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VOLUME 13 ISSUE 5 SEPTEMBER-OCTOBER 2016
MEDIA + PRODUCTION + MANAGEMENT + DELIVERY
PREVIEW ISSN 1448-9554
POST & VFX
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ACQUSITION
VOLUME 13 ISSUE 5 SEPTEMBER-OCTOBER 2016
Also see C+T in PDF at www.content-technology.com
REGULARS 02 EDITOR’S WELCOME 04 NEWS Illoura Busts VFX for Ghostbusters,
60 INDUSTRY FOCUS 64 EVENTS
Jackie Chan to Film Down Under, Gearhouse Powers Princesses of Pop, NZ to Update Broadcast Laws, Growth for Freeview HbbTV, People Moves.
04 FEATURES 11 TAKING STOCK Nine Posts AUD$120m
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MEDIA IN THE CLOUD ASE and Partners Offer Media-Specific Cloud Workflows, Silver Trak Controls 4K Quality, TBWA Boosts Media Efficiencies with Quantum
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AUDIO Fairlight to Divest Itself of
Profit, Seven Invests in UK Production Company
12 STANDARDS SMPTE Announces 2016 Honours Awards Recipients
14 SHOW PREVIEW: IBC 2016 22 ACQUISITION DOP Stefan Duscio Puts
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Cooke to the Test in ‘Jungle’, Lens Metadata –Saving Time and Money in Production & Post
28 SPORTSCASTING Olympic Channel Launches, Panasonic Delivers AV for Olympics and Paralympics, Bundesliga Live in Virtual Reality
Pro Audio Technology, Broadcast and Streaming for AES Convention, New Sound Gear
53 RADIO In with the New for ARN Artarmon, SBS Settlement Guide Empowers New Migrants, Canberra FM Appoints Craig Wagstaff General Manager
56 CONTENT DELIVERY Telstra’s New Broadcast Operations Centre
36 NEWS OPERATIONS Nine Boosts News Management Team, Reuters TV Version 2.0, News Gear at IBC
40 POST-PRODUCTION Animal Logic
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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 papers@broadcastpapers.com
Launches VFX Academy, Autodesk Upgrades, Digital Film Technology Partners with Quinto, New Post Products
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EDITOR’S WELCOME
Making a Virtue of the Virtual By Phil Sandberg
Spurred on by financial interests, technology developers, conference organisers and, yes, trade press, the industry was subject to a succession of technological panaceas which would not only transform the media business, but safeguard it into the future.
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Now it is the turn of Virtual Reality (VR). For this year’s IBC, some 44 companies are spruiking solutions for VR production and/or delivery. NAB2016, by contrast, had four. 16:00
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Media asset management, mobile TV, digital signage, 3DTV, they were all going to transform the industry and propel it onto a new golden age.
Mischievously, one could say that virtual reality is attracting virtual wealth. Investment bankers are circling the emerging sector. Taiwan-based smartphone developer, HTC, recently joined with 30 venture capital funds to form the Virtual Reality Venture Capital Alliance. With a potential investment pot in excess of USD$10 billion, the purpose of the Alliance is to foster longterm growth in the VR industry through identifying, sharing and investing in innovative VR technology and content companies. Of course, the focus will be on the potential of a number of industry verticals, not just entertainment, but a roadmap for its adoption is already available by looking at the now-stalled area of 3DTV.
The same issues which plagued the adoption of 3DTV are likely to also challenge the roll-out of Virtual Reality, but can be boiled down into a dependence upon the adoption of a whole new technology chain for both creators and consumers - for which there is an uncertain return. Augmented reality, like 4K or HDR television, is able to leverage existing platforms and investments (with some level of customisation), but it doesn’t need to reinvent the wheel. There are existing devices, delivery networks and audiences. The bespoke quotient of the whole process is far less than that of VR. 03:00
For much of the last two decades, technological change and seismic shifts in the economy have left the entertainment and media industries fumbling for a magic tonic to the ills of shrinking returns, audience fragmentation and the rise of new forms of media.
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But, can the same be said of Virtual Reality?
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Still, at an estimated 30 million current users the craze still has a way to run and has seemingly permeated all levels of society. A Norwegian parliamentarian was recently caught playing the game during a military briefing. In her defence, she said she listened better when she was doing “brain dead” activities. Aside from showing that Norway is another oil-rich nation ripe for invasion, the incident demonstrates the advantage Augmented Reality has in its low barrier to participation.
3DTV was notably thin on the ground at this year’s CES show in Las Vegas. Receiver manufacturer Samsung did not include 3D in any of its 2016 announcements while LG has retained 3D in only its higher-end models. The moves follow the suspension of 3D programming by the BBC in 2013 due to a lack of uptake, the closure of ESPN 3D in the U.S. due to a lack of demand, the shuttering of Xfinity 3D and all DirecTV 3D programming in 2014, and the closure of Sky UK’s 3D channel in 2015.
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SINCE OUR LAST ISSUE, the Pokémon Go phenomenon has, after an initial spike of 45 million users, started to settle down as novelty wears off, real life starts to intrude again and other sources of eyeball distraction such as Olympics broadcasts have come to the fore.
Still, the Australian Government injected AUD$10.4 billion into the country’s economy to stave off the effects of the Global Financial Crisis, so a US$10 billion Virtual Reality fund should be enough to pump-prime the sector. Time, as they say, will tell.
Thanks for Reading Phil Sandberg - Editor/Publisherpapers@broadcastpapers.com T: +61-(0)414671811
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Deluxe’s Iloura Puts the Ghost in Ghostbusters THE RECENT REBOOT of 80s classic Ghostbusters saw the film’s producers summon Australia-based VFX house Iloura which completed 500 shots for the otherworldly remake. The team was led by Iloura VFX Supervisors Glenn Melenhorst and Andrew Hellen and Iloura VFX Producers Ineke Majoor and Jeannette Manifold. The feature was coloured by Jill Bodganowicz at Deluxe’s Culver City, CA facility. Iloura’s slate of work focused on look development and creation of ghostly characters Pete Travers, Sony Studios VFX Supervisor for Ghostbusters, said, “Iloura played such a strong role in the design of our ghosts. From the first test in pre-production which they hit out of the park, everything Iloura produced was not only of extremely high quality, but had such a strong aspect of creative design, in ways that we hadn’t asked or expressed. They went the extra mile, and it always paid off from our vantage point. Glenn and his team made it easy on us, defining the look of our ghostly beings like Gertrude, the Rock Concert Ghost and the Mirror Ghouls.” In a pre-production test, potential VFX vendors were required to produce an animated ghost based on what they thought the characters should look like. According to Melenhorst, “The brief allowed us quite a bit of flexibility, and we developed some designs that evoked a creepy, ethereal look and feel, but still had enough charm and personality to work for the comedic aspects of the film.” For Gertrude, a live-action/CG hybrid (sometimes full CG) who lives in the library, artists built a skeletal system, designed and added her clothes and lower body, and finished with a celestial aura. Production employed a technique of strapping the actors in LED lighting which threw a soft light both onto the actors as well as the set, which required artists to integrate her seamlessly into the plate. They also transformed her from ethereal beauty to skeletal ectoplasm-spewing-monster. Another Iloura creation was the band of Mirror Ghouls. The filmmakers envisioned them as decomposed creatures recessed in a dark world who take on a suggestive form from afar, but become more legible as they approach the mirror surface and try to escape. To achieve this, Iloura's artists developed a number of looks for the translucent creatures from the recessed world, as well as more creepy, human-like forms that appear close to the surface. Cooler shading and lighting tones were utilised behind the glass, which shifted to warmer tones as the ghouls approach the surface; a technique that helped inform the audience of their other-worldly environment and their relationship to ours. As the ghouls eventually smash through the mirrors and take on vaporous ethereal forms, CG warping and
reflective bows were added to the mirror surfaces, as well as practical and CG smashed glass to support the physicality of the event. This kind of seamless transition was key to audience acceptance in this film as ghosts and ghouls frequently metamorphose from one form to another. Mayhem, a large and ominous all-CG ghost who inhabits a concert stadium and appears as part of a heavy metal stage show, was another Illoura creation. He needed to retain a ghostly, translucent look, but with subtle real-world detail such as skin texture and hair which needed to float and move as he flew through the air. An internal glow dubbed a 'jelly pass' was added to give him an inner ghostly glow on top of his skeleton and muscle system. In some of the more complex shots, the dry-ice aura and vapour effects needed to interact with the concert crowd and the main actors to bring more believability to the scene. Further work to this sequence included CG beams, sparks and lightning from the actor’s guns, crowd enhancements and associated integration between the live-action plates and the CG work. Other characters completed by Iloura included ghost rats and the Show Ghost featured in a sequence with Bill Murray’s character. Sony Studios VFX Producer for the feature, Sean Santiago, said, ”I knew that when Iloura said they could do something they would, and they would exceed expectations, and despite the many, many curveballs thrown their way, Iloura continued to deliver quality work. It was an absolute pleasure working with Iloura and something I hope to repeat soon and often.” Ghostbusters released in Australian cinemas on July 14 and in the US on July 15. Visit www.bydeluxe.com
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Maroni Appointed Sales Manager for Studiotech
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PAUL MARONI HAS JOINED Studiotech Australia as Sales Manager.
