Content+Technology ANZ April 2015 by Content+Technology

PP: 255003/06831

VOLUME 12 ISSUE 2 APRIL 2015

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

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VOLUME 12 ISSUE 2 APRIL 2015

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

Rumble in the Jungle

25 REGULARS 02 EDITOR’S WELCOME 04 NEWS Blackmagic Captures Spirit of Gallipoli, Telstra to Buy Globecast Australia, Fujinon Sponsoring ACS Awards, Cobham Meshes with Volvo Ocean Race

60 CLASSIFIEDS AND EVENTS 62 INDUSTRY FOCUS 64 TIME SHIFTER DOTCOM Turns 30

08 FEATURES 14 NAB PREVIEW Conference Preview 22 ACQUISITION John Stokes Shoots Winter with Sony F55, Fujinon’s New Lens Range, Behind the Scenes on “I’m a Celebrity…”

28 SPORTSCASTING Gearhouse Adds New

Dimension to V8 Supercars, EVS Raises the Bar for Live Video Productions, Bluebell Opticom Launching Caddie-LB 4K

32 NEWS OPERATIONS Avid Everywhere at Macquarie University, TVNZ Boosts WeatherCams with TBN, ChyronHego Gets Graphic

36 POST-PRODUCTION Sony Develops 4K Memory Player, Avid and Adobe Collaborate on Shared Storage

40 MEDIA IN THE CLOUD NFSA Upgrades Digital Archiving, Venera Updating Pulsar, Volicon Adds to Media Intelligence Platform

44 RADIO Canberra’s 1CMS Rebuilds with Lawo crystal, ACRAs 2015 Entries Now Open, New Nautel AM Transmitters

48 AUDIO AES Publishes New 3D Audio Standard, Sennheiser Introduces SpeechLine Digital Wireless, New Solutions from TS

52 CONTENT DELIVERY Aspera Sparks Foxtel’s Invisible Revolution, CDN in a Box from Broadpeak, Foxtel Launches IQ3

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: papers@broadcastpapers.com

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SUB-EDITOR: Keith Ford Mob: +61 (0)430 432 437 Email: papers@broadcastpapers.com PRODUCTION MANAGER: Lucy Salmon Tel: +61 (0)2 9211 8205 production@broadcastpapers.com DESIGN & LAYOUT: Wide Open Media Tel: +61-2-9282 9359 info@wideopenmedia.com.au PRINTING: Lindsay Yates COPYRIGHT 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.

27/03/2015 4:09 pm

EDITOR’S WELCOME

No Time-Out for OTT By Phil Sandberg

+ Australia ranked in 42nd position globally in terms of average connection speeds, up 2 positions from the previous quarter (Q3 2014). + Q4 2014 average connection speeds were recorded at 7.4 Mbps (representing a 6.1% quarterly increase). Year-on-year change saw an increase of 27%. Average Peak Connection Speeds + Australia ranked in 45th position globally in terms of average peak connection speeds, down 1 position from the previous quarter. + Average peak connection speeds in Australia were recorded at 36.9Mbps (a 2.5% increase quarter-over-quarter). Year-on-year changes saw a 5% increase.

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+ Australia ranked in 44th position globally in terms of broadband connectivity (above 4Mbps), up 3 positions from the previous quarter. 16:00

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+ The percentage of broadband connectivity (above 4 Mbps) was at 69% (a 4.6 % increase quarter-on-quarter). Year-on-year changes saw a 28% increase. High Broadband Connectivity (>10Mbps) + Australia ranked in 41st position globally in terms of high broadband (above 10 Mbps) connectivity, down 1 position from the previous quarter. + The percentage of connectivity recorded above 10 Mbps was 16%, up 8.6% quarter-on-quarter. Year-on-year changes saw a 62% increase.

+ Australia remained 36th globally in terms of 4K readiness (above 15Mbps). + The percentage of connectivity above 15 Mbps was 6.5%, up 12% quarteron-quarter. Year-on-year changes saw a 73% increase compared to 2013. Meanwhile, in New Zealand: + New Zealand saw an increase of 59% year-on-year in terms of average connection speeds, however still ranked in at 43rd position. + Spark New Zealand, Vodafone, and Telstra invested $70 million in a new 20 Tbps cable in the Tasman Sea, significantly improved connectivity to the country. + New Zealand ranked in 43rd position globally in terms of high broadband (above 10 Mbps) connectivity. + New Zealand ranked 30th globally in terms of broadband connectivity (above 4Mbp) – well above Australia, which ranked 44th. + New Zealand saw 4K readiness rates more than double compared with 2013. The ANZ launch of Netflix has been underwhelming, promoted mostly through social media and “non-metered” offers by tier-two ISPs. It pales by comparison to local “long-tail” offerings by the likes of Stan (Nine/Fairfax) and Presto (Seven/Foxtel). However, Netflix CEO Reed Hastings is confident of a five-year growth target of 30% of Australian homes taking the service – an adoption rate currently enjoyed by Foxtel, which now boasts a diversified broadband offering, including cable, satellite, OTT and telephony. Given Foxtel’s reliance on HBO content, a global expansion of HBO’s planned streaming service for the US would seem the only OTT platform to give Foxtel any cause for nervousness. 03:00

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Key Australian statistics from the report include:

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Content delivery provider Akamai has released its Q4 2014 State of the Internet report which comes as competition in the ANZ OTT video streaming market heats up with the local launch of Netflix. While content may indeed be king, the ability of network infrastructure to carry that content can mean the difference between Orange is the New Black and the Emperor’s New Clothes.

5406 (ms). Last quarter, this was recorded at 4230 (ms). + Of eligible countries, Australia was ranked as one of the bottom three in terms of broadband measurements. + Japan, Turkey, and Hong Kong, had the fastest broadband load times all around 2 seconds. This is about one-third the time measured in Australia. + The average page load time for mobile in Australia was recorded at 5694 (ms), compared to 4799 (ms) last quarter. 4K Readiness (>15 Mbps Connectivity)

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DESPITE THE HEATED DEBATE in Australia around the approach of different political parties to a national broadband network, it would seem that connectivity and access speeds are on the improve.

Thanks for Reading

Situational Performance

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

+ The average page load time for broadband in Australia was recorded at St. Petersburg Moscow

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NEWS + PEOPLE For the latest news visit www.content-technology.com

Blackmagic Captures Spirit of Gallipoli SCREENED RECENTLY on Australia’s Nine Network, “Gallipoli” has been one of the most anticipated television mini-series of 2015. Starring Kodi Smit-McPhee, directed by Glendyn Ivin and with cinematography by Germain McMicking, it follows the lives of soldiers from the initial landings to the withdrawals of troops from the shores of Turkey in one of the most devastating battles of World War I. The mini-series used Blackmagic’s URSA EF and Production Camera 4K cameras to capture a variety of scenes and shots throughout the show. This included using the URSA to capture the show’s opening title sequence. To set the tone for the mini series, Ivin created a visually stunning opening title sequence aimed at capturing the overall drama that the mini series will present. He chose to shoot this opening title sequence with the URSA EF camera. “I came up with a simple, but beautiful idea. We filled a fish tank with water and then dropped vegetable oil, ink and kids school paints into the water. We then projected photos of the cast and action scenes onto the fish tank as it swirled and moved around with the different textures adding depth to the projected images. A simple idea,

but it had to convey some complex ideas and I needed a camera to capture the footage in slow motion at very high quality,” said Ivin. Ivin shot the scenes in ProRes, over a weekend in a basic studio set up with minimal lighting and equipment. “The images we shot with the URSA captured the complex textures as they formed in the tank so well that people thought it was done with CGI, even though we used no CGI and most of what you see in the final piece was captured ‘in-camera’, ” said Ivin. “The sequence is visually stunning and people thought it was a far more complicated and expensive than it was. URSA made that possible and gave me great control in post, ease of use and amazing quality.” Though Ivin has been a Blackmagic camera owner for several years, on the day he shot the title sequence he had never before been near an URSA camera. “I walked into the studio where the fish tank was, and when I first saw the URSA set up it did not look like anything I had ever seen before. In particular I had never seen a camera with a big screen on the side like the URSA. But within 15 minutes of using it, I was thinking ‘why doesn’t

every camera have a screen like this?’ It was so useful and I think it will become integral to the way I will work in the future,” Ivin continued. “And even though I had never seen an URSA before, within only a couple of minutes of handling it I was shooting confidently with it.” Ivin used Blackmagic Production Camera 4K to capture VFX plates for CGI for the large number of battle scenes featured. Carrying the camera to the shores of Turkey with DOP John Brawley, Ivin was able to capture the plates in rugged terrain thanks to the camera’s lightweight yet tough build. “We could carry that camera up valley walls and tough cliffs, and get the high res shots we needed. We climbed into places we couldn’t have with other cameras, and we still got amazing 4K footage out in the wild that matched perfectly and easily back with all of our other footage,” Ivin said. Visit www.blackmagicdesign.com/au and www.newmagic.com.au

Nine Upgrades ENG Trucks with RTS RECENTLY THE NINE NETWORK went through a major talkback upgrade for their ENG trucks. The upgrade and equipment was supplied by Magna Systems and Engineering. TCN Engineering Manager, Andrew Seale, explained, “We purchased multiple RTS KP12CLD-RC-RVON keypanels, 1RU colour display keypanels with rear connector kit and

RVON2 dual Channel cards for IP connectivity for the ENG truck upgrade from Magna. The rear connector kit and RVON2 combination now allows us to simultaneously operate the keypanels as well as take an audio channel back via the IP RVON card.” The RTS KP12 CLD-RC-RVON keypanels boast DSP Processing with acoustic echo cancellation,

equalisation, mixing, filtering, and metering. The KP12 CLD also allows up to three auxiliary inputs, independent digital gain control for microphone sources, configurable audio routing and utilises a colour display with a rich and intuitive graphic user interface that indicates different keypanel functions in different colours. Visit www.magnasys.tv

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NEWS + PEOPLE

Hamilton GM and Hewitt Tech Ops Manager for Riedel Australia RIEDEL COMMUNICATIONS, a provider of real-time video, audio, data, and communications networks, has appointed Ian Hamilton to the role of general manager for Riedel Australia and Julian (Jules) Hewitt to the role of technical operations manager for Riedel Australia. “Ian’s experience providing sophisticated high-performance production and communications solutions is remarkable, to say the least. His work has included numerous projects involving Riedel Australia and extensive complements of Riedel equipment,” said Cameron O’Neill, director, AsiaPacific region, at Riedel Communications. In stepping into his role as general manager of Riedel Australia, Hamilton replaces O’Neill, who is taking charge of Riedel’s Asia-Pacific operations from the company’s Tokyo office. Prior to taking on this position, Hamilton led his own design and technical production firm. As a freelance contractor, he worked as Riedel’s technical coordinator for the 2013 International Fleet Review, part of the celebrations to commemorate the 100th anniversary of the entry of the first Royal Australian Navy fleet in Sydney Harbour. As technical operations manager for Riedel Australia, Hewitt will be responsible for the logistics of getting gear and people to the right places at the right times. In addition, he is responsible for making sure that all of the equipment is in the best possible working order, further increasing our reliability in mission-critical applications. “Like Ian, Jules has worked with Riedel equipment for many years, and his practical experience in deploying our solutions makes him an excellent addition to the growing Riedel Australia family,” added O’Neill. Hewitt joins Riedel Australia after most recently serving as technical support technician at the Sydney Opera House, a long-time user of Riedel solutions. He earlier was the audio operator for the Bell Shakespeare theatre company. Prior to that, Hewitt provided support for local arts and music festivals, as well as an array of high-profile live news, sports, and entertainment broadcast events. Visit www.riedel.net

Industry Recruitment Specialist EP Expands AUSTRALIA’S RECRUITMENT SPECIALIST for the business side of the television, media and entertainment industries, EP, is expanding – with a new general manager and increased services.

NEWS + PEOPLE

Long-term staffer Leanne Bushby has been promoted to the newly-created role of EP’s general manager as the company relocates its office and extends its human resources consultancy offering to clients. “Leanne joined the company in its first year. She has placed scores of people in executive and non-executive roles both in Australia and internationally. She is an industry expert across recruitment and executive search and HR – and a great choice as our first GM,” Ms Powell-Hughes said. Visit www.epaustralia.com.au

Movideo Restuctures and Expands Global Management Team AUSTRALIA-BASED MOVIDEO HAS ANNOUNCED the expansion of its management team with the addition of former Turner Director, Broadcast & Media Technology, Steven Kopec. As Director of Customer Success, Steven Kopec will join the Movideo management team out of their Hong Kong office working across all current and expanding markets. He is charged with the management and optimisation of Movideo’s Consulting Services and Customer Support. With a career in media information technology spanning 20 years Steven is joining Movideo from Turner Broadcasting where he held the role of Director, Broadcast and Media Technology APAC. Most recently, Steven’s efforts have included work on mobile product creation, content distribution technologies and Turner’s efforts in multiplatform content delivery. CEO Tony McGinn said, “We are thrilled with Steven’s addition to the Movideo leadership team. Investment in this area underlines our ongoing commitment to having the best product and services in the market for our media and entertainment customers. Steven’s deep experience and talent added to our expanding global leadership team will have a positive impact on our customer’s success.” Visit www.movideo.com

‘The Heart of Australian Television’ Book Launched DAVID CHITTICK, author of the newly-released book, ‘The Heart of Australian Television’, remembers well racing home from school each day to find out what would happen next on ‘Adventure Island’; trying his utmost to identify Mr. Squiggle’s artistic creations before he would reveal their outcome; taking a curious peak at the outrageous soap, ‘Number 96’; and sharing in the trials and tribulations of a war weary family in ‘The Sullivans’. Six years in the making, David started writing his book because, as he says, “I was concerned that many of the Australian programs, which impressed me as a youngster, were potentially fading into obscurity, and I wanted to do something to ensure that they wouldn’t.” When remembering his childhood and the things he enjoyed most, a large proportion of it relates to what captivated him on the small screen. “I’m not alone,” he says. “Many who grew up in the era (1963-80) tend to feel very nostalgic when it comes to their childhood television heroes and programs they avidly watched back then. I thought: wasn’t it time someone paid tribute to these shows, as well as the people involved while they were still around to talk about their lives?’ And so he painstakingly played detective and tracked down nearly sixty important actors, directors, producers and entertainers from the era, all of whom were a part of the nineteen memorable Australian programs that he discusses in depth. 200 rarely seen photographs accompany the anecdotes provided by his contributors. Visit www.theheartofaustraliantelevision.com

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Telstra to Buy Globecast Australia GLOBECAST AUSTRALIA has confirmed that telecommunications company Telstra has agreed to acquire the company. The acquisition is subject to Australian Competition and Consumer Commission (ACCC) review prior to completion. Telstra Group Managing Director Global Sales, Martijn Blanken, said the acquisition would deliver on Telstra’s Global Enterprise and Services’ strategy of developing deeper capabilities in media services for its customers in the broadcasting industry. “Our broadcasting customers increasingly require live distribution of content from a diverse range of global content providers,” he said “Globecast Australia has a distinctive reputation for the delivery of media services, primarily over satellite platforms. Its strong linkages between its domestic networking capabilities and international points of media connectivity fit with our strategy of providing global media networking capabilities.” Globecast Australia also provides Direct to Home satellite transmission and IPTV managed services, IP streaming and encoding, Global Satellite Monitoring and Disaster Recovery. It has also developed live point-ofview miniature camera technology for use at sporting events through its Globecam business. Globecast Australia’s CEO Simon Farnsworth said the combination of Globecast Australia and Telstra is logical for both companies. “We’re excited by the opportunity for Globecast Australia to grow as part of Telstra. Globecast Australia remains focused on continuing our strong customer relationships and the provision of technical and operational excellence. The engagement that our customers and suppliers have enjoyed with Globecast Australia will continue.” Visit www.globecast.com.au and www.telstra.com.au

Fujinon Fujifilm Sponsors ACS Awards AS MAJOR NATIONAL SPONSOR Fujinon Fujifilm will again be supporting the Australian Cinematographers Society (ACS) National Awards, which, for the first time in its history, will be held in Hobart, Tasmania on Saturday 2 May 2015 at the iconic Museum of Old and New Art, MONA. In addition Fujinon Fujifilm will also be exhibiting and taking part in the first ever ACS Sponsors Expo which will be held at the Hotel Grand Chancellor on Friday 1 May and Saturday 2 May. The expo will run in parallel with a number of special events including presentations from ARRI Australia and Panasonic on Friday 1 May and a Pieter de Vries ACS workshop masterclass, Ray Martin AM retrospective presentation and Lemac/ACS NAB 2015 review on Saturday 2 May. Fujinon Fujifilm will be demonstrating their Cabrio range used by many ACS members and consisting of the Fujinon PL 19-90mm, 85-300mm and 1435mm lenses at the expo. The Fujinon PL 19-90 and 85-300 Cabrio lenses feature an exclusive detachable servo drive unit, making them suitable for use as a standard PL lens. The Cabrios also feature flange focal distance adjustment, macro function and are LDS (Lens Data System) and /i metadata compatible. The 14-35mm wide angle Cabrio zoom lens was designed using the latest optical simulation technology and offers exceptional optical performance in the centre of the image as well as in the corners of the frame. Fujifilm will also be demonstrating its range of X-Series consumer and prosumer stills cameras and lenses including the X-T1, X-T1 Graphite Silver, X-Pro1, X-E2, X100T, X30, XF50-140mm F2.8 lens, XF56mm F1.2 APD lens, XF55200mm lens, XF23mm lens, XF10-24mm lens and new XF16-55mm F2.8 lens. The weekend will be launched with an official reception with her Excellency Professor The Honourable Kate Warner AM, Governor of Tasmania, at Tasmania’s historic Government House on Friday the 1st of May. Visit www.fujifilm.com.au

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NEWS + PEOPLE

Cobham Meshes with Volvo Ocean Race WITH THE FIRST RACE VILLAGE opening in Alicante, Spain on October 2nd, 2014, the Volvo Ocean Race had already been running for five months when it made it’s way to Auckland on February 28th, despite the New Zealand city being just the fifth port of call. That should give an idea of just how intense this race is, with the early legs spanning as long as 23 days without a break. In many ways, these long legs make things easier for the crew that sets up the Race Villages, affording them with time before and after each leg. This is not a luxury they will retain as the race reaches Europe, with some stopovers being a mere day in length. “I build with a team of five global IT staff the entire networks in all the ports,” said Eric Ernst, Port IT Manager for the Volvo Ocean Race. “So we go to every stopover, we build a full network connecting the race village - our parts of the race village - to one network and media centre, our race office, and then as an add-on we also connect the TV and make sure that we have a TV broadcast that goes over the internet in our case.” We have two slightly different versions of the arrival show: The In-Port Race and at the end of every stopover,” adds Richard Baker, Multimedia Manager for the Volvo Ocean Race. “We also have a studio in Spain, so the first part is in Spain. The second part is we actually build a television compound here and try and get signals back. Most of my role is working with Eric trying to get good internet connection to be able to stream everything up to YouTube, phone apps, to our website.” Assisting the Volvo Ocean Race team get the villages set up quickly is two divisions of Cobham: Tactical Communications and Surveillance (TCS) and SATCOM. After 13-years of involvement with the Volvo Ocean Race, Cobham has become a Race Partner, providing standardised equipment for all of the single-design Volvo Ocean 65 boats. “The standard design gave us the ownership to build the race around our whole telecommunication scheme that we wanted to do,” explained Ernst. “So we built - literally we said we wanted the media coverage of this boat and we were going to put cameras there and we’re going to build a boat around it. That’s pretty much what we’ve done.” The Cobham TCS NETNode Mesh IP radio provides IP connectivity for email and internet access, with COFDM modulation to integrate video, audio and GPS information. IP connections are carried over a BGAN (Broadband Global Area Network) system, supplied by another Volvo Ocean Race race partner, Inmarsat. Linking into this is Cobham’s Explorer 710 BGAN terminal, which works alongside a range of the company’s other products, including the Sailor SP3510 portable VHF radio and Sailor 6391 Navtex system. Two Cobham antenna systems sit on the sterns of the boats: a Cobham SATCOM Sailor 500 Fleet Broadband, which is used intermittently for live streaming and transfer of large video files; and the compact Fleet Broadband 250, which is always on and used mainly for email, telemetry and weather information.

“The setup for that - because we don’t have the entire TV team in here - is that we have Cobham receivers in place that we use for some of the docks with an RF camera that catches when the boat comes in. Then we deploy the NETNode IP Mesh along the arrival passage they come through to support our other cameras that are IP-based to bring the footage back to our receiving port. Some of the camera gear we use is so far away that we have to use something that supports 3G, 4G, and Mesh, so it kind of aggregates together and the signal’s sent back to Alicante. The Mesh has really been a game-changing deployment for us.” “We’re just taking the SDI from whatever the camera guy is shooting on that, sending it back through to the IP Mesh depending on whatever route it takes to get back to the ISP, back in our office here, then back over the internet,” said Baker. “What we have been using as well is built into the mesh is the comms channel, so you can actually set audio by direction of the video pretty easily over the mesh with very low latency.” “We have that many units that we can have the luxury to build two different Meshes that do different things, and then go in online and flip the configurations and say okay you join the other mesh now, to stabilise it,” concludes Ernst. “Because as the Mesh works, the more units you have in there the more stable it becomes. It uses all kinds of paths to get somewhere.” The Cobham solutions will be deployed at all of the remaining stopovers to transmit the footage back to the main studio in Alicante, including the final stop of the 2014/15 race in Gothenburg, Sweden. Visit www.cobham.com

NEWS + PEOPLE

“We have two kinds of TV setups during a stopover. The first is the arrival show, which is for us physically probably the hardest one, because they come in whenever they come, which can be any time of the day. I think our last arrival show was eight hours long, a live show,” said Ernst.

Cobham SATCOM Sailor 500 Fleet Broadband and Fleet Broadband 250 on the stern of Team Alvimedica’s boat.

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TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

NEP Group Appoints President and COO NEP GROUP HAS announced the appointment of Keith Andrews, currently CEO and Managing Director of NEP Australia (formerly Global Television), to the newly- created role of President and COO of NEP Broadcasting. Mr Andrews takes on responsibility for the Group’s outside broadcasting, host broadcasting and studio operations in the US, Europe and Australia. He will relocate from Sydney to NEP’s headquarters in Pittsburgh, PA, USA next month and report to NEP Group CEO, Kevin Rabbitt. Concurrently, Soames Treffry, NEP Australia’s

Director of Commercial and Television, has been promoted to President of NEP Australia, reporting to Mr Andrews. Mr Treffry will lead the company’s Australian business – retaining his client-facing responsibilities and also assuming full accountability for commercial operations. Mr Andrews’ and Mr Treffry’s new roles reflect the ongoing expansion of the NEP worldwide network and the company’s leadership in outside broadcasting, studio production, host broadcasting and video display. Mr Andrews has been CEO and Managing Director of NEP Australia since March 2010.

Public Media Alliance Turns 70

The Vitec Group Acquires Paralinx

THE PUBLIC MEDIA ALLIANCE, formerly the

THE VITEC GROUP HAS ACQUIRED the

Commonwealth Broadcasting Association, has celebrated its 70th birthday. It was founded in 1945, starting with six founding members, and now have 102 members in 54 countries.

business of Paralinx, a California company known for its high-quality wireless video systems. Paralinx will be incorporated into the Vitec Group’s Videocom Division, complementing its existing brands.

Born out of a desire for increased cooperation between public service broadcasters around the world, the idea of bringing several large broadcasters together for a meeting came from the BBC’s Overseas Service (now the World Service), and in 1944 the BBC invited chief broadcasting executives from Australia, Canada, India, New Zealand, and South Africa to London. National broadcasters from these countries have remained core members ever since.

Dan Kanes and Greg Smokler, two members of the International Cinematographers Guild who sought to develop a new wave of affordable, HD wireless video tools, founded Paralinx. The company will join Teradek and SmallHD in Vitec Videocom’s Creative Solutions business unit.

Public broadcasters will need to adapt to survive, and learning from each other through a global network helps.

“Like Teradek and SmallHD, Paralinx is another great example of the pioneering spirit that is so important to disrupting the professional video industry with game-changing products and topnotch customer support,” said Vitec Videocom CEO, Matt Danilowicz.

Visit http://publicmediaalliance.org

Visit www.paralinx.net

Before that he had an extensive international career, primarily in technology-related ventures. He has been a director of several private and publicly-listed technology companies, including six years in various executive roles with NYSElisted Stratus Technologies in the US and Asia. Mr Treffry joined the company in February 2012 as Director of Television and Commercial from FOX Sports, where over 16 years he held a variety of roles, culminating with Director of FOX Sports Channels. Visit www.nepinc.com

Kodak Signs Hollywood Film Supply Agreements KODAK HAS FINALISED new film supply agreements with all six major Hollywood studios. As part of these agreements, Kodak will continue to provide motion picture film to 20th Century Fox, Walt Disney Co., Warner Bros. Entertainment Inc., NBC Universal Inc., Paramount Pictures Corp. and Sony Pictures for their movie and television productions. “Film has long been – and will remain – a vital part of our culture,” said Jeff Clarke, Kodak chief executive officer. “With the support of the studios, we will continue to provide motion picture film, with its unparalleled richness and unique textures, to enable filmmakers to tell their stories and demonstrate their art.” The agreements make it possible for Kodak to continue to manufacture motion picture film while also pursuing new opportunities. Visit http://motion.kodak.com

TAKING STOCK

Tim Thorsteinson Becomes Quantel CEO QUANTEL AND SNELL HAVE ANNOUNCED

lead the next stage of the business’ evolution.

the appointment of Tim Thorsteinson as CEO, effective immediately. With a proven track record in mergers and acquisition within the media technology industry, Thorsteinson has served in many senior roles including twice as the CEO of Grass Valley, President of the Broadcast Communications division of Harris Corp., and President and CEO of Enablence.

“We are delighted to have Tim Thorsteinson join Quantel to continue the company’s transformation. Tim has a proven track record of value creation, and his knowledge and experience are a great fit to grow the combined Quantel and Snell business into a major force in the rapidly changing broadcast industry,” said Chris Hurley, Managing Director Lloyds Development Capital and Quantel Board Director. “I would also like to thank Ray for all his hard work and achievements at Quantel over the past 10 years.”

