delivery platform is designed to overcome bottlenecks in the public Internet. Voddler Group President & CEO, Adam Lewis, explains how.

OTT VIDEO IS HAMPERED BY THE TRADITIONAL ARCHITECTURE that delivers it since the path from the content supplier to the consumer is complex and not under the control of any single body. Additionally, a huge number of companies are involved in the content delivery path (from manufacturers of the physical fabric, to the cable companies). Therefore, because the OTT video on demand providers are using the public Internet, they do not have direct control over their delivery mechanism in the same way that broadcasters do. Consequently, they cannot guarantee the user’s experience, particularly when those users are outside of the best-served metropolitan areas of service. Since the internet protocol is simply designed to ensure that all data packets reach their destination, and not that they be delivered in a specific order or within the tightly determined time frame required for online video, guaranteeing a uniform and exceptional consumer experience is a challenge that will increase.

Worldwide, 75% of viewers abandoned poor streaming within the first four minutes according to research by Conviva, the global video analytics company. In Asia Pacific (APAC), just over 17 % of viewing attempts ended in an exit before the video even started, nearly double the rate in Europe, Middle East and Africa (EMEA). The problem is exacerbated regionally, where the average bitrate at which content is delivered was of 0.70 Mbps, compared to North America’s 2.87 Mbps. The viewing experience is worsened throughout APAC as demand outpaces the networks’ ability to support it.

Of course, none of the technical variables affecting Quality of Experience (QoE) are really of interest to the average consumer, who just wants to hit the play button. The impact of a negative experience is, however, immediately felt by the provider in churn rates, brand damage, and ultimately severe financial pressure to their balance sheet.

Video providers largely tend to outsource their distribution to content delivery networks (CDNs), which aim to maximise QoE by storing video content as close as possible to the consumer, in the form of edge servers. The more edge servers, the better the performance of the CDN. On the other hand, edge servers are very expensive to set up and run, requiring secure hardware, uninterruptible power supplies and costly cooled server environments. CDNs have to make a complex, capex-intensive commercial decision on how many edge servers to invest in, and where to locate them. These decisions have a direct impact on the consumer’s experience, and the provider’s ability to retain them and create a profitable long-term relationship.

Peer-assisted video delivery offers an innovative way of providing a very large number of edge servers without the associated costs: A typical CDN design is one-to-many, with content flows from a central hub to edge servers and then to consumers. In a peer-assisted system, end-user devices act as nodes in a vast, webbed network, sharing content with each other. Video content is divided into pieces and distributed across consumer devices. As consumers watch a movie, it will be assembled on their device as they watch it, coming from a large number of individual nodes. With every member of a service acting as an edge cache, video content bypasses the

CDN’s server infrastructure, traveling shorter distances, and avoiding peak traffic slow-downs and thus ensuring a bufferless viewing experience. The more consumers the service has, the more robust and resilient the peer network becomes. The fine granularity of these content servers within this architecture means that the performance is consistently excellent.

Moreover, the management of video delivery itself can be decentralised. Each end-user device can determine which other nodes to fetch content from, using weighted criteria such as location, ISP performance and ping times. So, the practicalities of routing individual connections are also peer-assisted, further reducing dependency on the wider Internet. However not all peering technology is the same. A traditional peer-to-peer service relies exclusively on the peers to provide content to each other. A hybrid peering service has a more sophisticated architecture; it takes advantage of a provider’s existing CDN servers as a fallback source in case there are no nodes with the requested content. This means that QoE remains reliably high even for newly released and rarely viewed content.

Voddler’s VoddlerNet is an example of the hybrid-peering architecture. Recently, South-East Asian OTT service provider ThinkingTub Media, which provides the newest platform streaming content in and from Indonesia, deployed Voddler’s hybrid peering to assure a high-volume high-growth launch, traditionally a fraught exercise in the absence of peer-assisted delivery. In this example, VoddlerNet is combining controlled and secure peer-to-peer delivery with direct streaming from the source provider. This hybrid peering platform greatly expands the reach of ThinkingTub Media’s video services, and is particularly powerful in their service areas where internet connectivity is limited and traditional CDNs do not provide an effective and cost-efficient solution.

Hybrid peer-assisted video delivery does not replace an existing CDN, but complements it to maximise user engagement. It does this by offloading the current centralised streaming: our own benchmarks suggest that average offloading of 95% or more is readily achievable. Peer-assisted delivery supports existing digital rights management (DRM) schemes. While content is primarily protected by comprehensive DRM, slicing the data into multiple packages also increases security by ensuring that no individual user holds more than a small fraction of each programme. With the further possibility of encrypting internode traffic, the whole network can be made virtually impossible to intercept. Voddler’s customers have used this to their advantage in negotiating rights and licensing to content.

Regardless of their location or their chosen device, viewers expect immediate, smooth playback. Yet despite the staggering demand for OTT video around the world, with much of that demand expected to come from the APAC region, poor delivery infrastructure threatens to undermine the experience. Peer-assisted delivery can solve the problem of congested and sparse networks and ensure that APAC viewers can enjoy and depend on a truly great QoE. The service providers can consequently depend on much lower churn rates, and greater revenue and profitability.