professional career in Engineering at
Paul is well known and respected throughout the industry at all levels and
Channel 7, then transitioning to Sales
requires little introduction, having previously held positions with Sony
and Marketing with Sony.
Australia, Miller Camera Support, Magna Systems & Engineering, and the
“My philosophy is that you don’t sell
Seven Network.
to a customer, you provide them the
According to Studiotech Australia Managing Director, Michael Bentsen,
best solution possible to a problem,”
Paul will be “… striving to take Studiotech Australia to the next level,
said Paul.
by ensuring that the industries that we are targeting are fully aware
“I am very pleased that Paul has
of the supreme quality solutions, enterprise level solution integration
decided to join Studiotech Australia, as he is the perfect fit into our
capabilities and unparalleled customer support that we provide.”
customer-focused culture,” concluded Michael Bentsen.
Paul comes from a strong technical background, spending half his
Visit www.studiotechau.com
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Gearhouse Fronts House for Queens of Pop NOT ONLY DID TAYLOR SWIFT’S recent Sydney show break all kinds of
Following the success of the Taylor Swift concert, Gearhouse Broadcast
entertainment records at ANZ Stadium, but it also took the title of the largest
has again provided the latest in live music and OB production facilities for
live OB concert record in Gearhouse Broadcast Australia’s history. This master
Madonna on her ‘Rebel Heart’ tour at Sydney’s Qudos Bank Arena.
class in live OB production integrated 41 cameras, a SpiderCam, a Helicopter, four Techno cranes, and two HD super-trucks. Gearhouse Broadcast Sales Director, Manny Papas, explained, “Not only were
Manny Papas explained, “Stuart Gosling at York Studios in Melbourne contacted us as he had seen what we produced for Taylor Swift, and wanted
there over 40 cameras on this gig, but it was the largest integration of large
the same high level of production.”
sensor cameras and broadcast cameras that we have ever put together.”
Similar to the Taylor Swift event, the Rebel Heart tour production consisted
The request for Gearhouse to help stage the event came from U.S.
of a mix of six Sony PMW-F55 large sensor cameras for close up and stage
production house, DPS, and it was clear to Papas from the get-go that the
shots, and six broadcast cameras with box lenses for longer shots.
event was going to break all kinds of records. Manny continued, “DPS wanted us to use large sensor cameras and prime lenses for close
York Studios EP, Stuart Gosling said, “The industry talked after the Taylor Swift gig and it was clear Gearhouse was the go-to company for live music concert OBs. These gigs are
ups, and broadcast
now a very big deal as
cameras with box
the finished product
lenses for stability
is recorded, packaged
and focal length for distance shots. As we
and sold worldwide,
started planning we
so the quality of the
realised the scale was
production has to be
going to be huge.”
incredibly high. I’m
Gearhouse integrated
very happy to say
10 Sony HDC-
Gearhouse delivered
2500 cameras, one
on all fronts.”
Sony P1 camera in
Gearhouse employed
a SpiderCam, 19
the same HD6
PMW-F55 large sensor
‘Entertainment
cameras, two Phantom
Supertruck’ used on
high-speed cameras,
the Taylor Swift event
and nine show tour cameras. The cameras
as the production
used eleven 100x
centrepiece, this
broadcast lenses and two prime lenses for each large sensor camera.
time housing Madonna’s creative team, the line cut, CCUs, three XT3 eight-
Then there were the big bits of kit that also came into play as Papas
channel EVS and audio multi-track recording, alongside the six PMW-F55
explained, “In super-truck HD6 we had CCU for all the cameras, the main
cameras with Fujinon 19-90mm Cabrio zoom lenses, six broadcast cameras
record for the show, and the production area for director, Jonas Akerlund,
with box lenses, a SpiderCam housing a Sony P1 with wide angled lens, and
where the main line cut was produced. The HD10 super-truck housed the
two Libre Hot Heads – also with F55s and a 32 foot techno crane.
EVS back up record, more CCU control, and the secondary line cut.” Gearhouse also supplied the entire crew, scaffolding, helicopter, comms and the touring shows comms, and as Papas explained, more than one recording format. “We recorded the show in 4K for the large sensor F55s, and also simultaneously 1080i/PsF 29.97. We also backed everything up on EVS and hard drives for total redundancy.”
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Not only was the size of the production a first, but so was the unique mix
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Papas added, “The HD6 Entertainment Supertruck is just that, an OB production vehicle specifically designed to handle large live concert gigs. Also, the formula of mixing film cameramen with focus pullers alongside broadcast guys worked extremely well on both the Saturday and Sunday shoot. This time there was even more refinement as we were able to offer more options on how the SpiderCam and Libre Hot Heads could be used.”
of technology and talent as Papas concluded, “We mixed film cameramen
Gearhouse recorded the gig in 1080i/PsF 29.97, and ISO recorded every
with follow focus guys alongside broadcast cameramen, and wired each of
camera to EVS and hard drives.
them up to their own individual RF comms – which added 30 UHF comms
York Studios EP, Stuart Gosling concluded, “We were delighted with the
channels in total – using the same unique system our Event Comms Division
end result. Witnessing Gearhouse’s production, experience and quality of
developed for, and use at all V8 Supercar races. We also had to integrate two
output, it was clear to see they knew exactly what they were doing and how
50-foot techno cranes, two 30-foot techno cranes and three Libre stabilised hot heads all with large sensor cameras on board. It was a production like no other.”