Thorsteinson. “It is one of the larger independent businesses in our industry, with world class products and a rich history of innovation. I want to build on that tradition to create an organization 100% focused on helping our customers prosper in the media technology world.”

“I’m very excited to be joining Quantel,” said

Visit www.quantel.com

Ray Cross has stepped down as Chairman and CEO. After 10 years and having built a solid foundation for the future, Cross has decided that now is the right time to hand over to someone to

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TECHNICAL STANDARDS www.content-technology.com/standards

HbbTV 2.0 Specification Released THE HBBTV ASSOCIATION, a global initiative dedicated to providing an open standard for the delivery of broadcast and broadband services through connected TVs and set-top boxes, has announced the release of the new HbbTV 2.0 specification. HbbTV 2.0 paves the way for a new wave of consumer TV services based on advances including companion device support, HTML5 user experiences and support for advanced video delivery features like Ultra HD and HEVC. The HbbTV Association anticipates that manufacturers, broadcasters, and operators will begin introducing a new generation of interactive broadcast and broadband TV services in 2016.

The HbbTV Association is also immediately launching its tender process for the supply of an HbbTV 2.0 Test Suite. It is anticipated that the test suite will become available in 2016, enabling the launch of HbbTV 2.0 compliant products and services that year.

The new specification adds a range of new

Visit www.hbbtv.org

MPEG HAS ISSUED A CALL FOR EVIDENCE (CfE) of new tools that may improve the performance of the current state-of-the-art video coding standard, ISO/ IEC 23008-2 HEVC, to efficiently code High Dynamic Range (HDR) and Wide Colour Gamut (WCG) video. The results of the CfE will be analysed to determine if MPEG should launch a new standardisation effort to extend the current capabilities of HEVC. Responses to the CfE are due in May. Additional information, including how to respond to the CfE, will be available at: http://mpeg.chiariglione.org/meetings/111

Riedel Joins RAVENNA Partner Community

ETSI Starts Work on mWT MPEG LA Introduces License for DisplayPort ETSI’S RECENTLY ANNOUNCED Industry

RIEDEL COMMUNICATIONS, a premier

MPEG LA, LLC HAS ANNOUNCED the

supplier of real-time communications networks for applications ranging from broadcast to security, has announced its support for RAVENNA and the AES67 standard by partnering with RAVENNA technology developers, ALC NetworX.

availability of the DisplayPort Patent Portfolio License. The DisplayPort License provides coverage for a variety of digital interface technology standards used in connecting audio/ video sources among products such as computer monitors, video projectors, televisions, adaptors, personal computers, graphic cards, motherboards, storage devices, smartphones, tablets, flat panel displays and cameras.

The partnership will accelerate Riedel’s efforts to provide RAVENNA-based AES67 interoperability capabilities for their networked Tango platform, thus reinforcing the company’s commitment to providing standards-based solutions. “We are delighted to be joining other premier technology suppliers in the RAVENNA partnership community,” said Thomas Riedel, CEO of Riedel Communications. “As a standalone technology, the RAVENNA framework provides an efficient and flexible solution for audio over IP transport. Its full AES67 compliance is an important fact for us and our customers.”

TECHNICAL STANDARDS

technologies and features including support for HTML5, DVB CI Plus 1.4, HEVC video, and TTML subtitles. It also enhances support for existing technologies including MPEG DASH, DSM-CC object carousel, synchronisation of apps to TV, and user input. It is designed to ensure that HbbTV 1.0 and HbbTV 1.5 applications will continue to work on HbbTV 2.0 devices.

Call for Evidence Issued for HDR and WGC

Andreas Hildebrand, Senior Product Manager of ALC NetworX, said, “Riedel is unquestionably one of the world’s premier companies providing communication and media data distribution solutions. Adding RAVENNA networking capabilities to their product portfolio is clearly an indicator for the coalescence of the professional broadcast market and the communication systems world.” Visit http://ravenna.alcnetworx.com and www.riedel.net

Specification Group on millimetre Wave Transmission (ISG mWT) held its first meeting at ETSI on 14-15 January 2015 and immediately commenced work developing a set of five specifications. At this meeting Mr. Renato Lombardi of Huawei Technologies was elected as the chairman of the Industry Specification Group while Mr. Nader Zei of NEC Europe was elected as the vice chairman.

Initial DisplayPort technology owners include Hitachi Maxell, Ltd.; Koninklijke Philips N.V.; Silicon Image, Inc.; and Sony Corporation.

“The ISG aims to be a worldwide initiative with global reach and to address the whole industry: national regulators, standards organisations, telecom operators, product vendors and key component vendors,” says Mr. Lombardi.

MPEG LA says it welcomes any party that believes it has patents that are essential to the DisplayPort standard to submit them for an evaluation of their essentiality by MPEG LA’s patent experts.

Millimetre wave spectrum, in the 30GHz to 300GHz range, offers more available spectrum than in lower bands with larger channel bandwidths granting a fibre like capacity.

Visit www.mpegla.com

Visit www.etsi.org

HEVC Improvements for SCC and 3D Video AT ITS RECENT 111TH MEETING, MPEG began the approval process for an important new enhancement of the High Efficiency Video Coding (HEVC) standard – the Screen Content Coding (SCC) extensions. The draft new SCC extensions of HEVC are capable of greatly improving the compression of screen content. Example applications include wireless displays, remote computer desktop access, and realtime screen sharing for videoconferencing. The technical development of the SCC extensions has been performed by the joint MPEG-VCEG video coding team JCT-VC.

standardisation of the 3D-HEVC extensions was completed. 3D-HEVC improves the compression of 3D video with multiple views and depth maps by coupling together the encoding of the video views and the depth maps. The depth maps for 3D video enable enhanced capabilities such as the synthesis of additional viewpoint perspectives that are not directly represented in the compressed video data. The technical development of 3D-HEVC extensions has been performed by the joint MPEG-VCEG 3D video team JCT-3V.

Moreover, at the 111th MPEG meeting, the

Visit http://mpeg.chiariglione.org

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2015 PREVIEW NAB Show Focuses on OTT Content Delivery TAKING PLACE FROM APRILL 11-16 NAB SHOW, the world’s largest annual conference and expo for professionals who create, manage, and distribute entertainment across all platforms, will feature sessions, workshops, and panels discussing today’s content landscape and the prominent role that over-the-top (OTT) video delivery is playing within it. Leading off the conference on Monday, April 13, from 10:30 a.m.-12:00 p.m. will be the Super Session “Constant Cravings – Using OTT to Win the Next Generation of Viewers”, which will address the evolution of the OTT landscape in 2015, particularly as it pertains to loosening pay TV subscription requirements and the opportunities arising from increased time-shifting and place-shifting alike. Beginning on Tuesday, April 14, through Wednesday, April 15, NAB Show will host the Online Video Conference, which will feature discussions around topline issues that subscription-based content providers face when

“Today’s consumers want access to their favourite content anytime, anywhere,” said Chris Brown, executive vice president of Conventions and Business Operations at NAB. “This new paradigm creates new challenges for media professionals – how to deliver the best content experience, what platforms to create that experience for, and lastly, how to best monetize throughout. We are pleased to host discussions that answer these questions, and more, at NAB Show.” On Tuesday, April 14, the Digital Strategies Exchange for Television (DSX4t) conference, sponsored by Internet Broadcasting, will feature presentations that focus on the intersection

of digital and television. “Digital Headliners” will address cross-platform initiatives, while “The Business of Digital Services” will highlight digital service strategies. “Ask the Digital Expert” will feature social, video, and programmatic monetisation strategies. Additionally, the Broadcast Management Conference will examine the regulatory environment as it relates to OTT services and traditional broadcasters in “You Down With OTT? FCC’s Wheeler: Yeah, You Know Me.” NAB Show will also feature the Connected Media IP Pavilion, which will focus on IP-centric technologies (such as IPTV, OTT, mobile, social, and cloud) and how they enable audiences to receive, discover, interact and engage with content across any device. Via a combination of exhibits and seminar programming, the Connected Media IP Pavilion, located in the North Hall of the Las Vegas Convention Center, will educate attendees on the best ways to create and deliver a superior multiscreen audience experience. Visit www.nabshow.com

OVC to Feature for the First Time

‘The Walking Dead’ Invades NAB

THE NATIONAL ASSOCIATION OF BROADCASTERS (NAB) has announced

Steven Yeun, ‘The Walking Dead’ comic book creator and series executive producer Robert Kirkman, and AMC President Charlie Collier are confirmed to participate in the general session “More of What You Crave: The World of ‘The Walking Dead’”, scheduled for Tuesday, April 14 from 9:00-10:00 a.m.

the first-ever Online Video Conference (OVC) will take place April 13 – 14 during the 2015 NAB Show. The conference will feature sessions on key issues facing online video providers of original content, as well as those who are seeking to monetise video across multiple platforms.

NAB SHOW 2015 PREVIEW

monetising video across a variety of platforms. Featured sessions will include “Now Playing: How Sports and Gaming Are Driving Live-Streaming” (Tuesday, April 14), “Pay TV 2.0 – Adapting to Viewers’ New Expectations” (Tuesday, April 14), “The Evolution of OTT’s Hybrid Monetization Models” (Tuesday, April 14), and “Cracking the Mobile Video Equation in the Era of Pocket-Sized TV” (Wednesday, April 15), among others.

One of seven separate conference tracks offered at NAB Show, the Online Video Conference will cover topics such as virtual MVPDs, the migration to OTT, online original content, gaming and sports, user generated content, cross-screen targeting, online advertising metrics and new online video platforms. The conference is designed for senior-most executives from digital media firms in the subscriber-based world of video on demand, OTT, and cable, as well as pure broadband and Internet firms. “Online video is a major force shaping the future of the content marketplace, presenting opportunities and challenges for stakeholders to reach viewers across multiple platforms,” said Chris Brown, executive vice president, Conventions and Business Operations at NAB.

KEY MEMBERS OF ‘THE WALKING DEAD’ TEAM will appear at NAB Show. Cast member

The session, moderated by Michael Schneider of TV Guide, will provide an insider’s perspective to the expansive world of ‘The Walking Dead’, while also exploring the key elements underpinning the show’s continued success in this “golden age” of television and AMC’s commitment to delivering content that breaks through and reaches passionate audiences. After the session, NAB Show attendees will be able to visit with the panelists in the “Crave Cave,” a new feature of the conference program designed to provide speakers with a comfortable place where they can engage with fans following their sessions. ‘The Walking Dead’ is the #1 show on television among adults 18-49 across all broadcast and cable networks. The show’s record-breaking season five premiere drew 17.3 million total viewers and 11 million adults 18-49. “The runaway success of ‘The Walking Dead’ exemplifies the power of compelling content,”

said Chris Brown, NAB executive vice president of Conventions and Business Operations. “We are delighted to host some of the show’s key talent at NAB Show as they take us behind the scenes of one of the most beloved shows on television today.” This open-to-all General Session will take place on Tuesday, April 14 from 9:00-10:00 a.m. PT in South Hall Room 222 of the Las Vegas Convention Center.

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NAB SHOW 2015 PREVIEW

FCC Chairman Tom Wheeler to Address Show FEDERAL COMMUNICATIONS COMMISSION (FCC) Chairman Tom Wheeler will speak at the 2015 NAB Show. The address, which will be held Wednesday, April 15, 9:00-10:00 a.m., is expected to provide insight into the FCC’s policy and regulatory objectives related to broadcasting, technology and communications law generally. “This is a great opportunity for NAB Show attendees to hear first-hand from the FCC Chairman on the FCC’s progress on the TV spectrum incentive auction and a host of other items currently under consideration at the Commission,” said NAB President and CEO, Gordon Smith. Tom Wheeler became the 31st Chairman of the Federal Communications Commission on November 4, 2013. He was appointed by President Barack Obama and unanimously confirmed by the United States Senate. For over three decades, Wheeler has been involved with new telecommunications networks and services, experiencing the revolution in telecommunications as a policy expert, an advocate, and a businessman. As an entrepreneur, he started or helped start multiple companies offering innovative cable, wireless and video communications services. He is the only person to be selected to both the Cable Television Hall of Fame and The Wireless Hall of Fame, a fact that caused President Obama to nickname Wheeler “The Bo Jackson of Telecom.” Prior to joining the FCC, Wheeler was Managing Director at Core Capital

Media and Entertainment Companies Join SPROCKIT NAB SHOW HAS ANNOUNCED that Graham Media Group, Media General,

IEEE BTS Hosting Training Courses During NAB

Meredith, Pearl TV, Raycom Media, and the E.W. Scripps Company will participate in the third annual SPROCKIT program as corporate members. These new 2015 corporate members will join AARP, Comcast, Cox Media, Disney/ABC Television Group, Gannett Broadcasting, Google, Hearst Television, and Univision Communications Inc., which are returning as SPROCKIT corporate members again this year.

THE IEEE BROADCAST TECHNOLOGY SOCIETY (BTS) offers

SPROCKIT helps media and entertainment companies navigate the constantly changing landscape of new technologies and consumer media consumption habits by facilitating relationships with industry-vetted entrepreneurs who have developed solutions for current industry trends.

The IEEE BTS will offer technical training and tutorials prior to and at the 2015 NAB Show. Designed to bring attendees up to speed on nextgeneration television technologies, the sessions continue the society’s long-standing mission of providing scientific and technical educational training programs to the broadcast engineering community.

Now in its third year, SPROCKIT will once again begin with a showcase and series of meetings and presentations at NAB Show 2015, the world’s largest media and entertainment event. The program will continue through SPROCKIT Sync, an exclusive community that meets three times a year in private day-long meetings in Silicon Valley, New York and Los Angeles. Industry leaders will hand-select up to 30 emerging companies to participate in SPROCKIT’s 2015 program based on their potential to disrupt the market and offer solutions to challenges faced by media and entertainment professionals. Earlier this month, SPROCKIT announced the first 10 companies participating in this year’s program who have developed solutions in areas such as content delivery, data analytics, advertising and more.

NAB SHOW 2015 PREVIEW

Partners, a venture capital firm investing in early stage Internet Protocol (IP)based companies. He served as President and CEO of Shiloh Group, LLC, a strategy development and private investment company specialising in telecommunications services and cofounded SmartBrief, the internet’s largest electronic information service for vertical markets. From 1976 to 1984, Wheeler was associated with the National Cable Television Association (NCTA), where he was President and CEO from 1979 to 1984.

“It’s exciting to see the successes that these emerging companies have achieved as a result of their participation in SPROCKIT and the knowledge and new solutions that corporate members have obtained,” said Gordon Smith, president and CEO of the National Association of Broadcasters (NAB). “New trends in technology will continue to shape media and entertainment, and this kind of collaboration is vital to helping the industry thrive.” “Our corporate members play an integral part in making SPROCKIT the premiere showcase of new innovations and solutions that can advance and strengthen the industry,” said Harry Glazer, founder and CEO of SPROCKIT. “We’re always looking for new members and partners who can bring something different to the table because building a bigger and increasingly diverse SPROCKIT community will only help move the industry forward.” Visit http://sprockitglory.com

a variety of educational opportunities for its members, including technical presentations, events, conferences, and training programs. With more than 2,000 members and chapters worldwide, the IEEE BTS is the leading professional resource for broadcast engineers around the world.

Prior to the start of the 2015 NAB Show, the IEEE BTS will offer a oneday technical training course for those looking to brush up on their IP video skills and knowledge as part of the PBS Technical Conference (TechCon). The course will take place on April 11 from 9 a.m. to 5 p.m. at Vegas PBS, located at 3050 E. Flamingo Road, Las Vegas. The cost is $150. This course will provide a detailed look at the key technologies used to transmit video signals over IP networks not only to viewers, but also for contribution, distribution, and within production facilities. The IEEE BTS will host a tutorial session at the NAB Broadcast Engineering Conference. On April 13 from 3 to 6 p.m. in room S228, Eric R. Wandel, president at Wavepoint Research, will chair the tutorial on “RF Radiation Exposure Safety Standards, Practices, and Regulations.” Presented by broadcast industry technology experts, the tutorial session will explore a variety of topics, including standards of IEEE International Committee on Electromagnetic Safety (ICES); FCC policy on RF exposure, practical considerations, measurements, and RF safety programs; and examples of RF exposure problems. At the end, the speakers will participate in an interactive Q&A session. The society is offering 2015 NAB Show attendees a 50 percent discount on IEEE membership, plus an additional discounted price of $7.50 to join BTS. Visit http://bts.ieee.org

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NAB SHOW 2015 PREVIEW

Oscar Nominee and ‘Boyhood’ Editor Sandra Adair to Speak at NAB 2015 THE NATIONAL ASSOCIATION OF BROADCASTERS (NAB) has announced that Oscar nominee and “Boyhood” film editor Sandra Adair will be a featured session speaker within the Creative Master Series at NAB Show. Adair received her first Academy Award nomination for film editing for “Boyhood”, the critically-acclaimed drama that was nominated for a total of six Oscars and won three Golden Globe Awards, including the highly coveted Best Motion Picture – Drama. Adair, whose collaborations with acclaimed filmmaker Richard Linklater also include “Dazed and Confused” and the comedy hit “School of Rock”, will participate in “From DAZED to BOYHOOD: Collaboration over 22 Years”, a session to be moderated by veteran film editor Norman Hollyn and produced in partnership with American Cinema Editors (ACE). “No one embodies the spirit of the Creative Master Series better than Sandra Adair,” said NAB President and CEO Gordon Smith. “Throughout her career, Ms. Adair has proven time and again that she is truly a master of her craft, and we are honored and delighted to have her participation as part of NAB Show.” “I want to thank NAB Show and ACE for the great honor of being a featured speaker during this year’s Creative Master Series,” said Adair. “This year continues to be a wonderfully wild ride, and I look forward to sharing my joy and my journey with some of the world’s most gifted and creative people in the world of digital media and entertainment.” Sandra Adair, ACE, is an award winning feature film editor who resides in Austin, Texas. Adair has enjoyed an ongoing artistic collaboration with film director Richard Linklater, having edited 18 films for him over the past 22 years, some of which include the cult classic “Dazed and Confused”, the 2012 comedy “Bernie” and the critically acclaimed “Before” trilogy, “Before Sunrise”, “Before Sunset”, and “Before Midnight”. Adair is currently editing Linklater’s “That’s What I’m Talking About”.

Cybersecurity Expert John McAfee to Address Technology Luncheon JOHN MCAFEE, FOUNDER OF MCAFEE INC., the world’s largest dedicated security technology company, will speak at the NAB Show Technology Luncheon, held Wednesday, April 15 in Las Vegas. John McAfee pioneered the commercial antivirus industry when he formed McAfee Associates in 1987. The company was later acquired by Intel for $7.68 billion. He is considered one of the greatest, most outspoken and controversial minds on the topic of information security. At the luncheon, McAfee will discuss his views on the ever-changing media and information technology landscape and how to manage security threats faced by companies daily. He will also share his insights based on more than 20 years of experience working with companies such as NASA, Univac, Computer Sciences Corporation and Lockheed Martin. “Many companies today are grappling with serious concerns about security and privacy,” said NAB Chief Technology Officer, Sam Matheny. “Protecting valuable digital assets will be top of mind for NAB Show attendees this year, making John McAfee’s luncheon address particularly timely and relevant.” McAfee will also serve on a panel of experts at the NAB Show Super Session “Protecting our Assets: Cybersecurity and the Media,” held Wednesday, April 15 from 2:30-3:30 in room S222 of the Las Vegas Convention Center.

Grass Valley Highlights Glass-to-Glass IP and 4K/UHD Technologies AT THIS YEAR’S NAB SHOW, Grass Valley (Booth SL206), a Belden Brand, will demonstrate its line of broadcast solutions and introduce its variety of new IP and 4K/UHD solutions.

NAB SHOW 2015 PREVIEW

Grass Valley’s unique “Glass-to-Glass” approach to IP spans the range of key products used in production and playout applications, including cameras, servers, production switchers, routers, multiviewers, IP gateways and control systems. The Grass Valley solution leverages proven IT technologies, such as commercial off-the-shelf (COTS) IP routing switches and Software Defined Networking (SDN) control, to maximise the flexibility essential in today’s changing media industry. Providing open, interoperable IP technology across many—if not all—elements of a broadcast workflow ensures tight “Glass-to-Glass” integration that leads to efficiency and solid on-air performance. Karrera K-Frame S-series delivers unmatched creative freedom and offers the ultimate mid-range switcher performance, along with proven workflows and simplified control of complex productions, with multiformat support including 1080p and 4K. The LDX 4K camera is designed specifically for sports and live production content and is unique among 4K/UHD cameras in that it captures any type of live action with unrivalled quality levels by delivering outstanding high sensitivity and dynamic range. Based on standard 2/3” imagers and

a new high-bandwidth digital fibre transmission solution to capture live events without the compromises associated with digital cinema optics, the new LDX 4K camera is easily integrated into existing HD workflows and is the industry’s first 4K/UHD camera with native B4 lens support. For customers wishing to make the transition to IP alongside SDI, Grass Valley’s Pegasus is the solution. Pegasus offers a built-in SDN module for managing IP networks made up of commercial off-the-shelf (COTS) switches, making use of non-proprietary technology and best-of-breed switches alongside SDI routing switchers. Pegasus SDN will make IP stream routing appear the same to an operator as routing SDI. The K2 Dyno Replay System with DynoZoom allows for pan/zoom functions to be applied to high frame-rate camera systems including 3X 1080p, 6X and 4K/UHD. K2 Dyno is also the only pan/zoom system to implement timeline keyframes on all captured formats—including 4K/ UHD—that actively follow a pan or zoom path created by the operator. Visit www.grassvalley.com

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Check out Quantumâ&#x20AC;&#x2122;s 4K eBook:

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NAB SHOW 2015 PREVIEW

New Solutions from Ross Video THE ROSS VIDEO THEME on booth N3906 at NAB this year is solutions and workflows – showing how the best of Ross technology can be used to provide complete solutions for different types of production environments. The various solutions being shown are highlighted here, followed by specific product details. A complete virtual and augmented reality production studio shows how VS/AR can enhance productions while reducing cost. The core of this solution is based around Ross Robotics, XPression Graphics and Ross Virtual Solutions components. Automated news production runs through a full OverDrive Automated Production control system. Clients are able to see the efficiency, power and simplicity that can be achieved by deploying OverDrive automation. Inception News, the Ross News Room Computer System offering is showing “Idea Centric News Production” as a single hub for news, web, and social providing the advanced tools required for the modern news environment. Sports stadium production is demonstrated as a complete solution with a giant 20 foot screen and ribbon board. This features the flagship Acuity Series Production Switcher and XPression Motion Graphics System. 4K is very much part of what is being shown in this area. A range of Ross graphics solutions are available from centralised graphics production workflow through to branding and ticker solutions. These include Streamline production asset and work order management system, XPression MAPS, XPression Touch Factory – interactive touch screen system, XPression Telestrate, XPression Brand-It Branding, and XPression Tick-It Ticker. The latest version of the Legislative Control System is being shown. Ross LCS is a tailor made system that Legislatures around the globe are taking advantage of to automate their production environments and produce a high quality and consistent output for constituents. openTruck has long list of new partners. Ross Mobile Productions is showcasing the latest addition to their fleet – FIN5, a high definition production truck based on Ross’ openTruck standard. FIN5 is a Mercedes Sprinter Class vehicle with tightly integrated technology that provides the capability to efficiently produce high quality, network-level mobile productions at a much lower cost than previously possible in a compact vehicle.

The Acuity switcher offers enhanced processing power features. These include: full UHD (4K) production with 8 keys/16 channels of DVE per ME, MultiFeed configurable program outputs with 2 preview and 6 program outputs for every ME, 36 channels of system wide Media Stores, and expanded dual head, 20 source window multi-viewers. The mid-sized Carbonite and Vision Tritium 3ME value priced production switchers, are showing new and exciting features that enhance operations, particularly when combined with DashBoard system control and XPression motion graphics. XPression Studio 4K and BlueBox 4K bring UHD video and key graphics into production switchers.Latest XPression features include: Ncam integration for augmented reality and virtual sets, GV EDIUS NLE integration, and QuickTime export. SmartShell 4 is a single, unified control system for both CamBot and Furio pedestals, lifts, and heads. USB-based joystick panels provide significant increases in control functionality. The Furio Pedestal features a three-wheeled manual pedestal base for Furio lifts and heads. This supports cameras that need robotic control, but primarily remain in a static location. The pedestal provides full virtual tracking data of all robotic axes for use in virtual sets and augmented reality. OverDrive Caprica is released, shipping, and on the air! Adding the OverDrive system to any control room is now possible, regardless of which existing production switcher is being used. OverDrive now controls the Ross Video Carbonite mid-sized production switcher. This integrated system offers a complete APC workflow at a compelling price point. OverDrive can be paired with Carbonite and Ross Video’s Inception NRCS to offer a complete production workflow. DashBoard offers improved design capabilities for increased control and functionality. Scripting support for building and parsing messages brings better access to information without having to significantly modify the formats it is in. OG script functions and Webget support results in increased flexibility and functionality. Widget and JSON protocol support produces the benefits of code reuse, easier interaction with functions, reduction of code complexity and errors, and faster writing of software. Inception News / Social adds instant messaging, alerts, and notifications features, as well as custom metadata support. Inception Sports offers game day production for stadiums and sports teams. The Streamline production asset management MOS engine and plugin discovers and sources media, and links to broadcast scripts in Inception News. Streamline adds video proxies and stills, single-sign-on, importing and conversion tools from existing asset systems, and migration tools from the MediaBeacon platform. Visit www.rossvideo.com

NAB SHOW 2015 PREVIEW

Infrastructure is a necessary foundation for all the solutions being demonstrated. openGear H.264 / MPEG-4 AVC Contribution Encoders are designed for organisations looking for a way to stream content between locations or into a CDN using Internet Protocol (IP). The encoders are a high quality solution providing simultaneous support of DVB-ASI, broadcast video over IP, RTMP, and HTTP Live streaming. openGear High Performance 3G / HD / SD Distribution Amplifiers are offered in Single, Dual and Quad re-clocking and equalising models, with support for SMPTE 424M, SMPTE ST 292-1 and SMPTE 259 serial digital video signals at 3G, HD, and SD rates. openGear Frame Synchronisers are the ideal solution for synchronising, timing and processing both audio and video in 3G, high definition, and standard definition applications. MC1 Master Control adds 3G 1080p support, channel ganging capability to switch multiple

MC1s in tandem, either manually or under automation, and audio features with the ability to remap audio channels and make adjustments to level presets to any audio source.