Visit www.voddlergroup.com

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040 >> NAB16 Aussie-Kiwi Nite>> 037 >> NAB16 Aussie-Kiwi Nite >>

046 >> NAB16 Miller Party >> 047 >> NAB16 Miller Party >>




049 >> NAB16 Miller Party >> 050 >> NAB16 Miller Party >>

048 >> NAB16 Miller Party >>




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061 >> NAB16 Sony Party >> 059 >> NAB16 Sony Party >> 060 >>NAB16 Sony Party >> 058 >> NAB16 Sony Party >>

057 >> NAB16 Sony Party >> 054 >> NAB16 Sony Party >>

063 >> NAB16 Sony Party >> 064 >> NAB16 Sony Party >>

052 >> NAB16 Sony Party >>



067 >> NAB16 Imagine Live >> 068 >> NAB16 Imagine Live >>

065 >> NAB16 Imagine Live >>




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Advertiser Index

ABE Show 2016 ..............................IFC

Agile Broadcast…… ..…………………53

AJA…………………………………………..3

Amber Technology .........................35

ARRI……………………………………....IBC

Blackmagic Design ...........................5

Calrec……………………………………..49

Canon .................................................21

Connect Events .................................9

EMC………………………………………..41

Fujinon Fijifilm……… ....60,61,62,63

IHSE GmbH Asia Pacific ...................6

IRT Communications………………..14

Jands………………………………………..47

Lawo………………………………………23

Magna Systems & Engineering….15

Media Proxy…………………………….43

On Air Solution ..………………….11,29

Pacific Live Media ...........................17

Professional Audio & Television… OBC

Quantum…………………………………13

Quinto Communications…… ...…….9

Rohde & Schwarz……… ..................57

Ross Video………………………………..31

SnellAdvancedMedia ............. 32,33

Sportscasting Expo…………………..27

Studiotech Australia ........................4

Techtel……………………………….….7

what's onJULYVIETNAM ICT COMM 2016

20 July - 22 July 2016

Hanoi International Center For Exhibiton

http://ictcomm.vn

SIGGRAPH

24 July - 28 July 2016

Anaheim Convention Center

California, USA

http://s2016.siggraph.org

AUGUSTABE2016 – EMPOWERING CONTENT

PRODUCTION & DELIVERY TECHNOLOGY

9-11 August, 2016

Doltone House, Darling Island, Pyrmont

Sydney, Australia

www.abeshow.tv

BEIJING INTERNATIONAL RADIO,

TV & FILM EXHIBITION (BIRTV)

24-27 August, 2016

CIEC, Beijing, China

www.birtv.com

BROADCAST INDONESIA

31 August - 3 September

Jakarta International Expo, Indonesia

www.broadcast-indonesia.com

SEPTEMBERASTRA 2016 CONFERENCE

6 September, 2016

The Star Event Centre

Pyrmont, Sydney, Australia

http://astra.org.au/conference

CASBAA – THAILAND IN VIEW 20166 September, 2016

Centara Grand & Bangkok Convention Centre at

CentralWorld Bangkok, Thailand

www.casbaa.com/event/tiv2016

IBC 20169 - 13 September, 2016

Amsterdam RAI

www.ibc.org

OCTOBERAES LOS ANGELES CONVENTION29 September - 1 October 2016

Los Angeles Convention Center

www.aes.org/events/141

2016 NATIONAL RADIO CONFERENCEFriday 7 October, 2016

Melbourne Convention & Exhibition Centre

www.commercialradio.com.au

IEEE BROADCAST SYMPOSIUM 12 October- 14 October, 2016

Hartford Marriot Downtown

Hartford, CT, USA

http://bts.ieee.org/broadcastsymposium

BROADCAST INDIA 201620 October- 22 October, 2016

Bombay Exhibition Centre

www.broadcastindiashow.com

SPORTSCASTING, NEWS & LIVE PRODUCTION EXPO26-27 October, 2016

Etihad Stadium, Docklands

Melbourne, Australia

www.sportscasting.com.au

SMPTE ANNUAL TECHNICAL CONFERENCE 2016 24 October- 27 October, 2016

Loews Hollywood Hotel

Los Angeles, USA

www.smpte.org/ATC

NOVEMBERCASBAA CONVENTION 2016

7 November - 10 November, 2016

Studio City Macau

www.casbaa.com/event/cc16

NAB SHOW NEW YORK 2016

9 November- 10 November, 2016

Javits Convention Center

New York, USA

www.ccwexpo.com

2016 CBAA CONFERENCE

10-13 November, 2016

Pullman Hotel, Albert Park


www.cbaa.org.au/conference

SCREEN FOREVER CONFERENCE

15-17 November, 2016

Crown Conference Centre


https://screenproducers.org.au

INTER BEE 2016

16 November- 18 November, 2016

Makuhari Messe

Tokyo, Japan

www.inter-bee.com/en/

DECEMBERIABM ANNUAL INTERNATIONAL BUSINESS

CONFERENCE AND AWARDS 2016

1 December- 2 December, 2016

www.theiabm.org

NAB GIX

7 December- 9 December, 2016

Shanghai New International Expo Centre

Shanghai, China

www.gixnabshow.com

ABE2016












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2016 ABESHOW Exhibitors include

4 Amber Technology

4 Ericsson

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4 Quinto

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4 Sony

4 Techtel

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Video Technologies

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Ultrix is a compact and incredibly powerful routing platform capable of switching video signals from 270 Mb/s to 12 Gb/s. Software features like audio processing, integrated multi-viewers, and 12 Gb/s signal-switching can be enabled. No special hardware is required for any of these features. Ultrix brings such high-end features to all sizes of systems.

065 Ross Back Page Ad_OL.indd 1 8/06/2016 12:11 pm

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Content+Technology ANZ May-June 2016