everything worked. It really was an excellent job.” Visit www.gearhousebroadcast.com
LEGENDARY MOVIE ACTION HERO Jackie Chan will star in and produce his next film Bleeding Steel in the Australian state of New South Wales (NSW). It will be the first film produced under the NSW Government’s AUD$20 million Made in NSW fund. Bleeding Steel will mark the first time Jackie Chan has filmed in Australia for almost 20 years. The 1996 film, Police Story 4: First Strike, used numerous locations in Queensland and Victoria. Chan’s connections with Australia date back to 1960 when, as a small boy, his parents emigrated to the Australian national capital, Canberra, where they worked at the U.S. embassy. Acting Premier and Minister for the Arts Troy Grant said the NSW Government secured the production of Bleeding Steel for Sydney through its recently announced AUD$20 million Made in NSW fund, which provides incentives to attract international film and high-end Australian television drama production to NSW. “Bleeding Steel is set to be a box office smash in China, where it will showcase our magnificent city and its iconic locations, such as the Sydney Opera House, to the largest growth market for tourism in NSW,” Mr Grant said. “The production will pump more than $20 million into the local economy and support local film industry professionals, including stunt, safety and rigging crews, by providing them with the opportunity to work on a film alongside one of the world’s leading action heroes.”
for those young people who’ve undergone training for our creative industries,” Mr Barilaro said. “Locally trained stuntwoman Maria Tran from western Sydney will now have an opportunity to realise her dream of working alongside lifetime idol Jackie Chan and his stunt team.” Heyi Pictures and Village Roadshow Pictures Asia, the China production arm of the Village Roadshow Group, are co-producing Bleeding Steel. Launched in August 2014, Heyi Pictures is the film production company of Youku Tudou Inc., one of China’s leading online video companies. As a film company that draws heavily on online content business models, Heyi Pictures explores innovative uses of 'big data' for strategy, marketing and brand development in its film production process. To date, Heyi Pictures has coproduced and co-financed films with total box office receipts of ¥9 billion RMB (USD$1.35 billion), including Surprise, Detective Chinatown, Saving Mr. Wu, The Master and 34 other films. The company’s co-financed Monster Hunt earned ¥2.44 billion RMB (USD$367 million) at the box office to become the highestgrossing Chinese film of 2015.
Minister for Skills John Barilaro said this is the biggest budget Chinese film to ever shoot in Australia and will cast 40 NSW actors and dozens of local extras as well as create 200 production jobs.
Village Roadshow Pictures Asia, meanwhile, was established in 2011 to undertake the development, financing, production, marketing and distribution of films for Greater China. The majority of VRPA’s projects are structured as Sino-foreign co-productions and filmed in Greater China. Recent releases have included Stephen Chow’s Journey to the West, Leste Chen’s Say Yes!, and Peter Pau’s Zhong Kui: Snow Girl and the Dark Crystal, as well VRPA affiliate Irresistible Films releases Go Away, Mr. Tumour! and Cold War 2. Upcoming films include Mountain Cry, Hide and Seek and Reborn.
“Securing Bleeding Steel is a great win for NSW and the highly skilled jobs demanded by the screen industry will create hundreds of new opportunities
Visit http://screen.nsw.gov.au and http://vreg.com/village-roadshow-pictures-asia
PMS 356
PMS Cool Gray 8
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Jackie Chan to Produce New Film Down Under
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Michelle Rowland Australian Shadow Minister for Communications
PAT Adds Prestidge as GM for Sydney
LABOR PARTY MP MICHELLE ROWLAND has been appointed as Australian Shadow Minister for Communications. Rowland was elected to the House of Representatives in 2010 as the member for the electorate of Greenway in Sydney’s western suburbs.
PROFESSIONAL AUDIO & TELEVISION
Previously holding the positions of Shadow Minister for Citizenship and Multiculturalism, Shadow Assistant Minister for Communications, and Shadow Minister for Small Business, Rowland has a legal background, having worked with legal firm Gilbert & Tobin from 2000-2010, specialising in competition and regulation in the telecommunications, media and technology sectors. Michelle Rowland replaces Jason Clare MP who has been appointed Shadow Minister for Trade and Investment, and Shadow Minister for Resources and Northern Australia. “As a lawyer specialising in communications for over a decade before entering Parliament, I look forward to tackling the challenges and embracing the opportunities for communications policy in Australia,” said Rowland. “The election presented a clear choice between the Turnbull Government’s failed approach to a second-rate National Broadband Network, and Labor’s commitment for up to two million more fibre connections, as ably championed by Jason Clare. The Prime Minister boasts the NBN is one of his proudest achievements, yet he oversaw Australia slide from 30th in the world for internet speeds to 60th. This simply isn’t good enough.” Visit www.michellerowland.com.au
has announced the appointment of Keith Prestidge as its new General Manager for its Sydney office. Mr Prestidge, who brings a wealth of senior management and sales experience with him, has worked for brands such as Klotz Digital, Studer and the Stagetec Salzbrenner Group across the APAC region over the last 20 years. He has held various roles within Engineering, Sales and Senior Management, which have provided him with a keen business acumen that has successfully contributed to growing businesses across the Asia Pacific region. “We are delighted to have Keith join our team,” commented PAT’s Managing Director, Patrick Salloch. “As Keith and I have previously worked together very successfully, I am well aware of the value and experience he will bring to our Australian operation. Keith will support us in steering our business through the current growth phase, while ensuring that our core business of providing superior customer focus and delivering cutting edge technology solutions of the future are consistently met.” Mr Prestidge added, “I have followed PAT’s projects and successes over the years and I am very much looking forward to getting involved and contributing to the growth of the business in Australia.” The company was recently named ROSS VIDEO’s Platinum Business Partner in Australia, in addition to being the exclusive distributor for LAWO, Bel Digital, DirectOut, RTW and Boland Communications in Australia and New Zealand. Visit www.proaudiotv.com.au and www.proaudiotv.co.nz
Grass Valley Partners with Madison Technologies
Ray Sanders Joins Grass Valley as NZ Sales Manager
MADISON TECHNOLOGIES HAS ANNOUNCED an official agreement
LONG-TIME BROADCAST INDUSTRY LEADER Ray Sanders has joined Grass Valley, a Belden Brand, as sales manager for the New Zealand region. Sanders has a long history of working within New Zealand and the rest of Southeast Asia and has years of association with these markets.“Ray brings with him experience in the business environment and particularly in the systems business,” said Andrew Thornton, Vice President of Sales, Asia Pacific, Grass Valley. “We are pleased to welcome him to our expanding Oceania team. ”Sanders launched his career in the industry more than 40 years ago as a broadcast engineer for the New Zealand Broadcasting Corporation. He then joined Gencom in 1987 and rose to become the CEO for 14 years before the company was sold in 2013. Visit www.grassvalley.com
with Belden-owned brand, Grass Valley, to deliver a range of production solutions throughout Australia. Madison Technologies’ Broadcast & Audio Visual Business is expanding to include the Grass Valley brand of broadcast workflow and production solutions. “We’re Australia’s largest distributor for Belden AV cabling and connectivity,” said Ken Kyle, General Manager of Broadcast and Audio Visual at Madison Technologies. “The reputation we’ve gleaned from our years of working closely with the Pro AV industry can only be enhanced with the Grass Valley offering, which allows our broad customer base to simply expand on the scope of what they already engage us for.” “The key to success for broadcasters today is to invest wisely in tools that provide flexibility and a growth path that ensures they will be FutureReady. Grass Valley empowers customers to create, control and connect content – wherever, however, and whenever it is consumed,” said Grass Valley’s Asia-Pacific Vice President, Andrew Thornton. Visit www.madisontech.com.au
IBC stand 7.B30
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50% Plus of TV Sales Delivering FreeviewPlus FREEVIEW HAS SIGNALLED compelling growth in Australian uptake of FreeviewPlus receivers with the highest-ever percentage of HbbTV receiver sales recorded in June 2016 at over 51% of all TV sales. The connection rate of HbbTV receivers is now more than 85% which represents a 31% increase compared with figures released earlier this year. More than 80% of Smart TVs in 2016 are FreeviewPlus-enabled and 11 major TV manufacturers are FreeviewPlus-certified. These manufacturers represent 91% of all connected TV sales. Smart TV manufacturer LG introduced its first Smart TV in 2012 and has seen consumer demand rise strongly. “The growth is largely due to technology consistently delivering easierto-use, seamless functionality and more people understanding they can watch broadcast TV and catch up TV,” said LG Marketing Manager, Grant Vandenberg. “We are very happy with the pace of market penetration as consumers buy new TVs. It comes at an exciting time when we are about to launch a new ‘Keeping up with the Freemans’ TV campaign for FreeviewPlus, as well as launch our live streaming mobile app later in the year” said Freeview CEO, Liz Ross.