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ACQUISITION www.content-technology.com/acquisition

John Stokes ACS Finds Warmth in Winter with the Sony PMW-F55

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WINTER IS AN AUSTRALIAN MYSTERY-DRAMA-THRILLER television series currently airing on the Seven Network directed by Ian Watson, Shirley Barrett and Lynn Hegarty with John Stokes ACS as its director of photography. The series, acclaimed for its look and feel, was shot exclusively with Sony PMW-F55 CineAlta cameras rented from Lemac. Explaining his choice of camera Stokes said, “I wanted to shoot and see which camera looked the best for our lead actor, Rebecca Gibney, so I did side by side tests with the ALEXA, Sony F65, and the F55, and to tell the truth Bec looked equally beautiful with all of them. So I chose the F55 based on what the post budget had allowed for the data rate, its compact size and its excellent image quality.” Stokes’ capture choices were ALEXA ProRes HD 444 12-bit, F65 SStP SQ 444 10-bit or the F55 shooting 2K RAW with 16-bit colour space and the ability for the camera to ingest a 3D LUT. Stokes continued, “The F55 was my choice. Like most television drama you shoot at a very fast pace and as we were a location only shoot with some of the locations proving to be very tight, the F55’s compact size definitely influenced my decision. Also we were shooting lots of urban night exteriors with very small lighting packages and the high ISO rating of 1250 was also a huge bonus. Often, I would be bumping the ISO up to 2500 and on a few occasions up to 5000, with very pleasing results.” Stokes has had great success with Sony F Series cameras shooting another highly acclaimed drama, A Place to Call Home, on the Sony F65 so he was very familiar with the camera’s capabilities. That said he was still very impressed with the F55 adding, “I think it is a very flexible, capable camera that delivers excellent image quality. I was particularly impressed with the F55’s image quality in low light, its ability to shoot 240fps and its compact size. Also the global shutter really does make a difference in eliminating the rolling shutter effect. I also liked the Centre Scan option, which allowed me to blow up the image in-camera by 100% without any noticeable quality loss. So a 250mm became a 500mm at the flick of a switch. This was a real time saver on occasion.” Shooting 2K RAW, Stokes ended up using three F55’s on Winter, two as

standard studio setups and one as a dedicated Steadicam camera. With much praise coming from critics about how Winter looks, Stokes made mention of what goes into an attractive look and how much can be attributed to the camera commenting, “As always there are many facets to making a show look good, not the least being the art direction and costume design. The F55 did an excellent job of capturing these. Also our locations were diverse, from rugged sunlit oceanfront cliff faces on the South Coast to the dark gloomy streets of Darlinghurst at night. We also had a large fluorolit office that doubled as Police HQ and was surrounded by windows, so everywhere you pointed the camera you saw the urban landscape outside. This was a great look but also was the most challenging location in so far as extremes in exposure go.” Post production on Winter was taken care of at Blue Post with Annelie Chapple as the colourist. Stokes continued, “Annelie and I created a single LUT in Da Vinci Resolve from early test footage. This was loaded into the F55 via an SD card. From that point onward what we saw on the on-set OLED monitors and in the edit suites was the original look applied in pre and that carried all the way into the grading suite. So Annelie, the director and producers were all seeing exactly what I was seeing on set and Annelie would grade off the original RAW files with the LUT applied.” Visit http://pro.sony.com.au and www.lemac.com.au

World’s First Unmanned Aircraft Safety and Risk Management Standard Network Australia, The UASI Standard will provide greater safety and risk assurance to the general public, anyone engaging the services of drones and unmanned systems and air carriers/passengers sharing the skies with the rapidly growing fleet of drones worldwide.

ACQUISITION

Former head of Qantas Safety and now Chairman of Sydney based consulting company UAS International, Mr Ron Bartsch, announced during the launch, “the new standard developed by UAS International is based on and meets the compliance requirements of the latest International Civil Aviation Organisation (ICAO) guidance material.” “Regulatory framework in the world of unmanned aircraft (drones) has simply not kept up with technology,” Bartsch emphasised. National Aviation Authorities who are still developing their UAS state safety programs are also expected to adopt the standard. Launch partner QBE Australia has been underwriting Unmanned Aircraft Systems (UAS) risks for more than 10 years and is the only Australianbased insurer with a dedicated UAS underwriter. As part of the initiative,

QBE will reduce premiums of those operators who meet and maintain compliance to the new safety standards. UAS International Technical Director Mr Jim Coyne, who previously represented CASA on the Unmanned Aircraft System ICAO advisory panel discussed the growth expected in this sector at the launch. “In just ten years’ time this $4b industry is tipped to grow tenfold. With around twenty licensed operators two years ago and now over 200 today in Australia, companies engaging UAS Operators and regulators are struggling to keep pace rapid technology developments with no guidelines in place to monitor operational safety, risk or ongoing proficiency of operators.” Similar aviation safety standards have shown to be successful in airline and business aviation operations on a worldwide scale, an example being the International Standard for Business Aviation Operations (IS-BAO), which is a minimum requirement for engagement by many Fortune 500 companies in America and has been adopted as an acceptable means of compliance within the aviation legislation of some ICAO contracting states. Visit www.uasinternational.com

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ACQUISITION

FUJINON Announces Lens Range on Display at NAB AT THIS APRIL’S NAB SHOW, the Optical Devices Division of FUJIFILM North America (Booth C7025) will show off its range of lenses, including its latest Cine-Style, broadcast studio, and field lenses. The entire range of FUJINON Premier PL 4K+ cine lenses and the Cabrio cine/ ENG-Style lens series will be on hand and demonstrated in a wide range of applications and on a variety of cameras. The Premier PL 4K+ Series features the fastest T speeds available in a family of zooms, with unprecedented colour matched 4K and beyond optical performance. The entire range of Premier PL 4K+ cine lenses will be in the booth. The latest addition to its series of cine zooms – the FUJINON Premier PL 25-300mm Cabrio – will be on hand, along with the rest of the Cabrio series at NAB. Equipped with a 35mm PL mount, the PL 25-300mm boasts a high zoom ratio covering the focal length of 25mm to 300mm. The PL 25-300mm supports an optional, detachable servo drive for electric zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus, and iris adjustment. Designed using the latest proprietary optical simulation software, the entire range of Cabrio lenses offer exceptional optical performance in the centre of the image and in the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. The zooms support Lens Data System (LDS) and /i Technology metadata formats, and can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units. ENG lenses will range from the low-cost XT17sx4.5BMD 1/3-inch lens for ENG and teleconferencing applications up to the HA42x13.5BERD Premier Series Stabilised Super Telephoto lens for large venues and sporting events. The XT17sx4.5BMD lens features full remote control, for videoconferencing,

Plura Expands High-Brightness 3G Monitor Range AT THE 2015 NAB SHOW, Plura Broadcast (Booth N2718), a global manufacturer of highperformance digital broadcast and video production solutions, will expand its PHB-3G Series of high-brightness portable LCD monitors with a new 7-inch model. Designed for a wide range of broadcast mobile, indoor and outdoor applications, the PHB-3G Series delivers quality for ENG monitoring in the field under extreme sunlight conditions, or in a typical high-brightness environment inside a sports stadium. Even in direct sunlight, the new monitors deliver picture quality and accurate colour reproduction in accordance with SMPTE, EBU, and REC 709 standards. Rugged, versatile and portable, PHB-3G Series monitors support up to 1300 cd/m2 of brightness without a hood or sun-visor for less bulk and weight. With one touch of a button, producers can achieve the maximum brightness of 1300 cd/m2 outdoors, or down to 100 for indoor venues. Additionally, the PHB-3G’s shielding, circuitry and filtration properties eliminate all potential electromagnetic interference from radar or GPS navigation systems used in helicopter applications.

ACQUISITION

The Plura PHB-3G Series, which also includes a 9-inch model, offers the software-defined feature set built into most Plura monitors, including its unique ICAC intelligent calibration and alignment tool to automatically enable gamma correction, colour temperature and white luminance level adjustments. This ensures conformance to all pertinent broadcast standards while in the midst of live production. Other key broadcast-centric features of the PHB-3G Series include RGB 12-bit digital signal processing for accelerated response time, exceptionally smooth video, and consistent colour reproduction. Both monitors also integrate waveform and vector scopes, closed caption decoding, audio metering and time code display, PIP modes, and a stereo speaker for live audio monitoring. Visit www.plurabroadcast.com

weather cams, educational, and studio robotic applications. The HA42x has full servo studio control, OS-Tech Optical Stabilisation, and Quick Zoom.

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Field lenses will include the FUJINON XA55x9.5BESM 2/3inch zoom, the XA77x9.5BESM telephoto field lens, and the XA99x8.4 ultra-wide field production lens.

The XA99x8.4 combines high-performance imaging, a long zoom reach, and an ultra-wide angle. It offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. It features FUJINON’s patented image stabilisation technology for rock-steady performance, which is especially critical for long-distance HD shots. High-resolution 16-bit encoders are standard, making it suitable to virtual, robotic, and digital signage, among other applications. The XA55x9.5 HDTV Telephoto Box Style lens is designed for large venues that require tight shots from long distances. This lens is available with a builtin lens support bracket for mounting on an ENG-style camera. Also built-in to the XA55x is optical image stabilisation. The XA77x9.5 telephoto field lens also comes standard with image stabilisation. An exclusive anti-fogging design minimises lens fogging and reduces downtime due to moisture. It features EBC coating to reduce ghosts and flare, and increases light transmission. From full servo to full manual, an assortment of operator controls is available. Visit www.fujifilm.com

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SHOTOKU BROADCAST SYSTEMS IS MARKING ITS 70TH Anniversary at this year’s 2015 NAB Show with a celebration in its booth C7033. Along with showcasing its full range of advanced and high-performing control solutions, pan & tilt heads, robotic and manual pedestals, and virtual reality products for OB, studio, field production and legislative applications, the company is also officially launching its new TP500 compact and lightweight pneumatic pedestal as well as showcasing its well-received SmartTrack ‘smart’ rail camera system that addresses the demands of daily TV studio use.

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Shotoku’s new TP500 is a compact and lightweight pneumatic pedestal capable of supporting camera payloads of up to 121 lbs. (55 kg.), and ranges from 26.2” (665mm) to 58.5” (1,485mm) in height. It is suitable for multi-location use such as OB, studio or event production. The robust modular design allows simple transportation of the TP500 between locations, without compromising its ability to provide a stable platform for camera operators. In addition, the TP500’s integrated inflation pump offers flexibility and freedom, regardless of the broadcast location. At this year’s NAB, Shotoku is highlighting its new SmartTrack system, a fully integrated product based on the core track-based technology of MAT, Germany. In combination with Shotoku pan & tilt heads and control systems the MAT system is turned into the perfect solution for TV studio use, day after day. It is highly adaptable, supporting floor or ceiling operation and a range of height column configurations, in both upright and inverted modes. Visit www.shotoku.tv

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Behind the Scenes on “I’m A Celebrity…” – Australia Following “I’m A Celebrity… Get Me Out of Here!” – produced by ITV Studios Australia for Network Ten – wrapping up, Head of Content, Ben Ulm, explains what happens behind the scenes: WITH 380 CREW – yes, 380 – “I’m A Celebrity… Get Me Out of Here!” is probably one of the biggest reality shows ever made for Australian TV. Bringing live shows to Australian TV screens five nights a week from South Africa has been a massive undertaking. Premiering on Network Ten on February 1, the first Australian season of the UK reality smash hit has now finished. What makes the show unique is that it is broadcast live from 10,000 kilometres away. It’s a high wire act with a second satellite as a safety net for the signal back to Australia. During our first live broadcast, there was a sigh of relief when we received texts from Australia confirming we were on: from Hobart to Darwin and from Perth to Sydney. It is little more than six months ago that “IAC” was a proposal sitting on the desk of Network Ten Chief Programming Officer, Beverley McGarvey. Today our production site is a small village near Kruger National Park and we have a studio built from scratch in a national park teeming with wildlife. In our first week, a leopard was spotted a stone’s throw from the production site, resulting in security escorting Dr Chris Brown and Julia Morris from their demountable dressing rooms to the production office. It’s not unusual for crew to encounter wildlife on the road en route to work. Hippos, leopards and a massive python have been sighted on more than one occasion. IAC is a boon for the local economy, as we’re situated near some rural villages doing it tough financially. With the tourism dollar drying up, the national park had fallen into disrepair and the facilities were in need of an upgrade. IAC has upgraded the location and created work for about 300 South Africans – some from surrounding villages. A key role is managing and protecting the integrity of the site and preserving its delicate ecosystem. ITV Studios Australia has worked closely with our South African partners Triosphere and environmental consultants to ensure there is no adverse impact on the ecology – from looking after plants to ensuring basic personal hygiene products used in the celebrity camp are eco-friendly.

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For most of the Australian crew, it’s the first time they’ve visited an area as remote and rustic as this region of South Africa. Working here has presented many challenges, both anticipated and unforeseen.

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Studiously avoiding kudu (antelopes) and various baboon families when you drive to the production site, there are yellow road signs put up by some wag warning of “Kangaroos crossing for the next 14 kms”.

So the extraordinary has become normal. Five mornings a week in our control room you find a 40-strong team – under show EP, Lara Hopkins and Ten’s Head of Entertainment and Factual, Stephen Tate – overseeing the live 90 minute show going to air. Director, Peter Lawler orchestrates the live hostings of Julia and Chris from the studio site about a kilometre away. That studio was sound-tested by loudly dropping false ITV Head of Content, Ben Ulm clues in a variety of conditions to ensure the camp couldn’t eavesdrop on what the hosts were saying. Tape packages are edited overnight in “Avid Alley” – 10 edit suites working around the clock. IAC starts the day with a blank canvas and builds 60 or 90 minutes of prime time content in under a day. It’s here I sign off on packages edited from the previous day’s Tucker Trials and whatever happens in camp. Scriptwriters and program producers view the rough cuts at midnight, with a network screening taking place at 3am. Revisions take place in the couple of hours before the taped pieces are graded, in time for the live broadcast at 10.30am local time. In the meantime, our hosts rehearse, rewrites are done and the studio crew blocks the links to ensure a smooth, slick broadcast. After one show has aired, it’s straight off to a production meeting – deciding on developing storylines and what’s in store for the person doing the Tucker Trial. But on rare days off, crew have been able to savour South Africa’s extraordinary wildlife, heading out on sunset wildlife drives with the customary sundowners, in neighbouring game parks. It really has been the experience of a lifetime.

GLOBECAST AUSTRALIA DELIVERS ‘I’M A CELEBRITY…’ Globecast Australia has transmitted the UK, German and Australian series of one of the world’s top entertainment franchises, ‘I’m a Celebrity… Get Me Out Of Here!’, for ITV Studios. Between November 2014 and March 2015, the company delivered over 100 hours of live digital television entertainment using the satellite resources of Intelsat, Eutelsat and Optus with its worldwide fibre network as a backbone. Set in the tropical rainforests of northern NSW, the fourteenth UK series of ‘I’m a Celebrity… Get Me Out Of Here!’, produced by ITV Studios UK, was broadcast on ITV for three weeks leading up to Christmas. Using the same location, the ninth German series, produced by ITV Studios Germany, was broadcast on RTL for sixteen nights in a row in early 2015. In early February, Network Ten premiered the first Australian version of ‘I’m a Celebrity… Get Me Out Of Here!’, produced by ITV Studios Australia. Filmed in the rugged South African jungle, the show was on air five nights a week, until last evening. Both the UK and German series were uplinked from the remote set in northern NSW. Achieved by Globecast Australia’s DSNG capability including on-site configuring of encoding equipment and satellite uplink

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ACQUISITION

Broadcast Pix To Launch ‘Roadie’ Mobile Production System

Zylight Debuts ‘Newz’ Adjustable On-Camera LED Light

production switcher at the 2015 NAB Show (Booth SL5625). With built-in HD streaming and recording, as well as Broadcast Pix’s patented Fluent Control toolset, Roadie delivers a complete end-toend production workflow that simplifies and streamlines live production on location for a single operator or small staff.

Roadie’s multi-format 1 M/E production switcher features three SDI/HDMI inputs and one SDI/HDMI/analogue input, eight internal channels (two clip and six graphics), one SDI/HDMI/analogue out, and four balanced (1/4-inch TRS) and two AES (BNC) audio I/O. Roadie can input embedded audio and mix it with clip audio. Cloud-based content from Skype, Twitter, and other resources can be included in live productions. All sources are automatically ingested and scaled while maintaining lip sync. Roadie also includes built-in Wi-Fi as well as two network inputs to accommodate a hotspot for connecting to cloud-based services or connecting an iPad for system control. Plus, with the new Show Transfer utility, operators can back up and move all elements of a program between Roadie and a Broadcast Pix Flint, Granite, or Mica system installed in a separate control room. Fortified with Fluent Control, a patented combination of automation technology and performance tools, Roadie is designed to meet the growing demands of live production. Internal features include an eight-channel audio mixer, file-based macros, dual clip players, CG, multiple DVEs and keyers, ClearKey chromakey, customisable virtual sets, Fluent-View customisable multi-view, and camera and device controls. Visit www.broadcastpix.com

MSE Introduces VATOR Series MATTHEWS STUDIO EQUIPMENT (MSE) will be introducing the new series of VATOR III heavy duty lighting stands at NAB 2015. “We began making VATORS over 35 years ago,” says Robert Kulesh, Vice President of Sales and Marketing for Matthews Studio Equipment. “We are often visiting productions around the world and we see many of the original, silver coloured VATORS still in service.

ACQUISITION

“The black VATOR II stands were updates of the original VATORS and were introduced about 15 years ago and now, with the new, grey coloured VATOR III being introduced we have continued to improve upon an already excellent product line. Each generation has been improved based upon comments, evaluations and recommendation MSE has received from the people in the field. “This new third generation of industry proven HD cranking stands will be available in six different models that range form a single riser LoBoy, through the CRANK and SUPER CRANKS – all the way to the new MEGA Vator offering a 15-foot height and 200 pound capacity.” Visit www.msegrip.com

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ZYLIGHT, A LEADING MANUFACTURER of LED lighting solutions, will introduce the Newz, a compact on-camera light designed for broadcast news and other run-and-gun shooting applications at the 2015 NAB Show (Booth C8043). The variable white light includes brightness settings from tungsten (3200K) to daylight (5600K), while a unique articulated arm design allows shooters to easily adjust the height and angle of the light.

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Designed primarily for ENG and similar remote shoots, the Newz includes custom barn doors and provides a 60-degree beam spread at full width half maximum (FWHM) for a soft falloff around the edges. It also features ZyLink, Zylight’s wireless technology, so it can be linked to multiple Zylights for simultaneous remote control. With quantum dot technology and proprietary LED chips, the fully dimmable Newz delivers a very high quality of light for true colour reproduction on par with the company’s flagship product, the F8 LED Fresnel.

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The Newz is the first lighting instrument available on Zylight’s new compact ZX platform. In the fall, the company plans to release the Z90plus, an updated version of its Z90 premium on-camera light.

Visit www.zylight.com

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Timecode Systems Launching Denecke TS-TCB Slate COMBINING THE CONVENIENCE AND FUNCTIONALITY of a digislate with the timeless appeal of a clapper board, the new Denecke TS-TCB slate offers a twist on tradition that will satisfy the professional preferences of any production team. The compact, high-spec intelligent hardware clapper slate is the result of the combined brainpower of Denecke and Timecode Systems, and will be shown at NAB 2015. While many production teams appreciate the capabilities of an iPad digislate, some still favour a real slate and demand the “clap” that marks the start of a take. Timecode Systems recognised this and saw an opportunity to join forces with established slate manufacturer Denecke to integrate the functionally of the Timecode Buddy :wifi master into the solid, dependable Denecke TS-3 slate. Integration into the MovieSlate app also enables an intelligent and automated logging tool. The Denecke TS-TCB slate is available now. Making its U.S. debut at the 2015 NAB Show, :pulse is a multi-functional timecode and metadata hub. Use the :pulse to generate highly accurate timecode and genlock as well as sync with zero drift, and then use the integrated Wi-Fi to share all of this information to multiple iPads. The :pulse offers the ideal partner to the ARRI Alexa, offering users full wireless camera control and status monitoring, access to full metadata, and lens motor control conveniently from an iPad or iDevice. Visit www.timecodebuddy.com

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BROADCAST PIX WILL INTRODUCE ROADIE, a mobile integrated

Ruggedised for location work, Roadie weighs about 9kg (20 pounds) and features a durable aluminium alloy chassis. A built-in handle allows for easy transport. Roadie’s integrated 17.3-inch HD display is a resistive touchscreen with a scratch resistant top coat, and is protected during transport by a removable cover. The system also includes a keyboard and mouse, but can also be controlled through the builtin virtual panel (just add a second touchscreen), optional Broadcast Pix 500 or 1000 control panel, or an iPad using the iPixPanel app.

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Continued From 25 solutions with full redundancy. Feeds were monitored in Globecast Australia’s 24/7 Master Control and Teleport in Sydney. For the Australian series set in South Africa, Globecast South Africa handled the on-ground uplink infrastructure, while Globecast Australia once again leveraged its global network of fibre and satellite resources to deliver two geographically diverse paths to Network Ten. Globecast Australia has facilitated the transmission of fourteen UK series and nine German series of ‘I’m a Celebrity… Get Me Out Of Here!’. Globecast Australia CEO, Simon Farnsworth, said, “Utilising our strong technical capabilities to deliver content from remote locations around the world, we are proud of our long association with ITV Studios.”

GEARHOUSE CROWNED KING OF THE JUNGLE Leading broadcast solutions supplier, Gearhouse Broadcast, has provided production services and technical support to the first Australian version of I’m a Celebrity… Get Me Out of Here! Produced by ITV Studios Australia for Network Ten, the show has five live episodes a week. Following Gearhouse’s success in providing systems for the original UK version of the show for the last seven years, ITV Studios Australia wanted a similar set-up to be implemented in South Africa where its local version of the show is taking place. The live production support for I’m A Celebrity… Get Me Out Of Here! Australia started on the same day Gearhouse finished providing production services for the German version of the show, which is housed in the familiar depths of the Australian jungle.

the German version of the show, “Ich bin ein Star – Holt mich hier raus!”, produced by ITV Studios Germany for RTL, since its third series in 2008. Technical specifications for the 2015 series include the same cameras and sound mixers as the Australian version with additional Lectrosonic UM400 and MM400 waterproof radio mics. Using the same location in New South Wales and largely the same equipment as the UK’s version of the show, Ich bin ein Star – Holt mich hier raus’s first 2015 episode achieved a record market share in terms of all German kick-off shows so far. The show ran for two weeks and finished on Sunday 1 February. “Running major productions back-to-back is obviously a challenge, but we have lots of experience in delivering solutions to multiple events in far off locations which run so close to each other,” said Simon Atkinson, technical projects manager at Gearhouse. “The hostility of the environment is a factor we have to consider when planning for I’m A Celebrity, especially the January heat of both jungle locations but we‘ve done it many times before and have full confidence in what we’re delivering.” Visit www.itvstudios.com.au, www.globecast.com.au, and www.gearhousebroadcast.com

The brand new production base for I’m a Celebrity… Get Me Out Of Here! Australia required a completely from-scratch install from Gearhouse’s Projects Solutions division. The show, which began on Sunday 1 February, benefits from 18 Sony HDC 1500 cameras with Canon lenses and 13 Hitachi DK-H32 cameras with Egripment Mini-Shot pan and tilt heads. There are also 13 Sony HD MiniZooms in IR mode for overnight coverage. The Lawo MC 56 and Yamaha MC7-48 sound mixers support the Sennheiser MKH-416 and Sony ECM 88B microphones in place for audio recording. Gearhouse has provided production workflows and technical support to

WA Screen Academy at Edith Cowan University Chooses ARRI MAHMUDUL RAZ, Media Producer and Post Production Supervisor for the WA Screen Academy, School of Communications and Arts at Edith Cowan University has been investigating digital cine cameras for the university since 2009. Having shot their Post Graduate (WA Screen Academy) student’s films with almost every digital cine cameras that has been available in the market Raz found he was yet to find a camera that offered a complete “A-Z” solution for their teaching and learning environment, until that is he discovered the ARRI ALEXA. Raz said, “Recently we made the decision that the ALEXA was the best fit for our environment, so we have purchased two of them. Learning outcomes and student experiences were the main reasons behind purchasing the ALEXA. We always encourage our students to use cameras as a storytelling tool and no camera offers that better than the ALEXA.” It is the university’s requirement that students have the best learning experience possible throughout the productions they undertake whilst studying ensuring they learn as much as possible during their course so when they graduate, they are industry-ready. Raz continued, “That’s another reason we chose the ALEXA, it has a very simple workflow and yet is very complex under the hood. This means students learn as much as possible about shooting. I have shot on many digital cameras but the ALEXA is the most user friendly and is the only camera that I can truly trust – what I see is what I get.” According to Raz shooting with the ALEXA gives the university’s students an edge over other cameras. He makes note that students enjoy learning with the ALEXA and that they understand the technology well, not because it is logical, but because it is an extension of themselves. This year the university has scheduled twelve productions to be shot with

its new ALEXA using ProRes Log-C for all of them. On location the crews will use REC709 with LUT for monitoring. The production process starts in the classroom with an understanding of the technology and what it offers. Raz continued, “As a user myself I always encourage our students to have a solid understanding of the basics. They don’t need to be a master at it but as long as they are a comfortable user. By using ARRI equipment we can very easily achieve that. We also have lots of practice shooting with the camera during our DOP class over three semesters. This also helps students become comfortable with the camera.” Typical shooting environments for the uni include TV studios and on location both in class and in production. Typically every year the students shoot six 10-minute drama productions. The students also shoot another set of four 5-minute short productions and work on client-based projects, where they have to design and deliver music videos, TVCs or promotional clips to real life clients outside of the university. Mahmudul Raz concluded, “We are over the moon with the ALEXA and the sales, service and support from the ARRI Australia team.” Visit www.arri.com.au

ACQUISITION

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SPORTSCASTING Sport coverage worldwide

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Gearhouse Broadcast Brings New Dimension to V8 Supercars

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THE V8 SUPERCARS CHAMPIONSHIP is the third most attended and fourth most watched sport in Australia. Signature events include the Clipsal 500 Adelaide, the Supercheap Auto Bathurst 1000, Castrol Gold Coast 600, and the NRMA Sydney 500. This year Gearhouse Broadcast’s relationship with V8 Supercars has stepped up a gear as the company has moved from being the championship’s OB provider to its full technology partner. As part of this new role, Gearhouse was tasked with bringing innovation that enhances the viewer experience to the races.