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Visit www.freeview.com.au
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New Zealand Looks to Update Broadcasting Act NEW ZEALAND’S BROADCASTING MINISTER, Amy Adams, has announced her Government’s plans to update the Broadcasting Act to better reflect today’s converged market. “In today’s world where New Zealanders can access content anywhere and at any time, it’s important we ensure our legislation remains fit for purpose. On-demand content is either regulated inconsistently, or not at all, which can potentially expose the public to harm as all content is not subject to the same classification standard.” The Government considered four areas as part of its review into content regulation: classification requirements, advertising restrictions, election programming, and contestable funding. One of the primary drivers of the review was that confusion had arisen as to whether online content through on-demand sites is subject to the Broadcasting Act, the Film, Videos, and Publications Classification Act (FVPC Act), or not at all. To clarify this, the NZ Government is proposing two changes to the Act, through a new Digital Convergence Bill: • Extending the Broadcasting Act to capture on-demand content and ensure it meets classification and content standards, and making it clear the FVPC Act does not apply. These changes do not affect user-generated content, such as Facebook or YouTube videos and exclude news and current affairs. • Providing television broadcasters with the right to include advertising on Sunday mornings during significant events, such as major overseas sports events. Advertising restrictions will remain in place for Good Friday and Easter Sunday, Anzac Day and Christmas Day. “The extension to our standards will ensure greater consistency and fairness across the sector, and support continued innovation and growth within the industry.” says Ms Adams. The Broadcasting Standards Authority (BSA) will continue to administer the standards system, with its role extended to include on-demand content. Visit www.beehive.govt.nz/portfolio/broadcasting
TAKING STOCK Moves in the business of content + technology
www.content-technology.com/mediabusiness
Nine Entertainment Co. Posts AUD$120m Profit for 2016 NINE ENTERTAINMENT CO. HAS POSTED its full-year results for the 2016 financial year, which highlighted a year of “tightly managed costs and a commitment to increasing premium local content in 2017 by 50%”. Nine reported Revenue of $1,282 million, Group EBITDA of $202m and net profit after tax of $120m from its continuing operations. On a statutory basis, which included profit on the sale of Nine Live, net profit after tax was $325m. Highlights for the year include: - Completion of new landmark affiliate deal with Southern Cross Media - Increased cost discipline across each division, with group cost performance ahead of guidance - Video streams up 14% to more than 392 million, ranked #1 Australian publisher1
- 4.0 cent fully franked final dividend for a FY16 total of 12.0 cents, up 30% year-on-year Over the year, Nine Network’s reported costs decreased by $62m (6.2%). Inclusive of the total Warner Bros. costs, costs were down by 2.2%. This reduction was delivered despite a contracted increase in sports costs, legal fees which were around $7m higher (relating to litigation with Channel 7, WIN and costs associated with the 60 Minutes Beirut story), as well as investment in the launch of the new 9HD and 9Life channels. Nine also announced that it has reached an agreement with Warner Bros. in relation to the life of series obligations. This agreement results in Nine exiting these obligations and provides increased flexibility in relation to future content spend.
- Stan joint venture established as the leading domestic SVOD player
CEO Hugh Marks said, “As a business we are incredibly focused on regaining momentum in ratings and revenue, with a well advanced content plan for 2017. The combination of our free-to-air, SVOD, AVOD and other digital assets is unique in this market and provides a strong platform for us to meet the changing needs of our audience and customers in the future.”
- Double-digit EBITDA growth from a refocused digital business
Visit www.nineentertainment.com.au
- Launch of state-of-the-art streaming and catch-up service 9Now and fourth channel, 9Life
Seven Invests in UK Production Company Slim Film + Television global content development and creation for the international market through an investment in UK-based scripted specialists, Slim Film + Television. Seven has secured a major shareholding in Slim, the company behind critically acclaimed drama Legacy (BBC) and award-winning comedy The Art of Foley and founded by multi-award winning producer Simon Crawford Collins (Spooks, Ashes to Ashes, Hustle). The new venture underlines Seven’s commitment to increasing its international presence in the production of television programmes and new formats. Seven’s investment in Slim sees Seven move into the creation and production of drama series and comedies for the British and international markets and adds to Seven’s growing international presence with 7 Wonder and 7 Beyond. Slim was founded by Simon Crawford Collins in 2011 to produce high-end, ambitious scripted content for global audiences. Simon and his team have since produced highly acclaimed and award-winning programmes and are currently developing major scripted projects for the majority of UK broadcasters as well as a number of international networks such as AMC. The new partnership with Seven is part of Slim’s strategy to further develop and expand its slate of international projects and to work with the best talent on ambitious, high-end productions. Simon Crawford Collins, Founder and Managing Director of Slim Film + Television, said: “Slim is embarking on an exciting new phase in its growth and, after considering a number of offers, we believe that Seven are the perfect creative partners to support us in our future ambitions. They are not only an exceptionally inspirational group, market leaders in their territory and have massive global aspirations; they also have boundless energy and a great sense of fun. Together we will be looking to further expand internationally and pursue a number of high-end international coproduction opportunities that are already in development as well as fully exploit our incredibly exciting slate of programming to produce innovative and highly successful programming for global audiences.”