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First off the grid was an entirely new in-car HD camera offering designed and installed as part of Gearhouse’s Joint Venture with BSI USA, the in-car camera specialists for NASCAR. Now at V8 Supercar races every single car will have in-car cameras with 10 cars each having four. New cameras include, the hamburger 360-degree roof camera. A 360-degree in-cockpit camera, fixed POV cameras and an in-boot 180-degree side-to-side tracking camera with all cameras boasting iris control, colour correction and clean screen functionality. Gearhouse Broadcast Sales Director, Manny Papas, explained, “These cameras are revolutionary as they completely change the way viewers experience the race. There are more cameras than ever before and we can bring ten individual streams back to our hybrid HD9 supertruck simultaneously and switch between them any time the director chooses.” A further viewing enhancement has come by way of Fox Sports’ “red button” functionality. Now with all the in-car cameras supplied by Gearhouse/BSI viewers can select from four feeds and listen to live audio from the cars by pressing the red button on their Foxtel remote control. For the first time this year Gearhouse has also designed and installed a completely new digital communications system for all of the teams and the TV production crews. In part due to the government’s frequency sell off, Gearhouse migrated all the communications from analogue to digital so all the frequencies could be managed efficiently and effectively. Gearhouse’s involvement doesn’t end there as it also supplies V8 Supercars with RF cameras. A maximum of six RF cameras cover the pit and paddock areas operating in the 7G band. Utilising multiple receive sites and a bespoke system combining Gigawave MDR and Vislink 1700/2174 systems enables Gearhouse to offer full access all areas coverage. Also implemented and delivered in the pits and paddock is the very latest in IFB and wireless microphone systems for presenters. For this solution Gearhouse use multiple fibre optically interconnected and combined transceiver sites that are deployed to give 100% coverage using only 100mW handheld transmitters, allowing a far cleaner look for the production and lower noise floor for the rest of the operations.

This comprehensive coverage and look is achieved using Wisycom wide band radio microphones, in ear monitoring and RF over fibre solutions to maximise flexibility and operability in today’s compressed RF spectrum. Centralised monitoring and configuration of the entire system is possible using Wisycom software putting full diagnostics and control in the hands of the audio engineer and director onsite. All electrical IO from the system is contained within Gearhouse’s OB truck eliminating the need for copper cabling in the field. Gearhouse Broadcast Australia Head of Engineering, Stephen Edwards, said, “The move to a common fibre optic network and this centralised method of implementation for the radio microphones, IFB, RF cameras, UHF communications and on-board cameras is key to building efficient, reliable systems and is a definite step forward from traditional OB architecture.” Gearhouse have also presented the complete graphics hardware using nine VizRT’s Viz Trio graphics engines integrating race graphics, touch screen and virtual advertising. At the hub of all this incredible technology is Gearhouse’s new, purposebuilt for V8 Supercars HD9 hybrid supertruck. Housing the VizRT graphics system alongside all the usual high-end production tools the 12 camera-capable HD9 also boasts four EVS XT3 replay systems and control of all the in-car and pit lane RF cameras. Alongside these systems sits the central receive and transmit hardware for all radio microphone, IFB and UHF communications equipment. HD9 is also linked to one of Gearhouse’s other supertrucks, HD5, by fibre optic cable allowing most of the production facilities to be doubled. Visit www.gearhousebroadcast.com

ABC Upgrades OB Vans with RTS THE ABC HAS REVAMPED the RTS ADAM frames in some of its OB vans

SPORTSCASTING

to now include upgraded RTS MCII-E Ethernet Master Controller Cards and new MADI-16 multi-channel audio digital interface cards. The upgrade was supplied by RTS’ Australian partner Magna Systems and Engineering. As the ABC OB vehicles were already using easily-upgradeable ADAM frames the upgrade was a straightforward one and meant that the additional functionality, particularly with the new MADI-16 cards, was instant and seamless. The addition of the new MADI-16 cards means that by using a single fibre connection the ABC OB vans can now take 16 channels into or from the audio desk to the intercom. This also creates a more efficient, flexible and powerful talkback system that uses far less cabling and only a single

connector between the audio desk and the MADI card as opposed to the previous sixteen connectors. The ABC’s new MADI-16 cards are hot-swappable and can be installed in any available slot in the OB van’s ADAM modular matrix intercom system. The cards are also easily scalable providing between 16-64 individually addressable audio channels. Other benefits provided for the OB vans by the new MADI-16 cards include word clock and TV sync interfaces, two external references, support of supplemental data control for use with RTS Intelligent Trunking, a pass-thru serial port and the provision of a virtual serial connection over the MADI connection using an RJ45 connector. Visit www.magnasys.tv and www.rtsintercoms.com

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SPORTSCASTING

EVS Raises the Bar for Live Video Productions EVS, THE PROVIDER OF live video production systems, is inviting producers, broadcasters and stadiums to experience first-hand new ways they can maximise the value of their live productions and anticipate viewer consumption demands with future-ready technologies at NAB 2015 (Booth SL3817). With the introduction of the newest Multicam software engine for EVS’ XT3 servers, customers can expect expanded flexibility with increased SuperMotion camera configurations (up to two SuperMotion 6X camera recordings with two additional recording and playout channels available); ingest and playout options with the XS server for studios; and audio channel/ MADI support. Added to these capabilities is the XT3’s current format support for 4K/UHD, 1080p and proxy; 10 Gigabit Ethernet connectivity; up to 12 HD/SD live rec/play channels; and built-in technical support. At NAB, the “LSM Cockpit” will showcase how operators can pilot best-inclass tools within a unified LSM environment, including flexible multi-angle content access and control for quick highlight creation; new touch-based clip and playlist control; on-the-fly virtual effects for augmenting the live replay; fast media archive/restore; and time-saving configurations. The EVS “Stadium Control Room” will demonstrate IPDirector content tools for maximising game-day content production and delivery – featuring HD and 4K advancements including enhanced replays through zoom and integrated delivery to post-production editing tools. Designed for live and fast turnaround production, the IPDirector live production software suite offers a wealth of new capabilities for unified linear and file ingest, management, exchange and contribution based on advanced BPM and SOA foundations. These include web-based tools for collaboration and content exchange between venues and studio, automated clip management, metadata integration and archive management. For multi-camera studio productions, IPDirector brings recording sessions to the post production stage efficiently, offering integration with Adobe

Premiere, Avid Media Composer, and Apple FCP-X, as well as single file exchange for 4K editing. It also integrates with the EVS line of XStore shared storage solutions. Ushering in the dawn of IT production technologies, DYVI enables flexible creative resources and layering while bringing high-end functions to familiar switcher-like operational interfaces. Scalable, professional-grade switching makes DYVI ideal for studios with multiple control rooms and multi-venue campuses. The distributed architecture enables cross-campus to cross-continent distribution. The next-generation C-Cast multimedia distribution platform enables customised content franchises direct to consumers, opening up new revenue avenues for rights owners. NAB is the next stop for the EVS and Cisco Return on Emotion tour. At the “FanZone,” located at the EVS booth, experts will be showcasing real-world applications that are changing the fan experience. Built on the EVS C-Cast multimedia distribution platform, the EVS FanCast solution works with Cisco’s stadium portfolio to deliver exclusive content to fans and video displays throughout the stadium. Visit www.evs.com

Solutions Solutions for for Your Sports Your Sports Productions Productions

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Sales Enquiry: ROSS-APAC.Sales@rossvideo.com Sales Enquiry: ROSS-APAC.Sales@rossvideo.com

SPORTSCASTING

Solutions Solutions for for Your Sports Your Sports Productions Productions

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SPORTSCASTING

Bluebell Opticom Launching Caddie-LB 4K AT THE 2015 NAB SHOW, Bluebell Opticom will launch the Caddie-LB 4K, specifically designed for OB and deployable applications. CaddieLB 4K provides a single cable link between cameras and ENG/OB units. Features include four 3G/HD/SD-SDI video paths from the camera’s on-air audio, intercom, and control data. Based on field-proven technology, the units offer a range of signals to the operator including program video, audio, comms, data, and genlock for camera control and synchronisation. All signals are multiplexed onto two fibres to ensure easy and quick system rigging. Bluebell will also feature the ShaxX System which has been designed to provide power insertion to broadcast cameras fitted with standard SMPTE 304M hybrid connectors, thus allowing them to be remotely powered over the hybrid cable. For easier on-site deployment, complete camera chains can be multiplexed onto a single duplex singlemode fibre and powered locally, permitting broadcasters to utilise the ordinary singlemode optical fibre networks found within a stadium or available dark fibres. Up to 16 cameras can be easily deployed and connected over a single cable. The BC364 is a compact rack-based multiformat converter for use with a wide range of broadcast video and audio signals. The BC364 provides

a base unit that comprises input and output SFP cages. With different SFP converter modules, users can adapt the functionality of the unit to suit different applications. Signal input and output formats are defined by selecting appropriate standard SFPs that can perform optical and/or electrical format conversions. The BC364 card offers a range of options including distribution, format conversion, monitoring, and wavelength management including CWDM. Such a wide range of functionality enables the BC364 to act as a “toolkit” for systems engineers, as well as a highquality converter for any fixed installation. Multiformat SFPs can convert to and from composite, HDMI, DVI, optical, and 3G-SDI. Units can also be used to regenerate optical signals from multimode to singlemode, repeat optical signals, or re-map wavelengths within existing fibre systems. The BN366 is designed for the cost-effective transport of 4K UHD signals over fibre. Based on field-proven technology, the compact unit provides the transport of four 3G-SDI signals over a dual fibre link. The BN366 uses premium-grade, broadcast-quality components to maintain the highest signal integrity and ensure transparent, error-free pathological signal performance. Alternatively, the BN366 provides a sturdy, compact conversion unit that allows the outputs from up to four cameras to be transmitted over fibre. Visit www.bluebell.tv

Camera-Mounted Fibre Transport Solutions fibre and copper cable without relying on local power or batteries.

new functionality and enhancements for the SilverBack family of cameramounted fibre transport solutions to support all types of HD, Ultra HD, and 4K productions.

Suitable for news, sports, ENG, D-SNG, OB, and multicamera studio applications, the SilverBack-II with JUICE can transport SDI video up to 3G HDSDI uncompressed with embedded or separate program audio.

MultiDyne will showcase an expanded line of SilverBack 4K camera-mounted fibre transport solutions, which now support any existing 4K camera. The new SilverBack 4K5 enables users to broaden the range of their existing 4K cameras by converting any quad-link 4K camcorder to a 4K live fully systemised camera, connected to a base station with a single fibre cable.

Also on display at the 2015 NAB Show will be the MultiDyne 4K-4000 fibre-optic transport system. Designed to address the tremendous data requirements involved with delivering 4K/UHD digital television, the 4K-4000 enables users to transport a 4K signal over one single-mode fibre.

MultiDyne will introduce a new line of highly affordable, compact, and portable signal conversion modules called the Mini eXchange Series. The Mini eXchange Series compact converters feature a small, flat-form factor that facilitates easy installation. Each module is dedicated to a specific application, with the first models supporting HD-SDI-to-HDMI and HDMI-to-SDI conversion. Other format converters will be available in the future.

SPORTSCASTING

The MultiDyne SilverBack 4K is a powerful family of camera-mounted fibre transport solutions that supports the creation and distribution of 4K/UHD digital television content. Utilising SilverBack 4K, users can transmit any camera signal — including Ultra HD video, HD-SDI video, audio, intercom, control data, GPIOs, tally, and power — over a single hybrid copper and fiber cable. The SilverBack family now includes five models: the new SilverBack 4K5, the flagship SilverBack-II; the SilverBack-II-L for multicamera production; the SilverBack-II 4K-L, a feature-rich model that includes Ethernet support and a video option for viewfinder or monitor viewing in the field, enabling any 4K camera to be used as part of a multicamera Ultra HD shoot; and the SilverBack II-4K, a low-cost model without the viewfinder/monitor viewing option, designed to support traditional film-style productions. Ultra HD support can be added to any existing SilverBack system through a simple upgrade. The MultiDyne SilverBack-II with JUICE is a cost-effective, camera-mounted fibre transport solution capable of transmitting any camera signal, including HD-SDI video, audio, control data, GPIOs, tally, and power over a single hybrid

The MultiDyne BullDog is a rugged field-based fibre transport system that packs a wide range of functionality into a compact package. In addition to demonstrating the standard compact version at the 2015 NAB Show, MultiDyne will highlight two larger-sized units that pack even more functionality into a rugged and compact form factor. Visit www.multidyne.com

Cobham Takes to the Skies AT NAB 2015 COBHAM (Booth C7412) will feature its “NanoVue HD” receiver and “Solo 8” transmitter, both offering extensive new possibilities for remote capture. Cobham’s NanoVue HD receiver provides broadcast professionals with a high-quality hand-held tool for viewing and sharing HD video from airborne or terrestrially deployed transmitters. It can be used on-site to test system set-ups, with powerful capabilities for collecting and reviewing HD feeds directly from an airborne platform. The unit includes a high visibility day/night viewing screen, on-board recording and faster IP connectivity, which also provides off-site users with access for configuration, or for calling forward stored video. The Solo 8 miniature transmitter supports dual high definition HD-SDI inputs and offers a 30 percent improvement in picture quality and ultralow power consumption. The Solo 8 is fully compatible with NanoVue HD, as are previous Solo versions. Visit www.cobham.com

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The SilverBack 4K5 provides a full-bandwidth fibre-optic link between any quad- or dual-link 4K camera and the truck, control room, or “video village” position. By putting all of the signals needed for multicamera 4K/UHD TV production onto a single tactical or SMPTE hybrid fibre cable, the system ensures robust, trouble-free connectivity, whether used in the studio or at a remote location.

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SPORTSCASTING

Game Day Production With the main focus of Sportscasting on broadcast, streaming, VOD and even cinema rights, you could be forgiven for forgetting that there are those sports fans out there who actually pay to sit in a seat and watch the game at the event venue. No, really, it’s true. To compete with the high calorie, stay-at-home viewing options, sports organisations and venues have had to develop compelling in-venue entertainment options for these fans giving rise to the speciality of Game Day Production.

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what does it compete with, and how is it different to traditional production? According to Les O’Reilly, Marketing Product manager – Technical, Switchers and openTruck at Ross Video, “Obviously, Game Day Production is live event production done inside of the venue. Now, live event production isn’t just simply taking the feed from a truck and putting it on the big screen. Live game day event production is a full production with either single or multiple displays that are being viewed throughout a venue at the same time, by those attending the event. “So, this is production that you are targeting at the attendees of the event. Not so much just having a video board and putting up some stuff, these are actually productions focused at these people.” According to O’Reilly, the production facilities used on Game Days may seem similar to a traditional control room and production workflow, but it is not a linear workflow. “Production starts long before the beginning of the event,” he says. “We’re not talking just ‘ball time’, we’re talking the actual production. People are flowing into the stadium long before the event starts and we want to entertain them, keep them involved, given them fresh content, and have them sitting in those seats wanting to be there, because let’s face it the longer they’re sitting in that seat, the more beer they’re buying from our facility.

and Facebook feeds, as well as rolling advertising panels - all done in the video space. “So, now I have an operator who is driving the stats and information as well as driving all the sponsors and ads. Now you need a user interface so that operators are selecting the kinds of information that they want to display, and then they trigger it. That reaches out and controls all these boards and it makes for a more coordinated effort,” he says. Even the interactive aspect of social media has had its impact on Game Day production. “It’s not just to speak at the fans,” says O’Reilly. “You’re able to engage them and include them. It allows social polling, stats, comments, and advertising revenue. Advertising revenue can now directly interact with these people. They can create a social poll that allows them to track information. “You have the ability to geo-fence, so now your tweets, posts, keywords, and hashtags can all be localised to what’s going on within the surrounds of the venue. This allows more focused advertising. It allows more tracking of real-time data for that advertising, as well as allowing them to open up a new way of doing things.” When it comes to the rise of the “second screen”, O’Reilly contends that sporting venues are a more ideal place for them than the home environment.

“Multiple screens and feeds actually work better in the game day environment,” he says. “The attempts numerous times to work with the second screen medium, getting people to sit there with an iPad while watching TV - it’s so hard to do. It just doesn’t work well, but we keep trying. Well, in game day, it does work, because you have big screens, or you have multiple screens, so now that second screen information can be driven near or around that same facility. “I’m not walking around holding an iPad. I’m not holding out my phone trying to focus on something on my own while also trying to watch the game. Now, it’s part of the venue.” So, how does Game Day compete with the lazier option of people sitting at home watching the game on their new big screen TV with beer and friends, and not coming into the venue? O’Reilly says the key is creating an atmosphere that cannot be broadcast or simulated to get people into the stands. “That’s the competition. It’s not the visiting team. It’s people sitting at home. If you do any type of game day production, any type of in-venue feeds, you have to keep in mind that you’re trying to keep these people from sitting at home and watching the game. You want them to come to venue.” Visit www.rossvideo.com

“Every week we’re producing more segments, more focuses, more things on our own home team. We can do player interviews. We can do stories about how they’re helping out within our community. There’s a lot of game day production that is done throughout the week leading up to the game. “So, we create segments, promos, throughout the day that directly involve the attendees. So this may be contests, stand-ups, sections where you go to if you want camera hits, and you’re asking them some questions. Of course, if it’s a contest it’s always geared so that they will win because you don’t want somebody losing. The advertisers and sponsors who provide you with the giveaways and the revenue and the events, they’re happy because there’s a lot of on-camera time for your product.” In terms of technology trends affecting Game Day production, O’Reilly says that while venue screens are getting bigger, it’s not just for bigger video. As well as video from the game itself, the larger real estate of newer screens a;so provides the opportunity to display out of town scores, Twitter

SPORTSCASTING

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www.content-technology.com/newsoperations

Avid Everywhere Delivers Next-Gen Broadcast Technology to Macquarie University Sydney-based Macquarie University has a growing international reputation for innovative and interdisciplinary programs, and the school’s Department of Media, Music, Communication and Cultural Studies offers the best media and production facilities of any Australian university. The department’s media hub features cutting-edge screen, radio, performance, and music production facilities, with faculty that includes multi-award winning researchers, film and documentary makers, musicians, producers, and novelists. MACQUARIE UNDERSTANDS THE IMPORTANCE of mirroring the platforms and systems in use by major broadcasters and online media outlets internationally. That’s why the school recently built a state-of-the-art teaching and broadcast facility for its Master of Creative Media and Master of Future Journalism programs. The new “Futures Lab” represents the most significant investment in online media production to date by an Australian university. The school is focused on helping graduates secure their careers as the next generation of media professionals. To meet this goal, Macquarie University recently embraced the Avid Everywhere vision for education by outfitting the facility with an end-to-end workflow built upon the Avid MediaCentral Platform. Now, students can learn using the same industry-standard tools and technology used by leading organisations. Designed in consultation with various broadcasters and a team of Avid experts, the Futures Lab includes a training classroom, an open plan newsroom area, a green screen studio, a control room, and an equipment room. Although each area requires a vast array of specialised equipment, all of the university’s production systems are linked to the Avid MediaCentral Platform with iNEWS and ISIS 5500 shared storage.

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Technical Officer at Macquarie University. “The Avid Global Services team was critical in ensuring this connectivity.” In the classroom space, students learn to use Media Composer, Pro Tools, iNEWS, and MediaCentral | UX, which allows students and faculty to access and edit media from practically any device – and from any location. The open plan newsroom area is comprised of six workstations – two equipped with Media Composer | NewsCutter Option with NRCS tool integration, and with Media Composer. It also includes a hot desk where students can use any laptop to wirelessly access MediaCentral | UX to make quick edits and update scripts for final production. “This powerful system allows students to experience life in the real world,” says Baber. “It is not only important for them to understand the theories and philosophies of journalism, but if they can use the same advanced tool sets in the learning environment, they will be one step ahead of the competition when it comes time to join the highly competitive world news media.” While the Lab features many ENG (electronic news gathering) cameras and other field gear, there’s also a modern green screen news studio that utilises robotic cameras. A good portion of the content used for the courses is shot in the green screen studio, mirroring the workflow of modern television news. Interplay | Production brings the whole system together, combining the ISIS 5500 storage system with MediaCentral | UX, iNEWS, and AirSpeed 5000 for baseband ingest and output – along with a host of other Avid solutions that enable the Futures Lab to compete on the world stage. Students can now produce content for broadcast and distribution to various social media portals such as Twitter, Facebook, and Youtube. In addition to the Futures Lab, the new Avid workflow allows unparalleled collaboration and connectivity with other areas of the university – students and researchers alike can now work on projects and share their resources from any location worldwide with MediaCentral | UX. “Avid has long been committed to supporting learning institutions through its industry-leading training programs, and Macquarie University is proud to be an Avid Learning Partner in Australia,” concludes Baber. “With this qualification, we are able to impart industry standard training for the Avid products that will allow the students and end users alike to benefit from the depth of the training scheme available.” The installation was managed by the team from the Sydney office of Videocraft Australia. Visit www.avid.com and http://mmccs.mq.edu.au

NEWS OPERATIONS

“It was essential for the new facility to function as a hub for the university’s other production areas, including music and radio studios, a video editing facility, and a screen production studio,” says Mike Baber, Futures Lab

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TVNZ Boosts WeatherCams with TBN TELEVISION NEW ZEALAND (TVNZ) wished to upgrade its legacy weather camera and infra-red links in NZ’s four main centres – Auckland, Wellington, Christchurch and Dunedin – with more current and reliable technology. The Bridge Network (TBN) proposed 23GHz licenced spectrum Edge microwave links from Aviat Networks, along with installation services provided by a TBN engineer. Licence engineering was included as part of the proposal. TVNZ sourced HD cameras for the project and arranged pipe mounts and weatherproof enclosures where needed. A tight time-frame and need for a Proof of Concept meant that link equipment had to be sourced locally at short notice. With a close relationship with Aviat Networks’ local staff, TBN were able to provide the equipment, install it and engage Aviat’s assistance with POC camera integration. These were the defining factors in awarding TBN the project.

Once initial quotes were submitted and accepted, TBN carried out inspections at two of the locations, Auckland and Wellington, and worked from TVNZsupplied photos of the remainder to give final pricing. A Proof of Concept link was installed in Auckland and TBN worked with TVNZ engineering, and Aviat Networks staff, to iron out configuration issues prior to sourcing the remainder of the link equipment for the other centres. The live weathercam video currently goes to air seven days a week during the six o’clock evening news and during the weekday Breakfast show. Visit www.thebridgenetworks.com

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MediaCorp Selects EVS for News SINGAPORE’S MEDIACORP has selected a full end-to-end news production solution from EVS for its new facilities in the Mediapolis precinct, which are now under construction. “The size and scope of this installation is impressive,” said Jerome Wauthoz, EVS market manager for broadcast centre solutions. “But critically important in the live environment is the reliability of EVS solutions and the unsurpassed speed for breaking news. The workflow will also provide the instant access to all content so essential to productivity.”

When fully implemented later this year, the EVS News PAM system will provide infrastructure for 56 HD-SDI channels, 500TB of central storage equivalent to 12,000 hours of HD content, and over 500 journalist editing stations. The integrated solution from EVS will facilitate all aspects of news production, from recording to playout, including central shared storage and archiving, high- and low-resolution client browsing, onsite and remote editing, playout and NRCS integration. Visit www.evs.com

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NEWS OPERATIONS

Dejero LIVE+ - Control from the Cloud AT THE 2015 NAB SHOW, Dejero will showcase LIVE+ Control, a next-generation cloud-based management, monitoring, and reporting tool that simplifies IP video workflows used in remote broadcasting productions. LIVE+ Control manages all Dejero LIVE+ video transmission solutions including the GoBox, VSET, NewsBook, and Mobile App. By accessing the intuitive LIVE+ Control interface from any Web browser, broadcasters and video professionals can geolocate and remotely control their entire fleet of field transmitters. They can monitor connection and transmission performance, including real-time analytics, and preview and route live and recorded feeds to a LIVE+ Broadcast Server for traditional playout or to a LIVE+ Cloud Server for distribution to Web and mobile devices. Making its NAB Show debut, the LIVE+ GoBox is a professional-grade mobile transmitter which enables mobile journalists to broadcast live from virtually anywhere with bonded cellular, Wi-Fi, and portable satellite connections, or record up to 40 hours of HD video for later broadcast. The GoBox can be set up anywhere to transmit low-latency HD or SD video quickly and reliably, even in locations with extremely limited bandwidth. Also at NAB, Dejero will demonstrate how live content from multiple app-enabled smartphones and tablets can be managed in the cloud and combined with cloud servers to deliver compelling live broadcasts from multiple locations and points of view to online viewers. Dejero’s new LIVE+ NewsBook software transforms a Mac notebook into a highly versatile “go-anywhere” video uplink solution for transmitting live HD or SD video feeds, as well as recorded and edited files, back to the broadcast facility. It is suitable for teams as well as “one-person bands”. Lastly, the Dejero LIVE+ Mobile App enables mobile journalists to broadcast live from virtually anywhere with their smartphones or tablets. The easy-to-use solution is ideal for covering breaking news and provides a backup system if the primary camera or transmitter fails. At the 2015 NAB Show, Dejero will highlight the latest features and enhancements of the LIVE+ Mobile App including support for video resolutions up to 1080p. Visit www.dejero.com

LiveU Links Cameras in the Field LIVEU (BOOTH SU4405) WILL SHOWCASE its recently launched LU200 ultra-small newsgathering device which enables any field camera to be equipped with a bonding uplink unit. Weighing 500g, the LU200 is available in a pouch or camera-mount configuration, providing two built-in modems with powerful integrated antennas in a bonded solution suitable for any video professional. The LU200 can also serve as a standalone video encoder with satellite integration functionality, or be used as a LiveU DataBridge mobile hotspot for all IP applications in the field. The LU200 supports two 4G LTE/3G modems together with Wi-Fi and LAN connections and includes LiveU’s proprietary antenna modules for extra resiliency.