Tim Worner, CEO of Seven West Media, said: “Seven is committed to growing its international production footprint and we want to do that with the very best people. Simon’s track record speaks for itself, and audiences in Australia, and in fact all over the world, have loved the shows he has already been involved with. He is now attracting some brilliant writers to Slim, and together we believe we will create more outstanding work to take to audiences everywhere. “Seven is the leading content production company in Australia with some of the most successful brands and franchises. We are recognised as the leader in Australian produced television programming. Our success is built on our ability to create and own compelling content, and to deliver that content to the biggest audiences across our media platforms. We are delighted to be working with Simon and his talented team at Slim. Simon’s credentials speak for themselves and we are looking to create great drama and comedy series with Slim.” Therese Hegarty, Director of Content Distribution and Rights, said, “We are thrilled to be partnering with such a well-respected creative as Simon and are excited to welcome him as part of our growing international group. Seven’s partnership with Slim Film + Television builds on the increasing market presence for Seven West Media that includes Australia’s largest production company, 7 Productions, 7 Wonder in the United Kingdom and 7 Beyond in the United States. “It also further confirms Seven’s leadership in the creation and production of highly successful programming, including original titles such as Home and Away, My Kitchen Rules, Border Security, A Place To Call Home, House Rules and Packed to the Rafters. My Kitchen Rules has been commissioned across multiple territories including the key markets of the United Kingdom and the United States. We are continuing to see significant opportunities for further growth with Seven’s original formats and produced programmes now sold into more than 130 markets around the world.” As part of Seven’s investment deal, BBC Worldwide, which held a 25% stake in Slim, is exiting the company. Visit www.sevenwestmedia.com.au
TAKING STOCK
AUSTRALIA’S SEVEN NETWORK has announced its latest move in
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TECHNICAL STANDARDS www.content-technology.com/standards
SMPTE Announces 2016 Honours and Awards Recipients THE SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS (SMPTE) recently revealed the outstanding individuals who will be recognised with 2016 Honours and Awards as part of the week long SMPTE 2016 Annual Technical Conference and Exhibition (SMPTE 2016) in Hollywood, California. The SMPTE Honours and Awards Ceremony will take place on Monday the 24th of October, following the SMPTE Pre-Conference Symposium. The Honorary Membership and the Progress Medal will be conferred at the SMPTE Centennial Gala on Friday the 28th of October. The Centennial Gala will celebrate SMPTE’s past, present, and future, while honouring individuals with the following accolades: Honorary Membership is the Society’s highest accolade. It recognises individuals who have performed eminent service in the advancement of engineering in motion pictures, television, or in the allied arts and sciences. SMPTE will confer Honorary Membership upon James Cameron for his determination to improve cinematic storytelling through innovative technical methods. Cameron continues to develop and apply new approaches to advance the art and technology of storytelling. SMPTE is presenting the 2016 Progress Medal to Douglas Trumbull in recognition of his contributions to photographic processes and technologies in visual effects (VFX) and HFR cinematography. The following will be presented at the SMPTE 2016 Honours and Awards Ceremony: The Archival Technology Medal Award recognises significant technical advancements or contributions related to the invention or development of technology. The 2016 award will be presented to Daniel Teruggi for his contributions to the preservation of the world’s audiovisual cultural heritage. The Camera Origination and Imaging Medal Award recognises significant technical achievements related to invention or advances in imaging technology. R. Norman Hurst will receive the award for his work in colour camera signal circuit design. The David Sarnoff Medal Award recognises contributions to the development of new techniques or equipment. The award will be presented to Peter G.M. Centen in recognition of his work in image sensors, imaging, and broadcast camera innovation. The Digital Processing Medal Award recognises significant technical achievements related to the development of digital processing of content. Paul Kellar will receive the award for his fundamental contributions to the development of digital video systems and continued technical leadership over four decades. The Excellence in Education Medal Award, SMPTE’s newest award, honours contributions to new or unique educational programs. Michael F. Korpi will be the first recipient of this award for his innovative methods of teaching,
TECHNICAL STANDARDS
especially creating joint courses at Baylor University.
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The Samuel L. Warner Memorial Medal Award recognises outstanding contributions in the design and development of new and improved methods and/or apparatus for motion picture sound. The award will be presented to Neil A. Shaw in recognition of his support of SMPTE, as he has contributed his efforts in creating standards and practices for theatre acoustics and electroacoustics. The Technicolor/Herbert T. Kalmus Medal Award recognises contributions reflecting commitment to the highest standards of quality and innovation. The award will be presented to Dr. Johannes Steurer for his innovations in postproduction digital intermediates, and the Arrilaser film recorder. The Workflow Systems Medal Award recognises contributions to the development and integration of information technology file-based systems, presented to Thomas G. Edwards in recognition of his research, implementation, and direction in the advancement of live, broadcast-quality, IT-based workflows. The SMPTE Journal Award is presented to the author of the most outstanding paper originally published in the SMPTE Motion Imaging Journal. The award will be presented to Thomas G. Edwards for the article, ‘Source-Timed SDN Video Switching of Packetised Video’. Two Journal Certificates of Merit will be presented to: • Charles Poynton, Jeroen H. Stessen, and Rutger Nijland for the article ‘Deploying Wide Colour Gamut and High Dynamic Range in HD and UHD’ • Fumiaki Usui, Ryuhei Kamata, and Laurence Thorpe for the article ‘Lens Considerations for Digital Cinematography’. The Presidential Proclamation Award recognises individuals of established and outstanding status and reputation in the motion picture, television, and motion-imaging industries. Peter D. Symes will receive the award for his dedication to the Society. The Excellence in Standards Award recognises individuals or companies involved in advancing the Society’s standards activities and processes. David J. Bancroft will receive this award in recognition of his 40-year involvement in SMPTE standards. The Citation for Outstanding Service to the Society, recognising individuals for service for the betterment of the Society, will be conferred upon SMPTE Members: Martin P. Feldman, Mark L. Forman, Keith Ian Graham, and Mona Smothers. Eric Wenocur for his decade-long service as manager and program chair of the Washington, D.C. Section. Under his leadership, the Section has consistently provided high-value programs to its Members. Limited tickets are available for the ceremony on the 24th of October and the SMPTE Centennial Gala on the 28th. Those registering for SMPTE 2016 may purchase both tickets as add-ons to conference packages. Visit www.smpte2016.org
ABE2016 Footsteps to the
PREVIEW
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ABE 2016 PREVIEW
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8 - 12 September 2016, IBC Conference | 9 - 13 September 2016, IBC Exhibition
IBC 2016 PREVIEW Transformative Change at IBC2016 Entitled ‘Transformation in the Digital Era: Leadership, strategy and creativity in media and entertainment’, the IBC2016 Conference will see more than 300 Executives sharing insights on key issues at the heart of the entertainment, media and technology sector. ORGANISED INTO SEVEN THEMATIC STREAMS across five days, the conference has been streamlined to make discovery, navigation and access to the wealth of industry expertise easy and intuitive.
in which he will share key research insights into how the online generation listens to and views music and how music has provided an enormous catalyst for growth in streaming media.
For 2016 IBC introduced new streams: Platform Futures examines platforms, content aggregation and distribution strategies, whereas Audiences and Advertising explores how broadcasters and TV platforms can reach, engage and monetise their viewers.
TECHNOLOGICAL CHANGE
Revamped content strands include Content and Production, covering innovative content strategies and production techniques, and Business Transformation, which brings together the latest operational developments and technology.
The first is HDR 4K, which now has its own consumer-friendly label – Ultra HD Premium – and looks set to become the minimum spec of consumer sets as 2016 unfolds. HDR truly is a game-changer for picture quality and was one of the dominant topics at last year’s show.
Returning in 2016 are: Advances in Technology with technical experts presenting details of the industry’s latest innovations and inventions, IBC Big Screen Experience which examines the hottest topics, themes, and insights surrounding the art, science, and business of cinema, Rising Stars, the educational programme for industry starters.
The new standard even includes adjustments so that both OLED and LCD screens can feature. OLED has been tricky to produce up till now but new, experimental screens that can be rolled up like a newspaper suggest that the developmental effort is starting to bear fruit.
POWER SPEAKER TO KEYNOTE CONFERENCE In addition to director Ang Lee and Shahrzad Rafati, founder and CEO of BroadbandTV (see page 13), the IBC2016 Conference will feature a host of compelling keynote presentations.
Then, of course, there’s the Internet of Things. There is still speculation about how exactly television will fit into the nascent AllWeb, but CES developments seemed to indicate that it might end up playing a significant role as the main control interface.
This opening session which kicks off the IBC2016 Conference will offer up insights and strategies about how he is leading Vodafone-KDG through today’s transforming media landscape.
Elsewhere, drone development continues, new audience metrics are revealing just how important social media is becoming to broadcasters, and the battle for the HDMI 1 slot is being waged between traditional broadcast STBs and the new streaming boxes.
Global advertising and marketing guru Sir Martin Sorrell, CEO of WPP, will deliver the Keynote address on Friday 9 September at the IBC2016 Conference. As one of the most respected global industry leaders, Sir Martin’s views are keenly followed on both business and macro-economic issues. In his IBC Keynote, he will talk about the trends driving rapid change in the world of media, together with the critical role of content, data and technology in the 21st-century marketplace. Under Sir Martin’s leadership, WPP has become the world’s largest communications services group. It is in the FTSE 100 and employs some 194,000 people (including associates and investments) working across 150 companies in 112 countries. In addition to advertising and media companies, including Ogilvy & Mather Advertising, Y&R and MediaCom, Sir Martin has ramped up WPP’s investments in data analysis and advertising technology through Kantar, to better position WPP with the growing power of GAFA (Google, Apple, Facebook and Amazon).