NEWS OPERATIONS

At NAB2015, LiveU will also be presenting the latest stage of its strategic collaboration with Panasonic to connect camera and cloud, presenting an endto-end solution enabling P2HD series camera recorders to connect directly to the LiveU Central system and its cloud-based services for live transmission. LiveU will also demonstrate its LU500. Weighing approximately 1kg, the unit is powered by LiveU’s new multi-processor, video encoding engine and fourthgeneration patented bonding algorithms, with up to 13 network connections. Lastly, LiveU will present its enhanced cloud-based management and video distribution system. This tool enables fleets of units to be centrally controlled using geo-location capabilities, alongside a host of other management options.

aQ Broadcast Integrates Newsroom and Workflow

AT NAB 2015, aQ Broadcast will feature an integrated range of Newsroom,

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Scripting, Automation and Media Management software alongside Video Server and Production Suite hardware. QNews provides script and rundown management as well as newsroom automation. QNet networked scripting offers a wide range of multi-user, multi-column script production tools. QTx transmission automation software provides an inexpensive solution in environments where output consists of both live and pre-recorded content. QMedia management software provides media management functionality, including ingest, review, deletion, transfer, and proxy handling, including archive and restore. aVS Video Servers scale from entry-level, two-output units to large, flexible and redundant storage and port solutions. aVS firmware options are available for marking, sub-clipping, conforming, transcoding, streaming, transferring and delay looping. aPS Production Suite is an integrated production solution that combines components from a typical studio workflow into a single cost-effective system to enable users to create a complete, scripted television production. Visit www.aq-broadcast.com

Digital Mobile News Gathering AT THE 2015 NAB SHOW, AVIWEST will demonstrate new enhancements to its Digital Mobile News Gathering (DMNG) system. AVIWEST will showcase a new version of its DMNG Studio server that is capable of receiving incoming streams from DMNG video uplink systems as well as third-party products such as IP cameras through a variety of protocols such as RTP, RTSP, TS over UDP, HLS, and RTMP. The new Linux-based DMNG Studio supports multiple output formats and allows for point-to-point and point-to-multipoint video distribution.

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The new DMNG Studio system enables inputting video signals from the studio mixer and streaming to the cloud, thereby allowing broadcasters to use the solution as a central video hub and interface rather than just a receiver. Also new, AVIWEST’s DMNG APP turns any smartphone into a live broadcast video camera. The DMNG APP allows any Android or iOSbased smartphone user to transmit video content in just seconds. Using the DMNG APP, video professionals can stream high-quality, live video content via WiFi and 3G/4G-LTE networks (even bonding both together for higher bandwidth, coverage, and reliability) or transmit pre-recorded video files from anywhere in the world to the DMNG Studio receiver. Fully integrated into the DMNG ecosystem, the application can be remotely controlled through AVIWEST’s DMNG Manager. The latest DMNG PRO now integrates with Cobham’s EXPLORER 710 BGAN terminal, an ultra-portable satellite antenna. When used during satellite transmission, the Cobham antenna provides real-time information about the satellite’s available bit rate, enabling the DMNG PRO to compress video content accordingly to ensure superior video quality. Several new functions have been added to the DMNG PRO system. A new roaming function supporting international SIM cards has been added allowing the user to select the operator that the SIM will be connected to, gaining increased flexibility. A new, low-frame-rate feature has also been added to the DMNG PRO, which is especially beneficial for low bit rate streaming. At the 2015 NAB Show, AVIWEST will demonstrate new cloud-based capabilities for the DMNG Manager, an innovative server application that enables broadcasters and video professionals to monitor and manage an entire fleet of DMNG equipment including DMNG transmitters, smartphones using the DMNG APP, and DMNG Studio receivers. Visit www.aviwest.com

Visit www.liveu.tv

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ChyronHego Gets Graphic at NAB AT THE 2015 NAB SHOW, ChyronHego will launch Lyric64, a new release that has been completely re-engineered in the 64-bit environment. Like its predecessor, Lyric64 offers a single powerful solution for graphics creation and playout, including point-and-click access to data using ChyronHego’s Advanced Data Object technology. As a true 64-bit application, Lyric64 includes an all-new user interface that provides seamless usability and easy access to Lyrics rich and extensive feature set. In addition, Lyric64 is resolution-agnostic with full support for authoring and playout in nonstandard aspect ratios and resolutions of 4K and beyond. Also updated is the Metacast data-driven weather graphics platform. As a stand-alone system within a broadcasting operation or as a production tool in an integrated 24/7 newsroom environment, Metacast provides users with a complete graphics toolset for weather-driven news stories. At the 2015 NAB Show, ChyronHego will showcase a new version of Metacast with significant performance and usability enhancements to further streamline weather workflows. Metacast Media Maker is an all-new template-based version of Metacast professional weather graphics solution which delivers all of the rendering and output capabilities of the full Metacast solution in a set of pre-defined templates that connect to multiple live-weather data inputs. Users can render constantly updated weather clips that can be delivered live into a ChyronHego BlueNet graphics workflow, an internal MAM, or any other file-based workflow. In the social media arena, SHOUT is ChyronHego’s social media application that works with any of the company’s graphics systems. With SHOUT, broadcasters can instantly create an online community and create buzz around the broadcast by quickly airing social media conversations from Twitter, Facebook, Instagram, Mass Relevance, YouTube, and RSS feeds. At the 2015 NAB Show, ChyronHego will introduce SHOUT Metrics, an all-new extension for SHOUT that provides deep and rich data analysis on social media data — for instance, the number of Tweets per second during a

specific news segment. In addition, SHOUT Interactive will be introduced. ChyronHego’s social media touch screen application now enables display of content created with SHOUT and SHOUT Metrics and also provides support for Instagram feeds. In the area of sport, ChyronHego will showcase the latest release of Virtual Placement, which features an all-new Scene Tracking engine that allows for sensorless real-time and true 3D camera tracking in almost any environment. Scene Tracking is specifically targeted at live sports production. In addition, Virtual Placement now enables deployment of virtual graphics using Steadicams and jibs. ChyronHego will demonstrate this capability in an integration of Virtual Placement with the StypeGRIP augmented reality solution for Stanton Jimmy Jibs USA. ChyronHego has also updated its Paint product family which offers advanced production analysis and telestration tools designed specifically for the needs of sports broadcasters. Within a game, dozens of telestrated clips can be created live or stored at the ready for near-live replays or postmatch analysis. The new version of Paint includes comprehensive support for 4K productions, enabling broadcasters to introduce and telestrate a 4K stream in an HD broadcast without any loss of resolution. Also at the show, ChyronHego is launching an all-new version of Paint for Mac platforms. And, for the first time at NAB, the company will showcase Paint Live, a solution targeting live OB productions with the ability to telestrate fill and key output. Visit www.chyronhego.com

NEWS OPERATIONS

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POST PRODUCTION www.content-technology.com/postproduction

Aussie Developer Streamlines Grouping for Avid Workflows AN AUSTRALIAN DEVELOPER has launched an online service that expedites the grouping and multigrouping processes for Avid Media Composer, enabling producers, editors and assistant editors to turn a process that currently takes hours to do manually, into a process that takes only seconds. Users simply export their Avid sequence to an AAF file which is then processed through the Group It For Me! platform and then import the revised â&#x20AC;&#x2DC;GROUPEDâ&#x20AC;&#x2122; AAF back into Avid Media Composer. Group It For Me! retains a copy of all original files on the server for the purposes of debugging and maintenance. If project media is sent to Group It For Me! without the AAF, the platform will retain the file path of the media all the way through the workflow. This means when users import the â&#x20AC;&#x2DC;Groupedâ&#x20AC;&#x2122; AAF back into Avid, all the media is automatically reconnected and all metadata is retained. Therefore, no issues arise when it comes to DI and sound further down the post-production workflow. Chief Technical Officer of Group It For Me!, Jason Jamieson, has over 10 yearsâ&#x20AC;&#x2122; experience in both software development, and assistant editing and editing in film and television production all around the world.

Mojo Media to Distribute Colorfront COLORFRONT, the developer of high-performance, on-set dailies and transcoding systems, has signed a reseller and distribution agreement with Mojo Media Solutions covering Australia and New Zealand. Under the agreement, Mojo Media Solutions will be responsible for the sales and promotion of Colorfrontâ&#x20AC;&#x2122;s On Set Dailies, Express Dailies and Transkoder product lines into the region. As the original authors of Lustre, Autodeskâ&#x20AC;&#x2122;s best-selling DI grading system, and the owners of Budapestâ&#x20AC;&#x2122;s leading post production facility, Colorfront systems combine in-depth post-production and colour science expertise with in-house software development skills and additional proprietary technologies for dailies processing, conform, finishing and mastering of deliverables. Colorfront software runs on widely-available computer workstations, fitted with single or multiple GPUs, to deliver extreme performance at affordable price points. Colorfront systems already provide real-time 8K/60p and 3D4K processing. â&#x20AC;&#x153;We are delighted to represent Colorfront in Australia and New Zealand,â&#x20AC;? remarked Stuart Monksfield, managing director/founder of Mojo Media Solutions. â&#x20AC;&#x153;We believe our customers in broadcast and motion picture production will recognise the many advantages their software has to offer. â&#x20AC;&#x153;Colorfront products, such as Transkoder and On Set Dailies, combine extreme performance with ease-of use, and deliver efficiency in a complex digital world where productivity is paramount.â&#x20AC;?

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Visit www.colorfront.com and www.mojomediasolutions.com

Holding a Bachelor of Software Engineering from Queensland University of Technology, Jamieson has worked as a developer on Australian Money Market (http://moneymarket.com.au), worked in the development of various content management systems such as PeopleLOGIC (http://peoplelogic.com. au) and ciSUITE: (http://cicms.com.au), and built a social network for Fitness Industry professionals called MYcardioclub (http://mycardioclub.com). Holding post-graduate qualifications from AFTRS, Jamieson has worked as an Assistant Editor in Hollywood, South America, Europe, and Australia, on projects ranging from documentaries to feature-film length dramas, to TV drama, and reality TV. Jason is also a member of both the Australian Screen Editors guild, and the American Cinema Editors society. He says his exposure to editorial workflows from around the world coupled with his background as a software developer gives him the unique skillset to produce a web application like this for the Film & Television industry. Group It For Me! offers a subscription model to cater to all types of projects and project durations Visit http://groupitforme.com

Thunderbirds Revealed ITV AND NEW ZEALANDâ&#x20AC;&#x2122;S PUKEKO PICTURES has released an exclusive look at classic characters from the new childrenâ&#x20AC;&#x2122;s and family series, Thunderbirds Are Go. The pictures feature engineer Brains; smooth operator, Lady Penelope and her trusty bodyguard and driver, Parker in front of the pink, six-wheeled car FAB1. Lady Penelope is voiced by Oscarnominated Rosamund Pike and David Graham reprises his original role as Parker. Actor and comedian, Kayvan Novak, voices inventor, Brains. ITV and Pukeko Pictures can also reveal that co-creator Sylvia Anderson â&#x20AC;&#x201C; who voiced Lady Penelope in the original 1960â&#x20AC;&#x2122;s series â&#x20AC;&#x201C; will voice a new character in an episode due to air later this year. Written by comedian, David Baddiel, the episode titled Designated Driver sees Sylvia voice the character of Lady Penelopeâ&#x20AC;&#x2122;s Great Aunt Sylvia. The major new childrenâ&#x20AC;&#x2122;s series â&#x20AC;&#x201C; a co-production between ITV Studios and Pukeko Pictures in association with Weta Workshop (The Lord of the Rings, Avatar) â&#x20AC;&#x201C; is set to debut internationally in mid 2015 in the UK exclusively on ITV and CITV and later on GO! and TVNZ. Visit http://pukekopictures.com

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Sony Develops 4K Memory Player

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The PMW-PZ1 features include:

SONY HAS ANNOUNCED a new 4K SxS memory player, the PMW-PZ1, a high quality and cost-effective playback solution for 4K shooting and postproduction applications. The PMW-PZ1 features multi-format playback capability for 4K (24p to 60p) and HD video, supporting a variety of formats including XAVC Intra & Long, MPEG HD422 and MPEG HD, covering professional to consumer range of uses. The PMW-PZ1 is equipped with an SxS card slot, a HDMI output, 3G/ HD-SDI outputs (x4), an audio output, LCD colour monitor and more. This combination of versatile interfaces enables the seamless playback, copying and monitoring of 4K and HD video across a diverse range of applications, not only for video production but also for the development of 4K equipment, 4K video walls at events, exhibitions, museums and more. During field or location shoots, 4K images captured by Sony’s PMW-F55 camera can be immediately checked on the PMW-PZ1, or output to a professional monitor or consumer TV via HDMI. At event venues, 4K video can be output to digital signage or projectors. It can also be used to copy data from SxS media directly to external storage without employing any other devices.

Avid and Adobe Collaborate on Shared Storage AVID AND ADOBE HAVE ANNOUNCED that Adobe’s flagship video editing application, Adobe Premiere Pro CC, is now fully supported on Avid’s shared storage systems. This unprecedented collaboration between the two companies delivers on the openness of Avid Everywhere, by enabling flexible and efficient workflows for all video editors and creative professionals, regardless of their choice of editing application. Powered by the Avid MediaCentral Platform, the Avid Storage Suite offers a range of shared storage solutions for the most demanding video production workflows. Customers whose workflows include Adobe Premiere Pro CC can now benefit from the performance, scalability and capacity of Avid’s shared storage solutions. Simon Williams, director of strategic relations at Adobe, said, “With this news, Adobe Premiere Pro CC and Media Composer can share Avid DNxHD or Avid DNxHR media and other open file types on the same infrastructure. Our large base of shared customers will undoubtedly realize significant workflow benefits from this collaboration.”

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Adobe has delivered enhancements to Premiere Pro CC that significantly improve its performance when connected to Avid ISIS | 7500 and ISIS | 5500 shared storage systems. Video professionals can now mix Avid Media Composer and Adobe Premiere Pro CC on the same ISIS system in the same storage group, without worrying about complex configuration issues or performance compatibility. They can also edit higher resolution projects using Premiere Pro CC on ISIS shared storage more efficiently and cost effectively than ever before. Visit www.avid.com

+ Multi-format Capability in 4K and HD – The PMW-PZ1 has a highly flexible multi-format playback capability for 4K and HD. It can playback a variety of formats including XAVC Intra and XAVC Long. XAVC S-Long, MPEG HD422 and MPEG HD will be avaiable with a firmware upgrade (planned for Q3 2015). + Simple Copy and Backup Process – The PMW-PZ1 is equipped with a USB interface designed for connection to an external USB storage device. This enables users to copy data from SxS media directly to external storage without the need for other devices. The PMW-PZ1 creates a copy log (csv format – planned for Q3 2015) in the external USB storage device which helps users to easily check the file names of copied files. For greater accuracy in the copy process, users can activate a verify function before copying to confirm no copy errors have occurred. + Versatile Interfaces – Connectivity and inter-operability with other devices are vital for any memory player to enable quick and easy operation. The PMW-PZ1 meets this need with a host of versatile input and output interfaces, including a HDMI port and four 3G/HD-SDI outputs. Through the HDMI port, the PMW-PZ1 can be connected to professional monitors and projectors, or even consumer TVs, for the most flexible operation under various production circumstances. An independent audio output is also available on the player. The PMW-PZ1 is equipped with two USB interfaces – one for connection to external USB storage, and the other to a mouse device for the user to control the PMW-PZ1. Not only does this enable data to be copied, but also allows the user to play stored clip data from the external USB storage device. The PMW-PZ1 will be available from June 2015 onwards.

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Marquis Project Parking Version 4 for Avid Storage

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MARQUIS BROADCAST, developer of content workflows and media integration software, has announced it is to launch Project Parking Version 4 at NAB 2015 (Booth SL7720). Project Parking, Marquis’ archive and retrieve solution, has now been developed to become a complete Avid storage management solution. According to Chris Steele, managing director, Marquis Broadcast, “Our original solution identified how space was used, removed unused and duplicate media, archived projects and moved projects with media to other storage or systems. Projects could also be merged from other systems without media duplication. The enhanced Project Parking Version 4 now does this and more! It has become a complete Avid storage management solution, monitoring how media storage is used, regularly reporting on usage, showing usage over time, plus archiving projects and executing analysis in the background. “Now Project Parking Version 4 will give facilities total control to manage their edit storage. Network usage is now optimised by dynamically testing the network before archiving plus the solution’s ability to archive multiple projects to a single archive set, will improve efficiency, while notifications are provided by SMS or email.”

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Marquis will also launch a host of new storage analysis tools including: Solo Parking for standalone Avid edit workstations, Unify Parking for copying projects onto shared central storage, Project Parking Server which runs in the background to execute Project Parking jobs, plus Workspace Parking, Marquis’ new ‘set & forget’ disaster recovery solution for Avid workspaces.

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Visit www.marquisbroadcast.com

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TVLogic to Launch 12 New Displays TVLOGIC, designer and manufacturer of LCD and OLED High Definition displays, has announced plans to launch a total of 12 new models at NAB 2015 to address the increasing demands of broadcast, production, postproduction, digital signage and multi-viewer applications. Included in the line-up are a 31.1” 4K monitor, a 17” broadcast model, a new studio wall monitor series comprised of six sizes from 17” to 55”, and a rack monitor range offering four configurations. The new displays will be on exhibit in Booth C 7533 at NAB. The 31.1” monitor features 4096×2160 resolution with a high contrast ratio of 1450 : 1, and supports 4-SDI and 4-HDMI inputs as well as a HDMI 1-channel input. The LUM-310A provides wide colour gamut up to DCI, true 10bit, includes 3D LUT support for precise colour reproduction, 2-sample interleave division, HD 1:1 or full-screen upscaling function and TVLogic’s own colour calibration utility support. Building on their popular LVM broadcast monitor series, TVLogic will debut the LVM-170A 17.3” full HD model with 1920×1080 resolution. Designed for multiple applications, the display features three analogue SDI inputs and outputs, two SDI inputs and one SDI output (SD, HD, 3G-SDI), plus an HDMI and DVI input. The LVM-170A includes wide viewing angle and standard Rec. 709 colour gamut, and TVLogic’s own colour calibration utility support. Ranging in sizes from 17.3” to 55” (SWM-170A, SWM-240A, SWM-320A, SWM-420A, SWM-460A, SWM-550A), TVLogic’s new Studio Wall Monitor series provides the broadcast market with six highly accurate and versatile models, featuring Rec.709 colour gamut, wide viewing angles, support for 2 SDI inputs and outputs, plus one HDMI and one DVI, OSD buttons on the side and an optional SFP optical module. These new SWM series monitors are fully compatible with free ‘Observer’ software for remote control and management. As with all TVLogic monitors, colour calibration utility support is included. Configurations run the gamut in TVLogic’s new Rack Monitor series to suit any monitoring application. Choose from two – 7” or 9” units, or three-5.6”, or four-3.4”, all feature 16.7M colour depth and appropriate resolution levels and contrast ratio to maximise quality for each size. Visit www.tvlogicusa.com

New Version of Facilis TerraBlock

Cinedeck File-Based Insert Editing Smashes Editorial Roadblock CINEDECK, developer of capture systems for digital cinema, broadcast and post production, has announced File-Based Insert Editing, a capability enabling insert editing on digital deliverable files for the very first time. Cinedeck File-Based Insert Editing will debut at NAB 2015 (Booth SL15714). Until now, digital deliverable files have been closed and inaccessible to editors, creating a barrier in editorial workflow and handicapping efficient program delivery when last-minute changes are required. However, Cinedeck File-Based Insert Editing allows editors to quickly perform frame-accurate video/audio insert editing into a digital file. This unique feature supports popular intermediate file formats used in mainstream NLE systems, including Avid Media Composer, Apple Final Cut and Adobe Premiere, plus and ProTools audio workstations. It also harnesses industry-standard deck controls, and allows editors to work in a similar manner to traditional insert-editing on tape. “The matter of file-based insert editing has been a major productivity problem, that other manufacturers have not solved,” said Charles D’Autremont, founder and CEO of Cinedeck. “Now, Cinedeck has made file-based insert editing a reality. The process is familiar to editors, takes just a few minutes and, in many situations, delivers significant time and cost savings. Cinedeck File-Based Insert Editing also allows editors and producers to keep projects live for much longer in the delivery cycle, and to meet deadlines with more comfort than ever before.” Cinedeck File-Based Insert Editing is available with the forthcoming v5 software upgrade for the Cinedeck RX, MX and ZX record, ingest and transcode platforms. Cinedeck File-Based Insert Editing supports the world’s most popular NLEs, such as Final Cut, Avid Media Composer and Adobe Premiere, with a range of editorial codecs that include Apple ProRes, Avid DNxHD, AVC Intra, Uncompressed and DVCPro in typical configurations working with Op1AMXF, DPP AS-11 MXF, OpAtom MXF and MOV files. Cinedeck v5 software is scheduled for release on May 15th. Visit www.cinedeck.com

Compact NAS Appliance BRIGHT TECHNOLOGIES,

AT NAB 2015, Facilis (Booth SL8811), the supplier of costeffective, high performance shared storage systems and dynamic workflow solutions for the film, broadcast and AV markets, will showcase significant innovations to its TerraBlock shared storage system. Upcoming releases of TerraBlock will include scale-out features for larger workgroups, integrated asset tracking, improved interoperability with third party applications and performance enhancements for resolution independent workflows. Facilis TerraBlock is a multi-platform, high-performance shared storage solution built for post-production and content creation. Flexible connectivity options include 4/8/16Gbps Fibre Channel and 1/10/40Gbps Ethernet through Facilis’ Shared File System. TerraBlock shared storage enables collaborative workflows with all popular editing platforms and supports a wide range of industry-standard creative applications and formats including full 4K DPX. Visit www.facilis.com

developer of advanced technologies for low-latency highperformance network environments, has announced plans to Introduce BrightDrive AstellaNx Pro, a compact NAS appliance that performs like a Fibre Channel SAN, at NAB 2015 (Booth SL16007). The solution enables both entry-level and established post-production and broadcast facilities to implement a concurrent high-resolution real-time workflow utilising familiar Ethernet components, in a simple economical NAS appliance. The BrightDrive AstellaNx Pro shares a single NFS or SMB mount, provides up to 6 concurrent 2K streams (or up to 2 streams of 4K) via 10GbE from a cost-effective 4U enclosure in capacities up to 150TB. This performance breakthrough leverages mixed drive types in a tiered strategy and state-ofthe-art RAID technology to provide unprecedented real-time multi-stream performance previously only dreamed about, from a compact NAS appliance. The BrightDrive AstellaNx Pro is like a powerful high-capacity SAN in a box – without the Fiber Channel fabric. Sporting up to eight 10GbE ports, direct connection of up to 8 application client machines in a star topology is supported. Or simply leverage existing LAN infrastructure (including switches) for virtual plug-n-play deployment. Visit www.4bright.com

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MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT NFSA Upgrades Digital Archiving THE NATIONAL FILM AND SOUND ARCHIVE (NFSA) of Australia recently undertook a major upgrade to its digital storage and handling infrastructure, increasing the potential capacity to 5PB. The upgrade was made as a proactive response to an everincreasing volume of digital audiovisual material, either received as part of a new acquisition or created as part of the NFSA ongoing preservation work in digitising obsolete formats. The NFSA already handles over 30TB of audiovisual material every month, with the volume of digital material expected to increase as the industry moves towards digital workflows and the adoption of more data intensive standards such as 4K. The upgrade was managed and completed for the NFSA by Magna Systems and Engineering and Front Porch Digital. Central to the upgrade was migrating to the current Front Porch Digital DIVArchive release with AXF support and migrating all existing LTO-4 tapes directly into the new data library for use by Mediaflex clients. The NFSA also moved from four LTO-4 tape drives connected to a single actor/manager to a data library with six LTO-6 tape drives and three actors with discrete manager server. As part of the project Magna and Front Porch Digital provided an upgrade solution that also included manager and actor licenses for the NFSA directly-procured Dell servers, an archive capacity upgrade to 600 slots, Magna coordinating the installation, cutover and onsite assistance and Front Porch Digital providing remote support installation. The end result was an archiving platform that now ensures secure, long-term preservation of content that is easily managed and readily accessible.

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

Visit www.magnasys.tv

Wetgate Technology for Scanity HDR DFT, THE PROVIDER OF high-end film scanning solutions, will announce the launch of Wetgate technology for its latest Scanity HDR film scanner at NAB 2015. The new Wetgate system will be demonstrated for the first time using safe fluid. The new Wetgate technology is designed specifically for DFT’s Scanity HDR model providing a real-time organic solution for the ingest and management of difficult to solve historical film transfer issues – such as dust and scratch removal. Also on view at NAB 2015 will be DFT’s Scanity HDR. It will be demonstrated with the latest Scanity software release. Scanity HDR now offers a host of new 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 features a touchless patented capstan drive Lens Gate Assembly (LGA) system. Visit www.dft-film.com

Nativ Expands MioEverywhere NATIV (NAB STAND SU12207) will be launching new products in its MioEverywhere product suite, the company’s media management, workflow and collaboration solution. MioEverywhere is a media logistic platform that empowers content owners to create, manage and monetise their content to take advantage of the opportunities provided by the new data-driven, personalised TV marketplace. It is a pluggable, modular, deploy-anywhere approach to give content owners the tools to exploit these new opportunities. Mio Objects provides content owners the tools to model and track their wider business data and share it with people, third party systems and also their own workflows. There is no need for complex database integration, separate database of business data or an external work order management system. Mio Screener enables content owners to securely review, approve, and submit time-coded comments on selected content from anywhere, at any time. Mio Analytics is a real-time analytics and business activity monitoring platform. It stores and processes event data generated from every MioEverywhere module and also gathers data from external systems. Content owners can track assets, workflows, tasks, playbacks and user activity at every stage of the supply chain. Visit www.nativ.tv

Marquis, Pronology Enable Smoother Avid Exports MARQUIS BROADCAST, the developer of content workflows and media integration software, and Pronology, a U.S. – based developer of tapeless workflow solutions, have announced a joint effort to enhance the collaboration surrounding exports from Avid Media Composer. Medway, Marquis’ workflow automation solution, which enables integration between leading broadcast content applications, combined with Pronology’s media asset management platform, gives editors the ability to export and flatten Avid sequences, with rich metadata and view the results in a standard web browser. The integration allows editors to export both “works-in-progress” as well as a final product, in a consistent and reliable manner. These exports are immediately visible to authorised production personnel both on-site and off using Pronology’s browser based interface. This integration eliminates the need to do time-consuming (and error prone) exports and uploads from their workstation. An editor begins the collaboration with a producer (or a group of producers) via a simple drag and drop operation from Avid Media Composer directly to the Medway drain. This operation can pop-up a custom metadata entry form, that contains both predefined drop-down selections as well as free text entry for editor comments. Pronology automatically creates a web-streamable asset from the Medway output and associates the editor’s metadata to it. Producers can log into Pronology’s web browser-based interface from anywhere across the globe and view the editor’s work along with all other content being managed by the Pronology system. They are able to make comments and even timecode specific notes that they can push back directly as frame accurate markers to the editor. Visit www.marquisbroadcast.com and www.pronology.com

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MEDIA IN THE CLOUD, STORAGE & DAM

Venera Updating Pulsar at NAB Show VENERA IS COMMITTED to providing QC tools for every user in the value chain, including small content creators and boutique postproduction houses, and will be showcasing updates to Pulsar at NAB 2015. The Pulsar PPU (Pay-Per-Use) solution reflects this commitment by providing valuable capabilities to users wishing to implement quality QC immediately without making an up-front capital investment. Boasting the flexibility of a cloud solution and the security of a dedicated on-site system, Pulsar PPU makes the advanced QC functions of the acclaimed Pulsar automated file-based QC solution available to facilities as they are needed. Pulsar PPU is a software solution that operates within the user’s facility without requiring the installation of additional network infrastructure. Venera’s flagship product, Pulsar, was one of the first solutions to introduce capabilities such as loudness measurement on files, track layouts, and QC for adaptive bitrate content. During the 2015 NAB Show, Venera will highlight major new enhancements to this product. Pulsar now supports analysis of unencrypted MPEG-DASH content. Users can now create ABR templates to automatically analyse different MPEG-DASH profiles with different templates. Support for IMF and AS02 MXF formats is also available, allowing users to ensure the integrity of an IMF file package. Building on the solution’s already rich audio and video baseband quality checks, Pulsar now supports the detection of dual mono, flash frame, Harding PSE, and cadence. Pulsar also now includes DPP (improved) and IRT templates. Pulsar now includes the presets for OP-59 (Australia) and TR-B32 (Japan) loudness requirements. Visit www.veneratech.com

TMD Makes Media and Workflow Management Intuitive TMD, A PROVIDER OF asset management systems for digital and physical assets, is exhibiting at NAB (Booth N4425) to launch a new range of products, including packaged asset management solutions, providing cost-effective asset management applications for the SME market. Also new is Chameleon – an intuitive user interface, designed to minimise the time needed for users to become effective.

MEDIA IN THE CLOUD, STORAGE & DAM

Recognising that the broad range of users of asset and workflow management systems have different requirements, TMD is introducing a new browser-based user interface. The new interface, called Chameleon, is simply tailored to the needs of a user or group’s role-relevant functionality. With most people now familiar with simple user interfaces through social media, the goal is to make the TMD Mediaflex asset management solution so simple to use that it requires little to no technology training. TMD will also be demonstrating their new, cost-effective, off-the-shelf range of asset management solutions, aimed at small to mid-sized organisations, including broadcast, production and archive organisations. The initial range of solutions includes archive, post production and non-linear delivery applications. Powered by TMD’s globally renowned Mediaflex technology, they are powerful, simple to implement, and allow the user to increase functionality and scale the system as needs grow. TMD will also be discussing its Unified Media Services (UMS) architecture at NAB 2015. UMS is a simple approach to a service-oriented architecture to underpin TMD’s solutions. Based on open standards, the USM architecture effectively decouples the technology – and in particular the interfacing between devices from multiple vendors – from the operations. Decisions on the implementation of new services and workflows can be taken and developed on commercial grounds, making organisations more agile. Visit www.tmd.tv

Marquis to Launch ‘Set & Forget’ Disaster Recovery MARQUIS BROADCAST, experts in content workflows and media integration software, will launch Workspace Parking, its new ‘set & forget’ disaster recovery solution for Avid workspaces, plus a host of storage analysis tools at NAB 2015. Workspace Parking uses a standard, open folder structure to store the back-up of entire workspaces. Individual projects or bins of older versions of projects can then be easily identified, and restored to an ISIS or laptop immediately, providing a complete and rapid business continuity solution. Workspace Parking ensures a complete backup of every project by analysing and identifying all information and media on a workspace and any projects associated with that media, in addition to content referenced by those projects. Because the analysis system runs regularly, every time new and associated media comes online this is included in the backup. Incremental analysis of the changes to the workspace and each project means automated nightly back-ups can be completed in a fraction of the time of a full backup. Text (SMS) or email status updates are provided as required.

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Sonnet Technologies at NAB

AT THE 2015 NAB SHOW, Sonnet will feature the Avidqualified xMac Pro Server, its rackmount solution with built-in Thunderbolt 2-toPCI Express (PCIe) expansion for the new Mac Pro. The xMac Pro Server securely mounts the computer horizontally inside a specially designed 4U modular enclosure, connects three PCIe 2.0 slots via Thunderbolt 2 technology, and provides space to install additional equipment in two 5.25-inch mobile rack bays. By supporting every Thunderbolt-compatible PCIe card available, the xMac Pro Server enables audio-video professionals to use the high-performance expansion cards they need with the latest Mac Pro. Sonnet’s xMac mini Server mounts a Mac mini inside a specially designed 1U rackmount enclosure and connects two PCI Express (PCIe) 2.0 slots via Thunderbolt 2 technology, enabling users to harness the power of full-size, high-performance PCIe cards. The latest generation xMac mini Server adds a Thunderbolt 2 interface. Sonnet will feature the Avid-qualified Echo Express III-D (desktop) and Echo Express III-R (rackmount) chassis, which were the first devices of their kind to ship with 20Gbps Thunderbolt 2 interfaces. Both systems support up to three full-length, full-height, single-width PCIe cards with one x16 and two x8 PCIe slots. Also on display will be the dual-slot Echo Express SE II and the new single-slot Echo Express SE I, compact and lightweight desktop chassis that accommodate half-length (up to 7.75 inches long), full-height PCIe cards, and include an additional slot space to mount an adjacent daughter card. Sonnet will showcase its new line of Sonnet Optical Thunderbolt Cables designed to connect computers and devices over longer distances in a wide variety of production environments. Thunderbolt 2- and Thunderbolt-compatible, the Sonnet Optical Thunderbolt Cables deliver performance equal to copper Thunderbolt cables (which are limited to lengths 3 metres or shorter), yet are very thin and lightweight, easy to route, and as tough as copper cables. Available in lengths of 5.5, 10, 30, and 60 meters, the Sonnet Optical Thunderbolt Cables are ideal in situations requiring the computer to be segregated from other equipment. Visit www.sonnettech.com

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MEDIA IN THE CLOUD, STORAGE & DAM

SGL’S FLASHNET CONTENT MANAGEMENT SOLUTION is designed

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to integrate seamlessly with MAM or automation control systems to provide significant improvements to workflow efficiency without intruding on the users’ familiar desktop.

The new version of FlashNet, which will be launched at NAB 2015, brings to fruition SGL’s new integration with Aspera. Using FlashNet, broadcasters and content owners can transfer media to the cloud at a guaranteed speed providing an additional means of storage and disaster recovery workflows.

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The latest version of FlashWeb includes enhanced search capabilities and simplified navigation allowing broadcasters and content owners to easily archive and restore material to any configured FlashNet disk or tape group. This can be achieved without the need for a controlling MAM or automation system. SGL will highlight the latest version of its FlashNet API, which supports REST, via its new web service. This will further simplify FlashNet integration for partners and is the beginning of key new developments that will be revealed later in the year. Visit www.sglbroadcast.com

NVerzion Shows Their CLASS at NAB AT THE 2015 NAB SHOW, NVerzion (Booth N4028) will introduce next-generation automation and media asset management solutions, including cloud-based capabilities that maximise broadcasters’ operational efficiencies and lower capital and operating expenses while enabling them to provide superior-quality on-air presentation. NVerzion will announce a new partnership at the 2015 NAB Show designed to streamline broadcast operations. NVerzion will show integration between HIT HDL8640 Blu-ray storage and NVerzion’s master control automation system, providing broadcasters with a unified multitier storage platform. A key highlight at the 2015 NAB Show will be NVerzion’s Component Level Automation System Solutions (CLASS), which provides station groups and broadcasters of any size with a flexible, scalable automation and content management platform as an alternative to station-in-a-box solutions. Rather than replace all of a station’s existing equipment, CLASS takes advantage of a broadcaster’s existing infrastructure by using software components to control and integrate legacy hardware and software systems into a unified platform. CLASS offers system-wide control for ingest, playout, asset management, graphics, and business management as well as interoperability with all manufacturers and common traffic systems. The solution can easily be scaled up to accommodate hundreds of channels, providing broadcasters with the flexibility to add new channels as they grow. Visit www.nverzion.com

Nexidia Showing Dialogue Search v2.0 and QC v2.3 VISITORS TO NEXIDIA’S BOOTH at the 2015 NAB Show (Booth SL13705) will see Nexidia Dialogue Search v2.0, the newest version of Nexidia’s tool that searches for any combination of spoken words or phrases across workgroups or massive media libraries in seconds. Dialogue Search v2.0 allows users to search and filter results on any existing metadata, in combination with the dialogue, to further refine and improve search. Nexidia QC v2.3, introduced at IBC2014, is the latest release of its software tool to automate the QC of closed captions, video description, and languages for broadcast and IP workflows. Version 2.3 adds an integrated player, language identification for text, new language verification technology, and expanded language support. Visit www.nexidia.tv

Volicon Adds to Media Intelligence Platform VOLICON WILL BE SHOWING NEW SOLUTIONS for the Media Intelligence Platform at NAB 2015 (Booth SU7916). Addressing broadcasters’ need for convenient, cost-effective longterm storage of aired content, Volicon has introduced a new Archiver option for the company’s Observer Media Intelligence Platform. Providing multiple simultaneous users with random access to an indexed store of full-resolution, high-bit-rate (long-GOP H.264, 9-15 Mbps) content, as well as low-resolution proxies, this option makes programming, promos, and advertisements readily available for use cases ranging from ad verification to repurposing. Volicon’s enhanced Multiviewer option for the Media Intelligence Platform unites the Observer platform’s recording capability with multiviewer functionality to give users access to multiple live or recorded programs (audio and video), complemented by frameaccurate data, on a monitor wall or other display. Volicon’s OTT offering provides networks, video service providers, and broadcasters with a solution for logging (recording) and monitoring the over-the-top (OTT) A/V services that stream content to computers, tablets, and smartphones. With the same suite of tools already proven for set-top box (STB) and transport stream (TS) monitoring, the solution offers a complete, cost-effective quality monitoring and/or compliance logging solution for multiplatform media delivery. The Capture and Share applications for Volicon’s Media Intelligence Platform help broadcasters capture media from a variety of sources and quickly produce and deliver compelling content to viewers via on-air broadcast, as well as digital and social media platforms. Together, Capture and Share facilitate the capture, extraction, processing, and distribution of content in the appropriate format for virtually any target outlet and device. Visit www.volicon.com

Forbidden Featuring the New Forscene AT THE 2015 NAB SHOW, Forbidden (Booth SL5305) will feature the new Forscene, which was unveiled at IBC2014 and went live in December. The newly designed Forscene interface provides an efficient and enjoyable user experience. Forbidden has also given Forscene a new infusion of functionality by adding a media asset management (MAM) system. Through the Forscene MAM, users have the full potential of the platform — from acquisition to publishing — at their fingertips. With the new functionality provided by the Forscene MAM, customers can: + Move media between Forscene servers in different locations + Rename, share, and publish media from various accounts in the Forscene MAM + Manage and configure ingest servers from the cloud, including assigning access to media storage and setting up watch folders for ingest + Configure publishing settings and formats from the Forscene MAM Other new Forscene features include the ability to publish with burnt-in timecode or other metadata; expanded multicam logging to support up to 18 cameras simultaneously; and increased support for different formats that enables functions such as editing MXF files during ingest. Visit www.forscene.com

MEDIA IN THE CLOUD, STORAGE & DAM

SGL Adding to FlashNet

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Canberra’s 1CMS Rebuilds with LAWO crystal Solution PROFESSIONAL AUDIO & TELEVISION has supplied, configured, and commissioned a LAWO crystal system for community broadcaster, 1CMS. Having previously supplied a single 12 fader LAWO crystal console in 2013, PAT has now supplied a further two LAWO crystal consoles and a crystal MCR frame. The consoles will be used in the two main on-air studios and single production studio. All three studios are connected to the main LAWO crystal MCR frame via MADI fibre, while the IP control network allows for logic control such as talkback and profanity delay. PAT’s Broadcast Technician, Nick Brown, commented, “We wanted to provide the full LAWO flexibility while keeping the system easy to use. LAWO’s ‘zirkon’ configuration software

Oz Digital Radio Audience Grows to 3.2 Million AUSTRALIAN DIGITAL RADIO listening has increased in the first survey for 2015 with 3.2 million people now listening to radio each week using a DAB+ digital radio in the five metropolitan capitals, according to GfK figures released by Commercial Radio Australia (CRA). DAB+ figures show listening continues to grow, with 24.2 per cent of people in the five state capitals listening on a DAB+ digital radio device. The figures indicate 1.5 million more people listen to radio on a DAB+ device than listen to radio via streaming – and on DAB+ they are listening for twice as long. CRA CEO, Joan Warner, said, “Australian radio listeners continue to support DAB+ digital broadcast radio. The industry has invested in a robust future technology that’s easy for listeners to access, is local, free, live, and offers high quality content.”

RADIO

In addition to simulcasting AM and FM stations, broadcasters offer listeners a variety of content on DAB+. A new DAB+ country music station is broadcasting in Sydney, Melbourne, Brisbane, and Adelaide. ARN have rebranded Mix ‘90s and ‘80s to PureGold ‘80s and PureGold ‘90s, and Capital Radio’s Hot Country stations have been rebranded as KIX Perth Digital and KIX Canberra Digital. The radio industry has requested that the Federal Government establish a Digital Radio Industry Planning Committee to work on policy and timetable for phased rollout of services outside of the five capital cities, possibly starting in 2017. Visit www.digitalradioplus.com.au

was used to program all on-air delegation, talkback and profanity delay functionalities in-house.”

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1CMS system integrator, Josh Parkinson, added, “PAT worked to a very detailed brief and I am very happy with the result and customer service we received from the PAT engineering team. The new LAWO system will certainly provide 1CMS with new cutting edge broadcasting technology.” While each of the studios can switch themselves live to air, a LAWO crystal MCR frame can also be used to manage on-air delegation and codecs. The MCR frame includes redundant PSUs and is controlled via a custom configured VisTools control screen, providing

Nautel Adds NX5 and NX10 AM Transmitters NAUTEL HAS INTRODUCED two new NX Series AM transmitters, the NX5 and NX10. Operating at 5 and 10 kW of analogue power, these two transmitters bring high efficiency (86 per cent AC to RF) and a large suite of operational features to mid-power AM operations. As with other NX Series transmitters, the NX5 and NX10 feature: + AM precorrection with unmatched linearity. + 1.8 MHz direct digital modulation. + 100 per cent remote web access to the user interface. + RF spectrum analyser displays spectral performance.. + MDCL is included for up to 30 per cent additional power savings. Nautel’s signature Advanced User Interface is standard in the NX5 and NX10, and is locally or remotely accessible via a web browser. The AUI’s functionality includes built-in commercial grade instrumentation, full remote access, SNMP support, an instrumentgrade spectrum analyser and network analyser, real-time MER measurement, comprehensive monitoring and control including event logging, email and SMS notifications, backup audio via streaming and USB playout, and enhanced support services including Nautel Phone Home. Visit www.nautel.com

level metering for each studio, as well as metering for on-air paths, satellite feeds and music servers. Visit http://www.proaudiotv.com.au and http://www.lawo.com

Mobile Publishing System for Broadcasters WINMEDIA HAS INTRODUCED the WinWeb module, providing a customisable web template and mobile application. The new offering was designed to meet the broadcast industry’s needs for a turnkey and highly efficient solution to maximise the use and value of content by publishing it on the Internet and on a mobile application. WinWeb delivers broadcasters with a built-in template they can easily customise, using the background image and the colour scheme of their choice. Thanks to a comprehensive calendar, broadcasters easily plan special promotions and matching colour scheme on their website. An array of functionalities are available to enrich visitors’ experience, including a player broadcasting live shows, ad blocks, playlists, podcasts and news updates. Viewers can quickly find a song heard on the radio at a specific time. The entire template is easily customisable using an intuitive CMS. According to Stéphane Tésoriere, WinMedia Group’s CEO, “WinWeb combines web and mobile features in a cost-effective package, allowing radio and TV stations to increase their audience and their advertising revenues. Fully-integrated with WinMedia Radio and WinMedia TV, broadcasters only need to produce their content once to have it automatically distributed on their website and mobile application..” WinWeb can also provide broadcasters with a consistent web portal as it can display several web radios or web TV. Visit www.winmedia.org

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ACRAs 2015 Entries Now Open RADIO ON-AIR TEAMS FROM AROUND AUSTRALIA will be vying for the cov-

and associated industries. Winners are announced in each category across three areas: metropolitan, provincial and country commercial radio stations.

eted title of Best on Air Team at this year’s Australian Commercial Radio Awards (ACRAs). Entries opened on 16 March for the 27th annual ACRAs, which this year will return to the Gold Coast and be held at the Gold Coast Convention and Exhibition Centre on Saturday, October 10.

Other winners from last year’s Awards included: Best Sports Presenter, Ray Warren (Triple M Sydney SCA); Best Newcomer on air, Melissa Doyle (smoothfm ); and Best News Presenter, Glenn Daniel (smoothfm).

Last year’s Best On Air Team (FM) was won by WS FM101.7 Jonesy & Amanda (2014, 2012). Best On Air Team (AM) was won for the third year in a row by Melbourne 3AW breakfast presenters Ross Stevenson and John Burns (2014, 2013, 2011). Best Current Affairs was won by 3AW’s Neil Mitchell (2014, 2013, 2012) and 2GB’s Ben Fordham won Best Talk Presenter for the first time.

Last year’s ACRAs were held in Melbourne and hosted by Shane Jacobson and more than 1200 people attended. The announcement of this year’s host, presenters and entertainment will follow in the coming months.

The ACRAs are a highlight of the radio industry’s yearly calendar with the Awards attracting the industry’s stars, personalities and media executives from around Australia. Chief executive officer of Commercial Radio Australia (CRA), Joan Warner, said, “This year promises to be another outstanding event, celebrating the wonderful talent within the radio industry. With the increase in competition, particularly between breakfast and drive teams around the country, we hope to receive record entries this year.”

Organised by CRA, on behalf of the radio industry, the national Awards include 34 categories, which cover all areas of radio broadcasting including news, talk, sport, music and entertainment. The ACRAs are peer judged with judging panels comprised of industry members across networks

Ms Warner said a feature of the Awards is the Hall of Fame, which acknowledges a lifelong commitment to the Australian radio industry. Last year’s inductee was respected radio and media industry executive, Peter Harvie. Previous inductees have included Derryn Hinch, Neil Mitchell, John Laws, Tony Pilkington, Graham Mott, Frank Hyde, Rod Muir, Bob Rogers, Paul Thompson, and Kevin Blyton. Hall of Fame recipients are nominated by industry colleagues and decided by an industry wide executive judging committee. Entries for this year’s Awards close on 22 May 2015. Visit www.acras.com.au

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Netia Manages Workflows with Media Assist

N GatesAir Strengthens IP Networking Strategy for Connected Studios

GATESAIR, A GLOBAL LEADER in wireless, over-the-air content delivAT THE 2015 NAB SHOW, NETIA will showcase its new Media Assist software suite, which builds on the strengths of the company’s product portfolio to provide a complete solution for managing workflows from ingest through to delivery. The company will demonstrate how the new suite enables content owners and content producers — from radio broadcasters and television stations to organisations maintaining media archives — to access, retrieve, and share or distribute their digital assets to any platform. NETIA also will highlight the media management, editing, and delivery workflows possible with Media Assist modules designed for mobile devices. The NETIA Media Assist software suite unites the functionality of NETIA’s radio broadcast automation and media management products with an SQL database to provide a cross-media-production asset management system with a full complement of dedicated tools. New media sharing features in Media Assist not only enable the publication or export of content or media assets to cross-media platforms, but also facilitate the sharing and exchange of content across multiple sites within a broadcast operation. To enable convenient use across a facility or organisation, the Media Assist software suite provides both a rich-client platform and a Web-based interface that can be displayed on a simple Internet browser. Both GUIs have been designed to assure effective ergonomics. The option of working through a browser-based interface allows journalists and reporters to go fully mobile while maintaining their ability to access, search, edit, and repurpose content. Integrated audio and video editing tools enable such users to edit and deliver pieces from the field. NETIA has already released Media Assist modules engineered for smartphones and tablets. Visit www.netia.com

AVRA Becomes Newest Axia Audio Livewire Partner MIAMI, FLORIDA-BASED AVRA.TV, a new content delivery system for radio stations that boasts integrated audio-visual capabilities and delivery of broadcasters’ content streams directly to listeners’ smartphones via a dedicated app, has become the latest addition to the extensive list of Axia Audio Software Partners. According to Antonio Calderon, General Manager of AVRA, “AVRA is the evolution of radio. By adding video server capabilities, a new world of opportunities appears for broadcasters, audiences and clients.” As an Axia Software Partner, AVRA is authorised to bundle the Livewire IP-Audio Driver with its products, allowing direct connection of its computer-based playout systems to Axia networks, and communication with products from dozens of other Livewire hardware and software partners. Nearly 80 Axia partners, including companies such as Nautel, AudioScience, VoxPro, BSI, Telos Systems, Omnia Audio, 25-Seven Systems, and RCS Sound Software offer broadcast hardware and software that connects directly with Livewire networks. More than 5,500 radio studios are equipped with Axia AoIP networks, and over 60,000 Livewire-equipped devices are in daily service.

RADIO

Livewire is the broadcast networking standard developed by Axia parent Telos Systems, which utilises Ethernet to provide an easy way to route and share audio and logic throughout the broadcast plant. Livewire satisfies all the requirements of the AES-67 networking interoperability standard. Axia products are AES-67 compliant.

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ery solutions for radio and TV broadcasters, is extending the networking capabilities of its VistaMax portfolio with VMXpress IP, an AES67compliant audio and logic device that establishes a standards based Audio over IP gateway for radio studios. Leveraging the non-proprietary nature of ALC NetworX’s Ravenna networking technology, VMXpress IP drives interoperability across the studio and signal transport architecture through its open, standards-based foundation. GatesAir will introduce VMXpress at the 2015 NAB Show (Booth C3107). VMXpress IP evolves the robust networking architecture of GatesAir audio distribution and consoles, integrating with existing and emerging AES67-compliant devices to help broadcasters build the optimal connected studio facility. Using the tremendous flexibility of openstandards IP networking, VMXpress IP simplifies connectivity with audio processors, satellite receivers, phone systems and studio support equipment, including program delays, among other key systems. With GatesAir’s existing network-based, minimally-wired studio networking architecture at the core, Ravenna’s networking technology fortifies the overall infrastructure through low-latency distribution and full signal transparency. Beyond the studio, VMXpress IP extends networking to leading IP transport solutions, including GatesAir Intraplex IP Link codecs, for lowlatency audio contribution and distribution. This expands connectivity to transmitter facilities (STL), live remote broadcast sites, and the internet for streaming content to other studios and the web. Therefore, the limitations of AES and analog connectivity are eliminated, instead leveraging intelligent networking with IP transport systems by using AES67 over the local Ethernet. Visit www.gatesair.com

WorldDMB Tracks Drivers of Growth for In-Car Digital Radio WORLDDMB HAS RELEASED its latest research on digital radio in cars. The aim of the research is to highlight the growth of DAB digital radio adoption and show the commitment by the automotive and broadcasting industries to provide better in-car listening. The WorldDMB DAB/DAB+ digital radio automotive infographic covers progress in Australia, Denmark, France, Germany, Italy, Netherlands, Norway, Switzerland and the UK. On the release of the infographic, Patrick Hannon, President of WorldDMB, said, “Our aim with this research is to demonstrate clearly that DAB digital radio is the platform of the future in Europe. With the first countries moving to Digital Switchover, and motorists driving between these markets, it is becoming increasingly important for car manufacturers to include digital radio as standard.” Digital radio is fast becoming a standard automotive feature in the most developed European digital radio markets. In the UK and Norway, over 60% of new cars are now sold with DAB radios (up from less than 5% four years ago) – and Switzerland follows closely with 45%. Norway and Switzerland are the likely to be the first countries in the world to set firm dates for Digital Switchover (DSO). Norway has achieved the criteria for DSO in 2017 and awaits Government confirmation of this date. In Switzerland, DSO is planned for 2020-24 – with final approval expected later this year. In the UK, Government policy is focused on a digital future for radio; and in Germany, the ARD has confirmed its long term commitment to DAB+. 1st level road coverage in Switzerland, Norway, Denmark and Netherlands exceeds 90% - with Switzerland now achieving 100% coverage. In Germany, the national multiplex alone provides 75% road coverage – with additional coverage provided by regional ARD networks. Visit www.worlddab.org

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AUDIO Digital soundwaves

www.content-technology.com/audio

AES Publishes New Standard for 3D Audio THE AUDIO ENGINEERING SOCIETY (AES) has announced the recent publication of the AES69-2015 standard, which provides an important framework for the growing binaural and 3D personal audio industries. The standard, which describes the format and exchange of spatial acoustics files, is the product of the AES Standards Committee, the preeminent source of professional audio standards worldwide. The AES69-2015 standard is seen as a boon to the evolving 3D audio field. Binaural listening is growing due to increased usage of smartphones, tablets and other individual entertainment systems that primarily present audio using headphones. An understanding of the way that the listener experiences binaural sound, expressed as head-related transfer functions (HRTF), opens the way to 3D personal audio. The lack of a standard for the exchange of HRTF data makes it difficult for developers to exchange binaural capture and rendering algorithms effectively. While 3D audio continues to gain popularity among end users, binaural listening could be the very first 3D audio vector with sufficient fidelity of HRTF. The new AES69-2015 standard defines a file format to exchange space-related acoustic data in various forms. These include HRTF, as well as

International Standard for Dynamic Range Control Arrives THE INTERNATIONAL STANDARD for Dynamic Range Control (DRC) for audio has been finalised by MPEG and will be published as MPEG-D Part 4 (ISO/IEC 23003-4). It defines a unified, flexible, and codec-agnostic format to support comprehensive dynamic range and loudness control.