IBC 2016
Virtual Reality is an extremely hot topic for 2016, too. Deloitte has predicted that the market will break through the US$1 billion barrier this year, with anywhere between 1 million and 1.75 million headsets sold. The announced price of Oculus Rift, US$599, was an unwelcome surprise to many, but the amount of activity around the format – the recent Sundance Film Festival featured 30 titles alone – suggests that momentum is building.
Dr Manuel Cubero, CEO of Kabel Deutschland Holding AG and Chief Commercial Officer of Vodafone Germany, will deliver a Keynote at the opening plenary on Thursday 8 September 2016.
Dr Cubero has enjoyed a long and successful career at Germany’s largest cable network operator. He first joined Kabel Deutschland in 2003 and held a variety of management positions before moving into his current role as CEO in 2014. He has also been the Chief Commercial Officer of Vodafone Germany since 2015.
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IBC2016 is being staged at a time when significant technologies promise (or threaten) to bring enormous change to the consumer landscape.
Arguably the world’s leading all-premium music video and entertainment platform, Vevo enjoys over 17 billion monthly views globally. President and CEO Erik Huggers will deliver a Keynote on Saturday the 10th of September
Visit www.ibc.org
Help Celebrate IBC’s 50th Birthday in 2017 IN SEPTEMBER 2017, IBC will reach a significant milestone and celebrate its 50th Anniversary, and it wants all industry members to help out with the celebrations. The amount of change over the course of the five decades is astounding and the broadcast landscape of 1967 was a very different one from the one we see rapidly evolving around us now. Then, television was monochrome with mono audio. Since then, we have seen the advent first of colour, then of HD and now of Ultra HD and beyond. Audio has progressed through stereo to 5.1 and the astonishing 22:2 of Super Hi Vision. 3D has come and gone and now VR is attempting to change the way we interact with our screens. First the personal computer (which didn’t even exist till as late as 1981) and then the internet have completely changed the way we live and work, while non-linear editing and digital VFX have transformed post-production out of all recognition. Then, of course, there’s the mobile phone. The changes are many and IBC wants to celebrate them. If you have any photos from your past IBC visits, the organisation would like to include your memories in a special 50th Anniversary book it is publishing to mark the anniversary. Head to IBC.org/50photos to find out more.
IBC 2016
Shahrzad Rafati on Leadership, Strategy and Creativity IBC HAS ANNOUNCED THAT SHAHRZAD RAFATI, founder and CEO of BroadbandTV, will deliver a keynote on Saturday the 10th of September at the forthcoming IBC2016 Conference. Over the last 11 years, BroadbandTV has become a powerful force in online video, and is the world’s largest multi-platform network. Built on technological expertise, Vancouver-based BBTV represents 16.2bn monthly impressions with over 76,000 online video creators, providing a full suite of services and solutions including content distribution, technology, promotion, production, creative and design services, and monetisation opportunities in addition to niche value propositions for creators within each of its verticals. BBTV also offers rights management services for media giants including the NBA, Viacom, Sony Pictures, and FremantleMedia. Shahrzad is an advocate of positive social change and a champion of entrepreneurism. Shahrzad will talk about how BBTV is working across platforms and creating novel partnerships like the one with AOL’s Huffington Post to create a new kind of online video journalism network called Outspeak and NBA Playmakers, a groundbreaking community for video creators focused on basketball and basketball culture, in partnership with the NBA. She will also talk about how the younger YouTube generation interacts with technology and content and what this means for traditional broadcasting. Entitled ‘Transformation in the Digital Era: Leadership, Strategy and Creativity in Media and Entertainment’, the conference will see more than 300 executives sharing insights on key issues at the heart of the entertainment, media and technology sector. Visit www.ibc.org
Ang Lee to Keynote IBC MULTI-ACADEMY-AWARD-WINNING DIRECTOR, Ang Lee, (Brokeback Mountain, Life of Pi) will deliver visionary Keynote address on Monday the 12th of September at the IBC2016 Conference in Amsterdam as part of the ‘IBC Big Screen Experience’. The IBC Big Screen Experience is at the heart of the IBC2016 Conference where more than 300 speakers are expected to attend to share insights on key issues at the heart of the entertainment, media and technology sector under the headline conference theme, Transformation in the ‘Digital Era: Leadership, Strategy and Creativity in Media and Entertainment’. Julian Pinn, Executive Producer, IBC Big Screen Experience said, “There is no finer keynote presenter for this year’s IBC Big Screen Experience than Ang Lee and we are very honoured to be hosting him. For over two decades, Ang Lee has shown true mastery in utilising cutting-edge science and cinematographic techniques towards his creation of some of the very finest works of cinematic story-telling art.” Ang Lee’s Keynote will set in the context of his latest work, Sony Pictures Entertainment’s Billy Lynn’s Long Halftime Walk (2016). The new cinematographic technique utilised not only unlocks a new level of story-telling power and emotional connection with the on-screen characters, but offers greater control over preserving artistic integrity over the increasing range of delivery formats, both within cinema and to the wider electronic entertainment market. Registration for IBC2016 is now open via this link. Visit www.ibc.org
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IBC 2016
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IBC 2016
The Foundry: A Journey from TV to VR ALEX MAHON, EX-CEO OF SHINE GROUP and now CEO of The Foundry, will talk attendees through her journey from traditional TV to the new world of VR and special effects, and discuss some of the most exciting products of her new company at a special IBC2016 Conference session, on Friday 9 September at 9:30. Alex Mahon is the CEO of The Foundry, a leading global developer of creative software used to deliver high-end visual effects and 3D content for the design, visualisation and entertainment industries. Clients including Pixar, Weta, ILM and Mercedes Benz, and its tools are behind award winning movies such as Star Wars, Lord of The Rings and Interstellar, with every single film nominated for the best VFX Academy Award in the last five years made using The Foundry’s software.
IBC ‘Big Screen’ goes HDR in 2016 IBC HAS ANNOUNCED its forthcoming IBC2016 Big Screen Experience conference stream, which kicks off on the 9th of September, in Amsterdam in the RAI Auditorium, will for the first time feature High Dynamic Range projection from Dolby Laboratories. In addition, Dolby Atmos immersive audio will be featured again powered by QSC audio. The Big Screen Experience conference stream will focus on the wide gamut of key developments that affect the art, science and business of the motion-picture sector from production through to exhibition. The stream offers an editorially-led programme that is set up as a state-ofthe-art cinema – his important aspect enables the many salient topics of the programme to be directly experienced as well as academically
At the forefront of virtual reality, The Foundry is working with leading players in the industry, from Nokia to Google, to help them create immersive experiences, to fulfil the demand of this growing sector.
discussed.