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A wide range of content delivery use cases such as streaming and broadcast are addressed. The standard enables adapting the audio as appropriate for the particular content, the listening device, environment, and user preferences. The integrated loudness control can be used, for instance, to provide a consistent loudness level across various content, which might be mandated in certain environments. MPEG-D Part 4 is directly supported by various MPEG audio codecs including MPEG-H 3D Audio. In addition, the standard is also supported with any audio stream that can be stored in files based on the ISO Base Media File Format (ISO/IEC 14496-12). Visit http://mpeg.chiariglione.org

directional room impulse responses (DRIR). The format is designed to be scalable to match the available rendering process and is designed to be sufficiently flexible to include source materials from different databases. This project was developed in AES Standards Working Group SC-02-08, with the writing group being led by Matthieu Parmentier and principal authors Piotr Majdak and Markus Noisternig. The standard builds upon an earlier project to define a spatially-oriented format for acoustics (SOFA), which aimed at storing HRTF data in a general way, capable of supporting any transfer-function data measured with microphone arrays and loudspeaker arrays. The use of convolution-based reverberation processors in 3D virtual audio environments has also grown with the increase of available computing power. Convolution-based reverberators help guarantee an authentic and natural listening experience, but also depend on the acoustic quality of the applied directional room impulse response (DRIR). Many such issues have been of growing concern in the industry, as were discussed in depth at the recent AES 57th International Conference in Hollywood, CA, which addressed topics including immersive audio delivery standards, headphone design and

performance, 3D audio in ambisonics, binaural audio, more. Also, at recent 111th MPEG meeting, MPEG-H 3D Audio progressed to International Standard status. MPEG-H 3D Audio supports a highly immersive audio experience for loudspeakers placed in a 3-dimensional configuration (e.g. high, mid and low for front, side and surround), and supports content in multiple formats: channels (C), channels and objects (C+O), and scene-based Higher Order Ambisonics (HOA). This technology has been evaluated for bitrates between 1.2 Mb/s and 96 kb/s and has shown Good to Excellent performance. Key functionalities are a compact and bit-efficient representation of immersive, multi-channel audio programs, and the ability to flexibly render audio content to an arbitrary number of loudspeakers with an arbitrary configuration, as well as providing a binaural experience over headphones. Extensive support for meta-data in the bit stream and the user interface provides for a rich, interactive control of the presentation of the audio program. Visit www.aes.org and http://mpeg.chiariglione.org

Sennheiser Introduces SpeechLine Digital Wireless SENNHEISER HAS UNVEILED SpeechLine Digital Wireless, a wireless digital microphone to be designed exclusively for speech applications. During the development process, Sennheiser consulted users, technicians and integrators, carried out its own research and applied its many years of audio expertise to design a completely new system that combines the key requirements of wireless speech microphones: SpeechLine Digital Wireless. The specialists at Sennheiser held detailed discussions with the focus groups and carried out intensive research. Their findings: the most important requirements placed on microphones for speech applications are easy installation and operation, a high level of reliability and futureproof technology. Installation, operation and adjustment are easier than those of any other microphone. Once the microphone has been configured, users do not require any audio knowhow – it is already built-in. This enables speakers to focus on their speech during meetings, lectures or presentations. The microphone also makes the technician’s job easier during the set-up process. SpeechLine Digital Wireless has an Automatic Frequency Management feature that automatically searches for free frequencies on-site, thus eliminating the need for time-consuming frequency planning in advance.

Integrated Audio Level Management automatically adapts the system to the application scenario and the speaker. As a result, the system ensures optimum speech intelligibility at all times. What is more, network integration enables the system status to be remote controlled and monitored at a glance at any time using the special app “Wireless System Remote” (WSR), AMX or Crestron – for example to show the current reception quality or the battery’s state of charge. In order to ensure stable and high-quality wireless transmission at all times during a speech or presentation, Sennheiser’s developers attached great importance to the aspect of reliability. If wireless transmission is disturbed, Automatic Interference Management switches the system to an alternative free frequency. The lithium-ion battery technology used in SpeechLine Digital Wireless provides a battery life of more than 15 hours. Thanks to the system’s advanced 256-bit AES encryption, users benefit from wireless communication at any time with maximum security. The system operates in the license-free, future-proof 1.9 GHz frequency band, and no registration is required.

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Visit www.sennheiser.com

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AUDIO

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LEADING BROADCAST EQUIPMENT MANUFACTURER, TSL Products, will showcase its latest range of audio monitoring products and Integrated Display Systems (IDS) at NAB 2015 on booth N5112. NAB 2015 will mark the North American launch of the IDS product range. At IBC 2014, TSL Products announced a strategic partnership with IPE Products, the developers of IDS products, with the joint aim of advancing developments in control and display technology that better coordinate and organise workflow display tools for broadcasters, production companies and other organisations that need to communicate better with staff and customers. TSL Products will also present the most significant addition to its TallyMan control system range since its inception: the new TM1 MK2 model. The new TM1 MK2 eliminates the typical bottlenecks that broadcasters face as the demand for monitoring and control capabilities increases, and the amount of controllable systems and the volume of available data continues to grow. With a simple browser/front panel configuration, TM1 MK2 provides dual gigabit Ethernet connectivity to ensure that crucial communication is seamlessly transported, while its superior processing power guarantees real time data and control across a facility. The flagship Precision Audio Monitor (PAM) series from TSL Products is one of the industry’s leading confidence monitoring systems. Equally adept in stereo, multichannel, multi-language or surround sound environments, both PAM1 and PAM2 MK2 provide users with a sophisticated yet intuitive solution to the challenges presented by modern broadcast sound workflows. TSL Products will also demonstrate the newest features of its PAM PiCo range of audio and Loudness meters including a 3G video preview,

improved GUI and SMPTE linear timecode recognition. PAM PiCo puts high quality audio and loudness metering within easy reach of anyone involved in sound production, from TV broadcast operators, to music studio technicians, to record producers. The latest version of Touchmix audio monitoring unit now features a new XY code release that provides sophisticated new mixing and control capabilities making it a ‘Swiss Army knife’ for audio engineers and mixers. The free downloadable software update includes a 48 input, 24 output XY audio router from SDI, AES and analogue signal sources that gives the user complete control over source to destination configuration. The SAM1 MADI provides multiple source monitoring of up to 20 channels of audio from MADI, embedded HD-SDI, AES and analogue sources on a user-configurable screen. It is ideal for Sound Engineers to check the integrity of their MADI signals, broadcast studio engineers who use MADI to transport multiple channels of audio around their facility, and production operators involved in program making within studios or on OB trucks where MADI technology is implemented. Visitors to the TSL Products booth will be able to see the latest models in the Soundfield DSF Digital Broadcast surround sound microphone range. The latest microphones in the Soundfield range feature self-testing, alarming and correction capabilities that allow accurate monitoring of the system when capturing audio at live broadcast events.

Fairlight Showcases the Future of Broadcast Audio

AT THE 2015 NAB SHOW, NUGEN Audio will showcase the Loudness

AT NAB 2015, Fairlight (Booth SU13710) show a range of solutions to

NUGEN Audio is also making its DynApt dynamic adaptation technology available as a time-saving extension for LM-Correct, enabling streamlined LRA targeting. Previously only available in the company’s LMB processor for server-side batch file processing, the new DynApt extension places NUGEN Audio’s proprietary, highly efficient, and reliable time-saving method of advanced LRA targeting at the fingertips of every editor.

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increase your productivity: Audio engines capable of delivering up to 1000 tracks, enable you to create complex productions without the need for premixing, thus preserving creative freedom right through to the final mix. Fairlight’s Media Gateways further increase efficiency by allowing audio and video editors to work on real-time collaborations without being bogged down by slow render and file transfer times. This type of cooperation is made possible by Fairlight’s ability to interface with key cloud-based video editing platforms from Adobe and Quantel. The growing need among content creators to deliver 3D immersive sound is now easily achievable with Fairlight’s 3D Audio Workspace (3DAW). With full 3D object orientated audio capability, 3DAW enables you to deliver immersive sound in formats such as Auro-3D, Dolby Atmos, and DTS MDA, without having to replace your existing 2D tools and workflows.

Also at the 2015 NAB Show, NUGEN Audio will preview its new Halo Upmixer. Designed specifically for film and TV production, the new product is capable of producing a Stereo-to-5.1/7.1/9.1 downmix-compatible upmix with optional dialog isolation in the center channel. The Halo Upmixer is expected to be available in the second half of 2015.

Fairlight completes its NAB 2015 line-up by showing its full range of converged consoles that combine Live and Post capabilities in a single console. Designed for the most demanding live productions, Fairlight’s versatile range now features new a 200+ channel Live Processor for large scale events, fly-in FX to enhance productions and extensive customisation tools including optional lighting integration.

Visit www.nugenaudio.com

Visit www.fairlight.com.au

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New Loudness Management Workflows from Nugen Toolkit 2, an upgrade of the company’s loudness measurement and correction suite. The Loudness Toolkit 2 includes completely new versions of the VisLM-H meter, the LM-Correct quick-fix tool, and the ISL true-peak limiter, and it features upgrades that make it an even more powerful workflow companion for NLE and DAW users. Within the Loudness Toolkit 2, the VisLM-H visual loudness meter includes ReMEM (rewritable memory edit mode), a program loudness over-dub function for enhanced workflow efficiency; a new timecode and loudness profile memory function; and new zoomable and scrollable history and log file capabilities.

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TASCAM Trackpack 2×2 Recording System Announced THE NEW TASCAM TRACKPACK 2×2 assembles everything you need to record music on your computer. Included in the recording bundle is TASCAM’s US-2×2 USB audio interface, TM-80 studio condenser microphone with shock-mount, and TH-02 headphones, plus Cakewalk SONAR X3 LE and Ableton Live Lite 9 DAW software. The US-2×2 is a 2-in/2-out USB interface, bus powered from your Mac or Windows computer. A pair of Ultra-HDDA mic preamps provide up to 57dB of gain and the best noise and distortion specs in their class. The audio design features high-performance, musical components like NE5532 op amps for rich sound quality without colouring the source. Class-compliant drivers enable use with tablets like the iPad when using an optional power supply. The US-2×2’s all-aluminium case features a pair of ‘bio-cell’ side panels. In addition to their striking design, the side panels ergonomically angle the interface towards you to make the switches and knobs easier to read on a desktop. The US-2×2 includes MIDI in and out, balanced audio outputs, a headphone amp, and two DAW applications to choose from – both Cakewalk SONAR X3 LE and Abelton Live Lite 9. Included with the software are dozens of plug-in instruments, effects, and loops to get you started. Also included is the TM-80, a condenser microphone ideal for vocals, drums, and acoustic instruments. The TM-80 includes a shock-mount and desktop stand. The TH-02 closed-back headphones provide isolation while recording and a reference during mixdown. US-2×2 features: + Two high-quality Ultra-HDDA mic/line preamps with up to 57dB of gain. + Two-in/two-out USB 2.0 interface with up to 96kHz/24-bit resolution. + XLR/1/4-inch combination input jacks. + Zero-latency direct monitoring. + High-quality audio components like NE5532 op amps for 125dBu EIN and 105dB S/N ratio.

+ USB Audio Compliant 2.0 drivers for iOS compatibility. + Independent line out and headphone level controls. + MIDI Input and Output. + Optional power supply. + Includes SONAR X3 LE and Abelton Live Lite 9. Visit http://tascam.com

Ambient’s HHA II and HHA II-S THE HANDHELD ADAPTOR (HHA) and the HHA-S were the first adaptors on the market enabling the use of microphone heads on wireless handhelds from various manufacturers. After three years, Ambient is improving upon

the HHA & HHA-S models with all new mechanical construction for enhanced robustness. The new HHA II design features a one-piece aluminium housing that eliminates the need for a covering ring, preventing component loss. The construction material was selected to prevent damage to the handheld when threaded incorrectly. The HHA II-S housing design prevents damage to electrical contacts when used with Sony or Shure handhelds. Like the HHA adaptor, the HHA II has a step up converter that increases handheld’s supplied 7 Volts to 15 Volts applied to the microphone head. This improves the signal to noise ratio when using Neumann KK104 and KK 105 microphone heads. Visit www.ambient.de

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How much more impressive and emotional are sports broadcasts that also convey the spirit and atmosphere ofthe the venue. How How much much more more impressive and emotional areare sports sports broadcasts broadcasts that that also also convey convey thethe spirit spirit and and atmosphere atmosphere of of the venue. venue. The solution is Sennheiser’s ESFERA, the surround microphone system that enables you to generate and broadcast 5.1 The The solution solution is Sennheiser’s ESFERA, the surround surround microphone microphone system system that that enables enables you you to to generate generate and and broadcast broadcast 5.15.1 surround sound using two standard audio channels. surround surround sound sound using two standard audio channels. channels.

ESFERA -- contact further details www.sennheiser.com.au/esfera ESFERA ESFERA - contact contact usus forfor further details www.sennheiser.com.au/esfera www.sennheiser.com.au/esfera

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

Aspera Sparks Foxtel’s Invisible Revolution The iQ3, Play, Go, Anytime, the Foxtel Store, Presto … in a few short years Australia’s dominant subscription TV provider has more than buttressed itself against a tide of Over-The-Top contenders on the one side and entrenched free-to-air operators on the other – and the key has been file-based technology. When Rachel Thorley, Head of Content Operations at Foxtel, joined the company some four years ago, file-based content accounted for a mere 2% of the total handled by the multichannel provider. “WE KNEW THAT FILE-BASED WORKFLOW was going to revolutionise us, we knew we had to get with the program quite quickly, and we knew that we had transform,” says Thorley. To make this transformative move, Foxtel turned to high-speed, data-intensive workflow specialist Aspera with its proven experience in media and entertainment and other industries with “big data” requirements such as enterprise IT, games and software development, engineering and electronics, government, legal & eDiscovery, financial services, life sciences, and oil and gas.

to me, I know about it. When it arrives, I know exactly where it’s arriving. It also has revolutionised the way that we think about content and the way that we deal with content. “Aspera has helped us with our media asset management system that starts our process. So our aggregators send me something. It arrives in our media asset management system with no hands.

platform was security and its footprint – both within Australia and internationally. “Our US content we get securely straight from HBO,” says Thorley. “They trust - they understand that we’ve got Aspera, so they will release it. We actually are now going to be broadcasting Game of Thrones at the same time as the US which is pretty cool - without satellite. “So in my world, it’s gold. It’s gold standard. There are other people that deal with file delivery but anyone that I’m dealing with is dealing with Aspera. All my aggregators, most of my distributors, are Aspera houses. So it’s trustworthy to me.

“Aspera was our enabler,” says Thorley. “Aspera allowed us to develop from 2% files to where we are today which is 98% files. So, 18 months ago, when I took over my current role, we were at 30% files. So, we’ve transformed very quickly. It enabled a lot of things for us at Foxtel.” The Aspera platform as implemented by Foxtel handles 30 channels, up to 40,000 hours of mostly HD content, as well as notifications and interactions between Foxtel and its 200-plus distributors and five aggregators. It’s has also reduced cost dramatically.

Rachel Thorley, Head of Content Operations, Foxtel.

“Our business has benefitted massively from this enabling and this partnership that we’ve formed with Aspera. When we started on this journey we were all a bit - a lot of people at Foxtel were very shy about file and how long it takes and all of that kind of stuff. I’ve actually got people who work for me now who don’t even know what a tape is. They go what what? So, in a year, that’s where we at in terms of where we are. The Foxtel Go service.

No touching, nothing. That’s Aspera. It also delivers my content - Game of Thrones, all of that really high-end express content - straight to the tiered service. We get a lot of accurate reports. We know what’s going on, what’s happening with servers, all of that sort of stuff, but notifications as well.” Another factor in Foxtel’s adoption of the Aspera

CONTENT DELIVERY

“We don’t process content in Foxtel anymore,” says Thorley. “We ingest that content now once and we use it all over the place. We’ve got five aggregators who aggregate our content and Aspera’s enabled us to be able to do that very cost-effectively. They give us notifications. When something’s sent - distributed to the aggregators I know about it. When it goes from the aggregators

“We have a trusted, truthful partner in Aspera. They’ve delivered and continue to deliver for us. There are expectations and desires that we had that have been realised as a business, and we are a file business. There’s no way we could be launching Presto or Foxtel Go. All of that content that’s now been delivered, there’s no way we could do that. So, Aspera has actually assisted us to start that. I believe we’ve reached our goals and together we’ve actually reached the stars.”

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Clip-On 4 Wireless Camera Transmitter

The L1700 range of wireless video transmitters represent the next generation of flexible wireless systems from Link. Now even more powerful this new range is the most compact and versatile available. With multiple inputs and mounting options this unit can be mounted to a full broadcast camera for sports broadcasters or ENG camera for news or even a prosumer camera to broaden the market reach further.

Clip-on 4 is designed for use with both HD and SD cameras for electronic newsgathering, television outside broadcasts and studio applications. With latency down to one frame (33ms), and using the latest H.264 or MPEG-2 encoding, the Clip-On 4 offers exceptional picture quality and capability.

L1700

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Full remote control of broadcast cameras is available when used in conjunction with the Gigawave Camera Control system.

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CONTENT DELIVERY

Foxtel Launches iQ3 TIMED JUST ONE DAY AHEAD of the ANZ launch of Netflix, Foxtel announced the availability of its iQ3 set-top box. iQ3 key features include: + Start Over allows users to go back to the beginning of a show that’s already started so tuning in late is no longer an issue + Look Back lets users scroll back in time up to 24 hours to watch the shows they have missed + Record up to three programs at once while watching a fourth, live + Tap into the Foxtel ‘Anytime’ service to choose from thousands of TV shows and movies, depending on the channels in your subscription + Foxtel Store offers rentals of the latest blockbusters + Wi-Fi connectivity for wireless connection to the internet + Recording space of up to 172 hours of HD or up to 345 hours of SD recording + Pause and rewind live TV + Remote record and ‘series link’ programs Richard Freudenstein, Foxtel CEO, said, “After delighting a nation of TV lovers with our unbeatable pricing and packaging and innovative ways to enjoy TV live and on demand, we’re thrilled to introduce the Foxtel iQ3, our smartest, most powerful set top box, ever. iQ3 represents a revolutionary step forward for Australian TV viewers that brings with it exciting new ways to search, discover and experience the shows they’re passionate about.” The Foxtel iQ3 is available for AUD$125 plus $25 for a self-installation kit; or $125 plus $75 for installation by a Foxtel technician. Visit www.foxtel.com.au

Elemental Showcasing Software Defined Video Solutions AT NAB 2015, Elemental will showcase software-defined video (SDV) solutions. Through SDV encoding, multiplexing, and advanced system management, operators are able to extract more bandwidth capacity from their networks, ensure end-to-end multi-point redundancy and improve operational efficiencies for linear video delivery workflows. Elemental will showcase linear video delivery at NAB and demonstrate how software-defined video solutions allows operators to converge video processing infrastructure to support both traditional and multiscreen video delivery in a unified architecture. Elemental will also feature live 4K HEVC workflows – the same approaches used during the Sochi Winter Games and the 2014 World Cup.

CONTENT DELIVERY

Meanwhile, Elemental Delta is a video delivery platform that allows video distributors to overcome the complexities associated with CDN-based multiscreen content delivery and realise new revenue opportunities with just-in-time packaging and DRM, time-shifted TV services, and dynamic ad insertion and replacement. Since its launch in September, 2014, Elemental Delta has garnered customers in more than 17 countries. Elemental will showcase the full feature set of this new platform at NAB. Elemental will also highlight how SDV solutions help operators quickly test and rapidly deploy new services and reduce capital and operating expenses with virtual machine or cloud infrastructure that dynamically scales up with demand. A software-defined approach to video processing and delivery frees video providers from the constraints of dedicated equipment by allowing for the best architecture and processor combination to be used for a particular application, even if that application changes over time. Support for new services and video formats can be integrated through software upgrades. Visit www.elementaltechnologies.com

Traffic Network, Top Notch Video Link with Nucomm QUINTO COMMUNICATIONS PTY LTD has announced the sales of new broadcast video microwave transmitters from Nucomm, to the Australian Traffic Network and Top Notch Video. When needing to re-equip with new gear, as a result of the recent changes to the Australian 2GHz ENG band plan, both customers have opted to replace their previous IMT Nucomm equipment with the latest generation IMT Nucomm Microwave transmitter models, that offer high quality, high efficiency H.264 HD and SD video encoding and transmission capabilities, in the new 2GHz frequency band. Australian Traffic Network has deployed the IMT Nucomm Compact TX II transmitters in their Sydney, Melbourne and Brisbane traffic helicopters, and also for their ground based microwave links in Melbourne, Adelaide and Perth. The Compact TXII is a compact, and lightweight high power digital microwave transmitter, ideal for mobile and aviation use. In the Helicopter application it is coupled with the IMT Nucomm Access RC Helicopter remote control unit with standard aviation mounting. Based in Sydney, Top Notch Video provide video microwave link services covering both scheduled shows and unscheduled breaking news events for all of the free to air commercial broadcast networks. Top Notch has chosen the IMT Nucomm Channel Master TX7 in order to meet their requirements. The TX7 is an extremely rugged portable Microwave transmitter capable of both MPEG2 and H.264 operation in both standard definition and high definition. Quinto offers a complete range of Microwave wireless digital video link solutions from cost effective lightweight, low delay, miniature low power links ideal for body-worn, on-camera and radio controlled “QuadCopter” and “OctoCopter” applications, through mobile television broadcast links for vehicles and aircraft, to fixed wireless links for digital video and data transmission.

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Nevion Brings SDN for IP to NAB NEVION COMES TO NAB 2015 (Booth SU2615) with innovations around SDN for IP, media monitoring and management, routing, and encoding. Nevion’s managed media transport platform, VideoIPath, has been integrated with OpenFlow, an SDN-based communications protocol. With this integration, VideoIPath can take direct control of paths used across IP networks to transport video, audio and associated data, ensuring the optimum delivery of content, delivering both low latency and high reliability.

Now real SDN technology can be deployed in production facilities – studios, campuses, remote locations – delivering the benefits of true IP networks while providing the deterministic video, audio and data transport expected by broadcast professionals. Combining routing with signal processing and high redundancy, the unique 64×64 Sublime X² hybrid router offers the functionality that normally requires multiple pieces of equipment or a much larger router. With cross-point, controller and power redundancy, Sublime X² is reliable, with an embedded multi-core signal processor to support software-based upgrades. The compact TNS4200 media monitoring probe is a powerful toolbox providing continuous monitoring of up to several hundred transport streams, enabling fast fault detection and diagnostics for higher uptimes. This flexible, high-density solution for IP/Ethernet and DVB-ASI streams now has QoE features and VideoIPath service assurance for greater video-centric monitoring. The latest addition to Nevion’s media gateway family, the NX4600 offers H.264/AVC encoding and decoding with flexibility, density, ease of use and cost-effectiveness.

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CDN into the home network leveraging equipment such as broadband gateways and set-top boxes (STBs). nanoCDN now supports four applications, which will be demonstrated at NAB:

Delivery Network (CDN) and streaming server equipment can be used by content providers and operators to support new business models in today’s challenging multiscreen environment. A key demonstration in the network area of Broadpeak’s NAB booth will be the company’s “CDN in a Box” solution, which simplifies the deployment of video streaming services by providing operators with: + Cloud PVR TV capabilities, which enable operators to offer start-over, time-shifting, catch-up TV, and impulse recording while only storing content once. + BkM100 CDN Mediator, a unified CDN manager. At NAB, Broadpeak will showcase an enhanced GUI and new bandwidth optimisation features, which enable operators to limit the number of devices that can simultaneously access a service within the home, and to adapt the bitrate of streamed content to the type of device. + BkA100 video delivery analytics software solution, which aggregates data from various components of the video delivery chain to provide operators with meaningful information about video consumption and service quality in a variety of formats.

+ Multicast ABR for live multiscreen delivery: nanoCDN makes live OTT video delivery to any device truly scalable by turning millions of broadband gateways or STBs into active components of an operator’s content delivery infrastructure. + Video transparent caching: This application of nanoCDN allows operators to handle the growing volume of unmanaged video content on their backbones efficiently. Through nanoCDN, operators can reduce peering costs for ISPs while optimising their network resources and improving the QoE for end users. + VOD pre-caching: Leveraging customer premises equipment (CPE) and multicast technology, the VOD pre-caching application of nanoCDN optimises streaming capacity and end users’ QoE for VOD services. Broadpeak’s solution is installed in the equipment, enabling it to act like a cache server located near end users, since the CPE is inside the home network.

+ The umbrellaCDN CDN selection solution, available both as a service and as a product, allowing content providers and operators to always choose the most adapted CDN to deliver their video content.

+ Multiscreen over satellite: Together with Eutelsat’s “smart LNB,” nanoCDN enables cost-effective multiscreen video delivery over satellite.

+ Broadpeak Software Defined Networks (SDN) CDN technologies also extend into end users’ home networks and on the go for increased mobility to optimise video delivery and ensure a better QoE.

At the 2015 NAB Show, Broadpeak will present how the CDN can be extended to the base station by deploying caching and nanoCDN technologies onto a mobile edge computing platform.