The high-growth company was founded in 1996 and is headquartered in London, with 300 staff in Silicon Valley, Los Angeles, Shanghai and the UK. In 2015, the company was acquired by HgCapital.
towards the capture end of the content-supply-chain and will examine
Alex was previously CEO of Shine Group, departing in 2015 after successfully completing the sale of the company into a new joint venture between 21st Century Fox and Apollo Global Management. She joined Shine as Managing Director in 2006 and built the group through M&A and organic growth into an organisation with 27 creative labels in 12 countries and brands including MasterChef, Biggest Loser, Broadchurch, Spooks and The Bridge. Prior to this, Alex had a career in media across Europe – at Talkback Thames, FremantleMedia Group and RTL Group. This followed on from her early career as a PhD Physicist and also at strategy consultants, Mitchell Madison Group, working in the internet retail sector. Visit IBC.org/conference
Of the four-day conference, the Friday and Saturday will focus more
new tools from motion capture to lightfield imaging. The culmination will be a masterclass from visual effects guru, Kevin Baillie, on the application of virtual sets in productions such as Robert Zemeckis’ and Sony Pictures Entertainment’s, ‘The Walk’. The Sunday and Monday will, amongst other topics, examine experiential innovation (such as high dynamic range, wide colour, immersive audio and high frame rate) as well as business innovations such as in marketing and analytics always asking the key question on the mouths of film distributors and cinema operators: what does all this mean for my ROI?
Imagine Communications Brings Media Industry Transformation into Focus IBC2016 WILL BE THE VENUE for Imagine Communications (the RAI Amtrium, stand 4.A01), a founding member of the Alliance for IP Media Solutions (AIMS), to unveil its latest innovations, demonstrate the widespread interoperability of its solutions and present a series of knowledge-sharing seminars featuring thought leaders from across the media and entertainment and IT industries. Hybrid SDI-IP routing and multiviewer solutions empower media companies to transform live production operations and leverage commercial-off-the-shelf (COTS) IT-equipment without squandering investments in traditional broadcast technology or sacrificing performance. Imagine Communications’ production and contribution portfolio provides ultra-low latency encoding and decoding and the delivery of uncompressed media over IP transport, as well as support for Sony Network Media Interface (NMI) and intoPIX TICO mezzanine compression for UHD operations. Imagine’s live production portfolio also supports the most recent UHD processing technologies, including up/down conversion and the latest standards for delivering media over IP networks, high dynamic range (HDR) image quality and precision timing.
IBC 2016
Imagine Communications’ Versio UHD playout and graphic workflow solutions support compressed or uncompressed IP-based playout, advanced multichannel and UHD playback and branding. Also featured will be a new user interface, new automation features and the company’s native IP and hybrid playout and master control solutions, which seamlessly unify playout, automation and graphics supporting fully virtualised deployment for cloud environments.
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Imagine’s multiscreen delivery portfolio is among the most comprehensive available and supports high-density and high video quality transcoding and delivery for OTT linear and VOD services. An end-to-end cloud DVR solution,
including recorders and packagers, is supported by advanced storage optimisation capabilities that enable video service providers to cost-effectively meet various legal and copyright requirements, including private copy laws. The company’s next-generation dynamic ad insertion and unified distribution portfolios enable content distributors to consolidate and simplify their infrastructures to reduce costs and explore new monetisation opportunities. Imagine’s end-to-end, omniplatform ad management portfolio features open, modular systems that help maximise ad revenue. Highlighted capabilities include sales, scheduling and analytics for linear and nonlinear delivery. The company will also demonstrate integration of playout and scheduling achieved through the unification of its Versio and xG Schedule solutions. Close collaboration with IT giants Microsoft and Hewlett Packard Enterprise (HPE) will be highlighted at IBC2016 throughout Imagine Communications’ booth. Microsoft Azure Certified solutions based on Imagine Communications’ 100% software based playout and live encoding solutions will be featured, as will media cloud services that leverage HPE’s cloud-based, virtualised and orchestrated network services. Imagine Communications will also showcase how its next-generation offerings, including processing, playout and monitoring, are powered by Zenium, the company’s workflow management platform. Imagine Communications will also host its ImagineLIVE! Power Sessions, a series of presentations and interactive discussions featuring prominent executives and subject matter experts from Imagine Communications and its partners and customers from across the IT and media and entertainment industries. Visit www.imaginecommunications.com
IBC 2016
Leading the IP Revolution
EVERTZ IS LEADING THE IP REVOLUTION with its Software Defined Video Network (SDVN™) solution for the new media and broadcast industries. SDVN is an exciting new architecture developed around a 10/100GE core specifically tailored for content producers, broadcasters and content distributors.
DEVELOPED TO MEET REAL WORLD media production requirements of an IP-Centric facility, ASPEN offers a robust format for encapsulating uncompressed UHD, 3G, HD and SD over MPEG-2 transport streams. Combining existing SMPTE standards, ASPEN provides content creators with a flexible method of transporting
Designed for cost effective and low risk migration from the baseband world, SDVN offers a format agnostic and scalable infrastructure for SD, HD, UHD (4K and 8K), HFR and HDR video and beyond. All Evertz products support SMPTE 2022-5, 6, NMI and ASPEN encapsulations.
video, audio and metadata over scalable IP networks. The fact that ASPEN has Ultra low latency with synchronised independent video, audio and data makes it ideal in production environments
Call or email Studiotech for a hands on demo today
More information at www.aspen-community.com
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Studiotech Australia Unit 18/45 Leighton Place Hornsby NSW 2077 Ph: +61 2 8911 5100 Email: info@studiotechau.com
‘‘
We’re a customer driven organisation striving to understand and exceed our customer’s needs and expectations.”
Michael Bentsen Managing Director
www.studiotechau.com
IBC 2016
Studiotech Australia has some of the world’s best factory trained Support Engineers, Solutions Architects, Installation Technicians and Project Managers to ensure you, the customer, get what you need and more.
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IBC 2016
Telestream Tackles Multi-Platform Live Streaming
Tedial Showcase Version Factory and Evolution BPM
TELESTREAM WILL USE IBC2016 to showcase scalable broadcastquality live streaming solutions, strategic advances in video encoding and transcoding systems, and its developments in cloud-based enterprise services.
TEDIAL IS SHOWCASING Version Factory and Evolution BPM at IBC2016.
Telestream will introduce Lightspeed Live Stream, which brings broadcast and OTT together in the live space. Lightspeed Live Stream is the company’s enterprise-scale live streaming platform, developed to provide produced, high value, premium content OTT to end users watching on their device of choice.
millions of file input to output configurations and can be managed from
Another European first for IBC is Lightspeed Live Capture, which provides encoding of real-time SD, HD and UHD into all high-quality mezzanine formats, while simultaneously supplying a streaming proxy for each channel being processed. This integrated hardware and software appliance combines multiple CPU and GPU cores as well as targeted ASIC CODEC acceleration.
proof ’N-input to N-output’ operations, and provides maximum flexibility
Also at IBC, Telestream will exhibit new functionality within its flagship software product – Vantage. Through an Adaptive Bitrate (ABR) optimisation feature, Vantage can reduce delivery bandwidth needs and slash content distribution network costs by up to 40% within multiscreen distribution applications.
level, presenting a suite of Media IT software modules that automate
Telestream will also demonstrate Telestream Cloud, a video encoding SaaS suited to meet the needs of video production and post production professionals. Telestream Cloud extends the reach of encoding capabilities to a wider audience seeking Telestream quality encoding, while offering cloud-encoding scalability for current users. Visit www.telestream.net
New Calrec Audio Products CALREC AUDIO’S NEW BRIO CONSOLE takes centre stage at IBC2016. Brio is a powerful and compact digital broadcast audio console, with a comprehensive broadcast feature set that supports a wider breadth of broadcasters. The smallest in Calrec’s Bluefin2 family, Brio’s control surface is only 892mm wide – the dual-layer, 36-fader surface provides more faders in a given footprint than any other audio broadcast console. Brio’s compact, and configurable surface gives instant access to a large number of audio paths, while a 15.6-inch HD touchscreen UI provides quick access to more in-depth control. A bank of illuminating hardware rotary controls provide control over parameters displayed in the touchscreen UI. Brio is entirely self-contained, with analogue and digital I/O and GPIO built into the surface. Additional expansion I/O slots allow for further I/O integration, and fitting an available Hydra2 module makes it possible to connect to and share audio over Calrec’s Hydra2 network.