Broadpeak’s nanoCDN technology enables operators to extend their

Visit www.broadpeak.tv

VSM

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Exclusively & proudly sold in Australia by Professional Audio & Television Pty Ltd. www.proaudiotv.com.au

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Video Router Video Switcher

Audio Router Audio Console

Intercom System

IP Infrastructure

CONTENT DELIVERY

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CONTENT DELIVERY

GatesAir High-Efficiency Digital TV Transmission AT NAB, GATESAIR WILL DISPLAY two new low-power TV platforms that address two distinct needs. The Maxiva Ultra-Compact series offers standalone low-power translator and on-channel gap filler solutions for UHF and High Band VHF stations across four power levels (30, 50, 80 and 130 watts). Ultra-Compact cuts the rack space requirements of its predecessor by 50 percent, delivering a broadband 1RU solution with exceptional performance and efficiency. The Maxiva Multi-Compact series comprises high-density, 4RU 19-inch rack-mounted UHF and VHF transmission systems available in several configurations, including N+1, N+2, or N+1+M+1 redundancy. The innovative Multi-Compact series provides a single chassis to house up to eight separate 15 Watt transmitters, translators or on-channel gap fillers, and provides the most compact design available, along with multiple redundancy options and configurations. Both solutions share performance and efficiency attributes with market-leading medium-to-high power Maxiva transmitters, balancing over-the-air quality with a green, cost-reducing architecture that slashes energy consumption, power bills and maintenance requirements. Additionally, both systems are fully broadband across UHF and High VHF, ensuring a frequency-agile design that removes any concerns about future spectrum re-pack. Collectively, the Maxiva brand provides a full range, single-source family of transmission products to support DTV networks of any size and scale. Maxiva Ultra-Compact and Multi-Compact series’ are available for multiple DTV standards, including DVB-T/T2, ISDB-T/ Tb and ATSC, with many input interfaces to ensure complete, interoperable solutions for any DTV network. Visit www.gatesair.com

Cobalt Digital Moves Into OpenGear AT THE 2015 NAB SHOW, Cobalt Digital will highlight products that have evolved along with the openGear standard. These include: + The 9922-2FS dual-channel 3G/HD/SD-SDI framesync with audio and video processing features and a high-density footprint, allowing for 20 paths of signal synchronisation in 2 RU. + The 9960-TG2-REF1 dual-channel 3G/HD/SD-SDI test signal generator with “bouncing box” motion patterns, bi/tri-level sync output, and ancillary timecode generator. + The 9980-CSC 3G/HD/SD-SDI color space converter that supports realtime RGB color correction for 1080p60 signals. The converter can be controlled over Ethernet with the popular OGCP-9000/CC control panel. + The 9940-4×1-CS clean and quiet bypass router provides glitchless audio and video switching with a relay-protected output and GPI/O for monitoring and control.

CONTENT DELIVERY

Cobalt Digital is also bringing ancillary data tools to market with the 9950-EMDE-ANC data embedder/de-embedder and 9978-ANC-MON ancillary data monitor for end-to-end data transmission workflows. Each of the new products being launched for the openGear-compliant platform will also be available in the BBG-1000 series, a line of desktop stand-alone enclosures that have front-panel controls and can be rackmounted to provide up to three systems in 1 RU. Each box in the series supports the openGear DashBoard control and monitoring application, as well as Web GUI control and monitoring via an integrated HTML5 Web server. Visit www.cobaltdigital.com

ABR Packager From Appear TV APPEAR TV, a provider of next-generation video processing platforms for broadcast and IP television, will introduce its Adaptive Bit Rate (ABR) Packager software at the 2015 NAB Show (Booth SU7605). The addition of the ABR Packager software furthers Appear’s goal of providing its users an end-to-end solution for multiscreen/OTT support that rapidly adapts to new device profiles while providing the highest video quality possible. For use with Appear TV’s modular XC 5000 Series Video Processing Platform, or within third-party vendor environments, the packager features highly efficient segmentation, encryption and origin server capabilities. The ABR Packager supports the latest standards and methodologies for OTT/Multiscreen content delivery. MPEG 2 transport stream inputs supporting MPTS high quality H.264 AVC multi resolution/bandwidth video services are converted in real time to HLS, MPEG DASH and Microsoft Smooth Streaming formats, as applicable, for the end viewing device. The software also features the Resource Allocator tool, which simplifies the process of defining profile parameters. Utilising a straightforward Web-based interface, users can efficiently customise or use preset configuration templates for application to multiple services simultaneously, making for effective and efficient profile management. Although it is designed to work with third-party solutions, the ABR Packager, when combined with Appear TV’s new real time Universal encoding and transcoding modules for OTT/Multiscreen delivery, provides an end-toend solution within a single unified platform. The Universal compression module in multiscreen mode supports both encoding from studio and transcoding of pre-compressed services to achieve high video quality, with electrical, thermal and space efficiency. When combined with the Packager, the multiple profiles streaming from the XC500 Platform are synchronised, ensuring low latency and accurate network interfacing. As Appear TV compression solutions are fully modular, they enable a full suite of redundancy options to ensure operator uptime that include Appear TV’s self-managing N+1 redundancy solution or ultra-reliable 1+1-redundant control cards that comprehensively manage seamless redundancy switching within IP networks without the need for third-party network managing software. This modular approach also provides the ability to integrate multiscreen/ OTT and broadcast operations seamlessly with a single user interface. Visit www.appeartv.com

Rascular Has NAB Under Control PRECISION CONTROL SPECIALIST RASCULAR is exhibiting at NAB for the first time and will be highlighting its partnership with Harmonic, particularly the use of Helm in Harmonic’s automation solutions, which control the Harmonic Spectrum media server and Spectrum ChannelPort integrated channel playout systems. Products on show will include: + Helm – Rascular’s flagship product which allows customers to pick best-of-breed equipment – branding devices, routers, servers, multiviewers and modular gear – from a wide range of manufactures yet control it with a single, integrated and highly customisable control screen for a huge range of broadcast applications. + RouteMaster – The latest version of RouteMaster, Rascular’s flexible PC-based router control system, will also be on show. Built on tried and tested software modules, RouteMaster can be used with a wide range of video and audio routers – past, present and future – from all the major manufacturers. It’s equally suitable for new router installations or extending the capabilities of existing systems. Both Helm and Routemaster have been extended with support for routers from Utah Scientific and Barnfind Technologies, offering mnemonic retrieval and TCP/IP support. They join a comprehensive portfolio of devices including products from Grass Valley, Imagine Communications and Blackmagic Design. Visit www.rascular.com

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CONTENT DELIVERY

New Dynamic Ad Insertion Software TELESTREAM WILL USE NAB 2015 to launch the new Vantage Dynamic Ad Insertion (DAI) content preparation system that will produce and distribute ad-ready content for on-demand video. With this system, multi-channel video program distributors and content production networks will be able to launch new revenue streams from their existing VOD content. By NAB 2015, Telestream says full 4K support and HEVC encoding will be available in Vantage Transcode Multiscreen and Vantage Transcode IPTV VOD, while XAVC decoding and ProRes 4444 encoding will be available in Vantage Transcode Pro. At NAB 2015 additional camera formats supported by Vantage will include Panasonic P2 AVC-Ultra and Sony XDCAM EX. Built on Vantage, Telestream’s Post Producer file-based content assembly software system will include third party titling from NewBlue. Post Producer addresses the issue of repetitive rendering of different versions of media. Based on user templates, and controlled via spreadsheet input, Post Producer automatically assembles multi-layer composites from video and graphics, enabling the creation of uniquely branded versions of the same package for different distribution services. Launched last autumn, Vantage Cloud Subscriptions complements onpremise Vantage systems by allowing users to quickly and easily provision transcode farms in the cloud with pay-as-you-go pricing at Amazon Web Services (AWS). At NAB 2015, Telestream will feature expanded regional support that allows users to connect locally to an AWS cluster in Australia, Singapore, Japan, and Germany. Telestream will demonstrate major new features in Wirecast 6 including Instant Replay, Playlists, iOS sources, Social Media feeds and more. Wirecast is suitable for streaming or recording live Internet shows. Telestream will be demonstrating Switch, the multi-format media player and inspection tool for broadcast and media professionals on both Mac OSX and Windows platforms. Telestream will also announce version 6.5 of its Episode desktop video encoding software. Building on the strong foundation of Episode’s powerful video and audio encoding engine, version 6.5 introduces support for 608 and 708 closed captioning standards, improved audio handling and channel mapping, and HEVC and XAVC for super high resolution encoding. Visit www.telestream.net

Scalable Transcoder-Encoder Platform

CONTENT DELIVERY

AT THE 2015 NAB SHOW, Blonder Tongue (Booth SU6524) will introduce the Scalable Transcoder-Encoder Platform (STEP), capable of performing high-quality HD/SD MPEG-2 or H.264 encoding, HD/ SD MPEG-2 to H.264 and H.264 to MPEG-2 transcoding, HD to SD downscaling, as well as creating adaptive bit rate live profiles supporting popular HTTP streaming protocols such as HLS, HDS, and IIS for any-screen video delivery. Available as a 1RU, 2RU, or 3RU integrated system, STEP helps operators meet the latest video requirements and migrate to next-generation video network architecture by carrying out a variety of scalable video processing tasks. The flexible platform supports multiple video quality encoding bit rates, multiple audio formats, and text scrolling. STEP is compatible with any industry media server or digital rights management software, and can be easily integrated into CDN providers, offering users a tailored solution based on customer needs. Visit www.blondertongue.comv

Video Clarity Demonstrating ClearView Shuttle 4K

IMA

FOR THE FIRST TIME AT THE NAB SHOW, Video Clarity (Booth SU11907) will demonstrate its ClearView Shuttle 4K, a new system that adds another 4K-capable solution to the company’s ClearView video quality analyser line. ClearView Shuttle now includes record and playback capabilities for testing 4K video with audio. With the ability to record, play back, and compare sequences of uncompressed 4K video, ClearView Shuttle is ideal for device manufacturers and media operators that need to test new encoding technologies and existing processing devices already installed in their operations. Making its NAB Show debut will be Video Clarity’s RTM real-time audio and video monitoring solution for performing real-time quality measurement and monitoring of new HEVC codecs and services. The new HEVC testing feature is now available via update on most RTM solutions. The feature also applies to transcoder and statistical multiplexer product testing throughout firmware version development for manufacturers and live-channel performance testing to check new encoder deployment and bit-rate performance over a given transmission path for TV networks and service providers. RTM with HEVC testing provides full-reference, uncompressed DMOS measurement using any MPEG source stream or baseband input, and can decode and align encode/transcode HEVC video streams with source input for long-duration quality measurement and logging functions. RTM automatically records a sequence when video and audio quality drop below preset thresholds. NAB Show attendees will also see Video Clarity’s ClearView Player 4K Portable, the company’s latest product that helps manufacturers play back uncompressed video to show performance with new encoding technologies. Visit www.videoclarity.com

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Appear TV Launches DVB-S2X Support APPEAR TV, a provider of video processing platforms for broadcast and IP television, has used the recent ABU Digital Broadcasting Symposium to launch demodulation and modulation solutions supporting the new DVBSX2 standard. The new standard has a number of important advantages for broadcasters and operators, including bandwidth efficiencies of up to 50% over DVB-S2 for professional applications and 22% for DTH applications. “By providing support for the new DVB-S2X standard we’re enabling our customers to take advantage of the incredible bandwidth efficiencies this new satellite distribution technology offers,” said Carl Walter Holst, CEO of Appear TV. “We expect to see DVB-S2X widely deployed by operators and broadcasters for primary and redistribution of content via Satellite, Terrestrial, Cable and IP networks.” DVB-S2X is a DVB ratified extension to the DVB-S2 standard. It achieves significant bandwidth savings over DVB-S2, primarily through higher modulation schemes, improved filtering and better carrier spacing due to lower ‘roll-off’ factors, improved Forward Error Correction and support for adaptive coding and modulation. Additional benefits include the opportunity for channel bonding which enables improved statistical multiplexing performance when combined with Appear TV’s latest generation of Statmux with its ultra-low refresh rate. Appear TV’s DB-S2X modulation and demodulation modules were run in the Appear TV XC 5000 Series Video & Signal processing Platform. The Appear TV DVB/S, DVB/S2 and DVB-S2X demodulators in the new 1-slot module provided 64 channels in the XC5000 4RU and 24 in the XC5100 1RU unit; the dual carrier S2X modulator completes the pairing. Visit www.appeartv.com

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CONTENT DELIVERY

End-to-End Cloud Platform for Video Distribution IMAGINE COMMUNICATIONS has introduced CloudXtream, a comprehensive cloud video platform for multiscreen video distribution and monetisation. CloudXtream is designed to meet the growing and complex array of video distribution requirements, including live video, video on demand (VOD), cloud DVR (cDVR), dynamic ad insertion (DAI), packaging, encoding, transcoding, storage management and cloud orchestration. The initial components of the modular CloudXtream platform include CloudXtream cDVR and CloudXtream Dynamic Ad Insertion (DAI). Video consumption is rapidly shifting from a lean-back, linear approach to a mix of linear and lean-forward, self-selected, VOD viewing, with no effective means of integrating the two – until now. Imagine Communications’ CloudXtream cDVR is the first end-to-end solution from a single technology supplier, accelerating the evolution to the lean-forward, multiscreen world of any content, any time, on any device. CloudXtream cDVR provides consumers lean-forward flexibility, with cloudbased content readily accessible from any location and on any device. The wide variety of options like rewinding, restarting and replaying scenes, allows consumers to easily time-shift and consume their self-selected content at their convenience. For broadcasters, CloudXtream cDVR enables the creation of incremental paid service offerings to their subscription-based OTT businesses, as well as enabling user-centric personalisation and management of content. Subscribers can be offered new, revenue-generating services such as increased storage and enhanced time-shift options, an unlimited look-back window, start-pause-stop of both linear and VOD content, and concurrent recording of simultaneous programs. CloudXtream cDVR offers Pay-TV providers benefits such as reducing or eliminating costly truck rolls associated with home-based DVR/set-top boxes. CloudXtream also gives Pay-TV providers the ability to deliver robust content within or outside of their traditional footprints. Fresh and relevant advertising can be provided to viewers, enhancing the value of ads and helping maximise the monetisation of content. For mobile operators and the emerging group of over-the-top video distributors (OVDs), CloudXtream offers the industry’s first fully integrated

platform for cloud video to support cDVR, as well as linear and VOD content. This will accelerate time to market for these providers, allowing them to move quickly from concept to launch by providing the end-to-end platform to ingest, manage, package and distribute content. Monetisation of video content remains one of the biggest challenges for VSPs, which are often unable to capture the maximum value of advertising avails across linear, online/OTT and cDVR offerings. Ads can go stale quickly, are replayed repetitively, or have little or no relevance to the viewing audience. Imagine Communications’ CloudXtream DAI solution helps resolve these challenges with the one of the world’s most advanced advertising management capabilities, supercharging the monetisation of video content and improving advertising relevance. Imagine Communications’ CloudXtream DAI solution allows VSPs to maximise advertising revenue from both linear and nonlinear/online advertising. Suited to a host of content distribution environments, CloudXtream DAI can be used by broadcasters, cable MSOs, mobile operators, OVDs, telcos, and satellite providers across a variety of service offerings, including the CloudXtream cDVR solution, other cloud DVR or time-shifted content applications, video streaming from any Internet-centric or on-demand source, as well as other nonlinear or linear operations. Manifest manipulation is made possible across all event types, including live, VOD, pre-record cDVR, hot-record cDVR, and blackouts. In addition, state-of-the-art decision and analytics tools to help maximise value for all ad placements. Standards-based and proven in live deployments, CloudXtream DAI offers a distributed architecture for independent scaling and redundancy. The CloudXtream cloud video platform offers flexible pricing including XaaS models. CloudXtream is powered by Zenium, Imagine Communications’ next generation workflow manager that empowers companies to design, deploy, maintain, manage and scale software-defined workflows. Visit www.imaginecommunications.com

IMT Introduces Nucomm DR3 Diversity Receiver INTEGRATED MICROWAVE TECHNOLOGIES (IMT) will introduce its Nucomm DR3 diversity receiver at NAB 2015 (Booth N3922). The Nucomm DR3 is a third-generation diversity receiver incorporating many of the same powerful features as Nucomm’s popular DR1 and DR2 receivers, along with additional functionalities, including six-way MaxRC diversity, IP diversity, MPEG3/4 decoding, a WebPage interface and integration into IP networks. Ideal for the most demanding centralreceive and portable applications, it is the first receiver to offer a builtin IP diversity switch. It is designed to work with Nucomm’s new High Dynamic Range Block Down Converters (HDRBDC), which automatically compensate for cable loss. Highly modular and scalable, the DR3 allows users to daisy chain up to eight receivers to share the same set of antennas. Each DR3 acts as a redundancy to the HDRBDC, ensuring high reliability. In many applications, a single receiver may not be able to cover an intended area. The DR3 has an integrated IP diversity switch directly in the receiver. This feature is referred to as eLink. With eLink users can connect up to three additional remotely located receivers via Ethernet to the DR3. The remote receivers are fully coordinated by the DR3. No operator intervention is required to ensure that the best possible video is available. eLink coordinates all the remote receivers to tune to the same frequency and modulation parameters. Additionally, metadata from each receiver is

displayed on the front panel of the DR3 and WebPage. The DR3 receiver is configured with six diversity COFDM demodulators using maximum-ratio combining (MaxRC), which significantly improves the robustness of higher-data-rate COFDM modulation. Spatial diversity increases system performance by digitally combining signals with different characteristics, essentially filling in the gaps in the channel, providing improved path reliability. The built-in spectrum analyser instantly analyses the selected channel, and can be used to minimise multi-path or determine if the channel is clear from interference. The DR3 is available in 1.25, 2.5, 6, 7 and 8MHz bandwidths, allowing for 1 to 31 Mbps data rates. It is configured with an internal low-latency, multi-format H.264/MPEG2 HD/SD monitoring decoder. A legacy DVBASI output, which can be fed to an external decoder, is also available. The DR3 control panel uses a five-inch capacitive colour LCD touchscreen for easy navigation through the menu system. Spectrum monitoring of all six antennas is viewable directly on the front panel. Detailed information such as receive signal level and MER of each antenna, system level BER and decoder statistics, are available. Remote control is facilitated via Ethernet. When using Ethernet IP interconnects, the DR3 takes advantage of eLink technology, coordinating all the remote receivers and displaying consolidated statistics. Visit www.imt-solutions.com

CONTENT DELIVERY

 Cont

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CLASSIFIEDS + EVENTS POSITION VACANT – Business Development Manager ASTRALINKS is one of Australia’s leading provid-

+ Be able to manage the entire sales cycle and build long lasting relationships;

ers of satellite uplink services to the TV broadcast industry, delivering live coverage of Sport, News and Entertainment events from all over Australia.

+ Be self-motivated with excellent communication and presentation skills; and

We currently have a vacancy for an energetic, self-driven and technology savvy Business Development Manager, working from our Mount Kuring-Gai base, in the north of Sydney.

+ Have a current Australian driver’s license, your own transport and the right to work fulltime in Australia. We are a small team of high achievers and each team member is highly respected and regarded in their chosen field. To become part of our team, you will not only need to fit in, you will need to bring the drive and

To be considered for this vacancy you must fulfil the following criteria:

determination that is necessary to drive the business forward. If you are the

+ Have a proven track record of sales and/or business development within the Australian broadcasting industry;

right person for the job we can offer the right remuneration in relation to

+ Have a working understanding of satellite transmission infrastructure; + Understand the commercial requirements and challenges broadcasters face on both outside broadcast and live news delivery; + Have a keen eye for marketing and understand the importance of engaging your target audience via social media, advertising and trade shows;

your experience and the results you deliver. Please send your CV, including a 1-page cover letter, addressing the above criteria and stating why you are the right person for the job, to recruiting@ astralinks.com.au No Australian visa sponsorship will be offered, and NO agencies please!

BroadcastAsia2015: Meeting the Demands of the Connected Consumer THE ASIA-PACIFIC has a unique broadcasting market dynamic that boasts a new generation of the Connected Consumer. According to Reuben Verghese, Global Head of Multiscreen Solutions & Vice President of Asia at Accedo and BroadcastAsia2015 conference speaker, the broadcasting industry is one to watch out for in 2015. “In the past decade, since the proliferation of smart connected display devices, there has been a shift in the way consumers and enterprises

Advertiser Index AJA...................................................... 3 Amber Technology.......................37 ARRI Australia.............................. IBC Autodesk Inc..................................36

Madison Connective Technologies..................................52 Magna Systems & Engineering...................................IFC

Blackmagic Design......................... 5

On-Air Solutions.....................33,45

BroadcastAsia2015......................61

Professional Audio & Television........................... 11,35,55

Brightcove................................... OBC Elemental Technologies.............41

Quantum Inc..................................19

GatesAir...........................................57

Quinto Communications.............. 9

Grass Valley Australia..................15

Riedel...............................................21

Imagine Communications..........17

Ross Video......................................29

IRT Communications..................... 8

Sennheiser Australia...................51

Jands................................................49

Sony Australia................................23

Lawo.................................................47

SMPTE Australia............................13

Lumina Broadcast Systems Australia..........................................53

Techtel............................................... 7

BroadcastAsia2015 is being held from 2-5 June 2015 in Singapore. Visit www.broadcast-asia.com

Position Vacant – Telecommunication Manager - Operations & Maintenance WE ARE A medium size telecommunication business in Port Moresby, Papua New Guinea. We require a highly motivated person to oversee our technical division. The main responsibilities/activities: - Managing the technical supervisor team of five with 20x field technicians - Satellite HUB/VSAT - Internet Service Provider - Bandwidth Management - Wireless Networks - VPN - MMDS Cable Television System - Satellite Television installations nationwide - Technical Sales Required skills: - RF Experience - IP and Networking Experience Strong experience in troubleshooting, problem solving and root cause analysis This is a senior expatriate position based in Port Moresby with accommodation and vehicle provided. If you are keen to be part of a dynamic, friendly team and have excellent communication skills and relevant industry experience, please forward your CV to jobs@hitron.com.pg * Please note: only applicants short-listed for this role will be contacted. Your application will be treated with strict confidentiality.

CLASSIFIEDS + EVENTS

Studiotech Australia...................... 4

consume and deliver video, with more access to their news, sports, videos and entertainment on a myriad of sources as opposed to traditional television,” he says. “This added convenience and accessibility have changed the consumption patterns of the Connected Consumer and by extension, the broadcasting industry.”

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TIME shifter DOTCOM Turns 30 Thirty years ago in 1985, the Internet was in its infancy. Apple’s personal computer, the Macintosh, had only been on the market for a year, and the online service that eventually became AOL was readying its launch. It was during this time, on March 15th, that the first second-level dot com domain, symbolics.com, was introduced online, marking the beginning of the modern Internet. THE DOMAIN REGISTRANT, Symbolics Computer Corporation, was a pioneer of computer development. Symbolics designed and manufactured a line of Lisp machines, single-user computers optimised to run the Lisp programming language. The Lisp Machine was the first commercially available “workstation”. The Symbolics Graphics Division (SGD, founded in 1982, sold to Nichimen Graphics in 1992) developed the S-Graphics software suite (S-Paint, S-Geometry, S-Dynamics, S-Render) for Symbolics Genera. The software was used to create some computer animated movies and was used on some popular movies, including Star Trek III: The Search for Spock and Jetsons: The Movie. While the company made significant advances in software technology and offered one of the premier software development environments of the 1980s and 1990s, it closed after internal management division and a downturn in the IT market. The domain is now held by XF.com Investments.

UNCERTAINTY

There are currently 270+ million registered domain names; in fact, about 17 million were added just in 2014. The largest TLDs in order by zone size were .com, .tk (Tokelau), .de (Germany), .net, .cn (China), .uk (United Kingdom), .org, .ru (Russian Federation), .nl (Netherlands) and .info. Today, the Internet helps connect around 3 billion people. This rapid pace of growth is expected to increase, particularly in developing countries where growth rates continue to be three times as high as those in developed countries. In 2013, the Internet Corporation for Assigned Names and Numbers (ICANN) began to expand the Domain Name System through the new gTLD Program in an effort to expand choices available to Internet users as they claim their online identities. Now, over 500 top-level domains, nearly half of those expected, have been delegated globally. Through the New gTLD Program, we’ve seen new domains of every type and flavour, such as new regional domains (e.g., .amsterdam, .osaka, etc.) which instantly lets users know where businesses and organizations are located, while cause-focused domains allow visitors to raise funds and awareness for their issues with the click of a button. Most meaningful for new users from developing countries are the introduction of Internationalized Domain Names (IDNs) in scripts such as Arabic, Chinese and Cyrillic, which now allow millions of Internet users to communicate on the web in their native languages. The first domain through the New gTLD Program, dot shabaka - meaning “web” in Arabic - was an IDN. Visit www.icann.org

TIME SHIFTER

Despite enormous promise, the future of the Internet at this time was uncertain. According to a report from the Information Technology &

Innovation Foundation (ITIF), a non-profit think tank, a lack of subscribers and underdeveloped technical infrastructure hindered widespread adoption of the Internet. It was not until a decade later in the mid-to-late 90’s, when consumer demand and Internet speeds for home and business use had significantly improved, that usage rates began to steadily grow and the Internet began its trajectory toward becoming entrenched in people’s everyday lives. Now, we have an entire generation of people who do not know life without the Internet.

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TRULY TRULYCINEMATIC CINEMATIC ARRI ARRIis isyour yourperfect perfectpartner partnerininthe theﬁlm, ﬁlm,television, television,commercial commercial and and multimedia multimedia industries. industries. The The close close collaboration collaboration ofof ARRI ARRI Cine Cine Technik, Technik, and and ARRI ARRI Media Media Services Services (comprising (comprising ARRI ARRI Film Film & TV & TV Services, Services, ARRI ARRI Rental, Rental, ARRI ARRI Productions Productions and and gives gives you you access access toto a complete a complete and and cost-effective cost-effective setset ofof ARRI ARRI Worldsales) Worldsales) production production solutions. solutions. Unique Unique synergies, synergies, savings savings and and services services areare available available when when it comes it comes toto project project planning planning and and support, support, production production equipment equipment and and post-production post-production – everything, – everything, in in fact, fact, toto ensure ensure the the technical technical and and creative creative realisation realisation ofof your your project. project.

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27/03/2015 1:42 pm

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