a single operator screen. Designed to interface to content management/ rights management/traffic/work order systems for automated operations, the Version Factory stacks chosen media engines (transcoders, quality control, DRM, CDN, etc.), employs SMPTE standardised designs for future and scalability for OTT/VOD platforms, network operations and media companies focused on managing their Brand across all distribution formats. Evolution BPM is a Business Process Management (BPMN 2.0 compliant) Workflow engine. Evolution BPM has driven media management to a new preparation, movement and distribution of media. Visit www.tedial.com
Enensys DTTCaster ENENSYS WILL LAUNCH A NEW PRODUCT, the DTTCaster at IBC2016 – designed to provide retransmission of DTT networks at regional/local transmitter sites where IP (microwave, fibre and so on) or satellite connectivity isn’t possible. DTTCaster allows reception of the network content using a simple antenna, then re-generates that content on another frequency. The content remains exactly the same and is SFN-compliant. Enensys will also be presenting AdsEdge. AdsEdge addresses the problem of cost-effective regional content insertion in DTT and cable networks. It supports the ‘splicing’ of file-based content, such as advertising spots, local news and regional weather forecasts, at the final stage of signal distribution – the transmitter site in DTT’s case. It is single frequency network-compatible for DTT, and combines the Ads Server and Splicer in a single unit. Enensys will also present its IPGuardV2. This is a transparent IP switch that provides network and equipment redundancy. It works across standards and formats and is vital in maintaining service. It benefits from dedicated features and switching criteria for TS (DVB-T, ATSC), BTS (ISDB-T) and T2-MI (DVB-T2).
Following a successful reception at NAB, Calrec’s RP1 remote production unit makes its IBC debut. Visitors will see a live-broadcast product that directly addresses an increasingly prevalent requirement for high-quality content from remote locations. Visit http://calrec.com
Visit www.enensys.com
AT IBC2016, LIVEU will be making a major product announcement, and LiveU’s full range of live IP video solutions will be on show. Launched successfully in the US, LiveU will showcase LiveU Solo, its plug-and-play live streaming bonded solution for the online media market.
IBC 2016
Tedial’s Version Factory is a single efficient workflow that supports
IPGuardV2 provides smart and automatic redundancy for all IP-based appliances and networks, and is designed for any customer that needs to secure IP stream transport or generation. For example, used in DTT headend it allows single frequency network and T2-MI switching, preventing loss of synchronisation between transmitters in a network and thus, avoiding complete TV blackouts.
LiveU Solo: European Rollout
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Both solutions will be demonstrated on stand 8.B41 throughout the show.
LiveU Solo allows users to live-stream into any web streaming workflow by connecting automatically to OVPs and content delivery networks such as Facebook, YouTube Live and Wowza Streaming Cloud. LiveU will present its LU710 4K/p60 HEVC rack-mountable 1U encoder. Combined with the Xtender transmission device and LiveU’s enhanced server
with 4K output, the LU710 encoder transforms any SNG truck into a fully mobile hybrid cellular/satellite solution for transmitting 4K/HD video with improved efficiency. Also new is Version 6.0, a major software revision for its LiveU’s range of portable transmission and management solutions. Version 6.0 includes a new interface design for LiveU Central, LiveU’s cloud-based management and video distribution system, and an improved LiveU Matrix management workflow. Visit www.liveu.tv
IBC 2016
Smart Production from Ross at IBC UNDER THE ‘SMART PRODUCTION’ BANNER, Ross Video (Stand #11. C10) will show the new Carbonite Black Solo is a compact production switcher with nine inputs and six outputs, specifically designed to meet the needs of smaller productions. The mid-sized Carbonite production switcher series continues to grow with the Carbonite Black Plus frame, which has all the features of the Carbonite Black engine. Carbonite Black Plus adds more monitoring capability, and processing features to both inputs and outputs. XPression Live CG software is now included with every Carbonite production switcher. With the latest version of Carbonite software, feature additions include Multi-Panel operation that enables users to operate their Carbonite ME, MiniMEs or MultiScreen outputs from multiple control panels and DashBoard control points. The Acuity large production switcher series features iintegrated IP 10Gb/s I/O capabilities. It provides a direct connection into the Evertz IP routing environment without requiring a top of the rack gateway. The latest Acuity software version brings new features including new DVE Warps, Lighting Engine, and support for the MultiProcessing Input card option which adds frame syncs, colour correction, input multi-viewing and more to Acuity inputs. The software expands the capabilities of MultiFeed functionality with Split ME controls. Acuity ME can now be set up as two MEs with up to eight keyer assignments. Ross ACID cameras are a series of compact ‘box cameras’ which offer special performance characteristics for chroma-keying in virtual environments, and include a new signal format. These cameras output standard SMPTE 4:2:2 video signals, and in addition output a special 0:4:4 full bandwidth colour signal that is combined with the primary output within the Carbonite UltrachromeHR system to generate a full resolution 4:4:4 signal for superior chroma keys. All camera operation, setup and shading can be performed from DashBoard soft control panels including the transfer and recall of scene files from one ACID camera to another.
Meanwhile, Aspera FASPStream is a new turnkey application software line designed to enable live streaming of broadcast-quality video globally over commodity Internet networks with glitch-free playout and negligible start-up time – reducing the need for expensive and limited satellite-based backhaul, transport and distribution. Aspera’s FASPStream software line represents the first open video transport solution that is capable of high-quality, live streaming over commodity Internet WANs. Built from the ground up by Aspera, the software utilises the FASP bulk data protocol to transport any live video source (local multicast, unicast UDP, TCP, or growing file source) and provides timely arrival of live video and data independent of network round-trip delay and packet loss. Less than five seconds of start-up delay is required for 50 Mbps video streams transported over 250 milliseconds round-trip latency and three percent packet loss, sufficient for 4K streaming between continents. Now with over 150 third party plug-ins, Orchestrator 2.5, Aspera’s comprehensive workflow orchestration platform, adds new plugins for Dalet, Xytech, SGL FlashNet, Marquis, Emotion, ShowMgr, ARRIS CMM, DATDV, Snell, Fortium, Ateme, Minnetonka, MOG, and Baton.
Ross’s Chroma Keyer, the Carbonite UltrachromeHR incorporates signal processing technologies to generate high-resolution key edges from chroma channel information. It is a stand-alone chroma key system based on the Carbonite Black production processing engine, with a software load that turns the engine into a multichannel chroma key processor. Features like 4:4:4 keying with ACID cameras, multi-frame adjustable delay to compensate for virtual render engines and colour correction for foreground/background matching make it suited to virtual set chroma key environments. XPression Tessera, meanwhile, is a multi-display real-time graphics designer and controller for Sport Venues and Studio Video Walls. Tessera links together multiple XPression engines to create a scalable matrix of channels for seamless output of scenes across large or irregularly assembled display panels and drive full resolution content making use of every pixel of resolution those displays have to offer. XPression Quad continues the development of systems suitable to 4K Production. This graphics system supports up to four (video + key) channels of HD/SD or Quad link 4K outputs with key, and is user configurable for any combination of inputs and outputs. XPression Tick-it Flow is a less expensive version of XPression Tick-it with core features. It offers the same centralised data aggregation as XPression Tick-it without the direct playout capabilities, and includes elections software.
Adobe XMP Metadata is available for entry into XPression from every Adobe software tool. XMP metadata can be used to automatically populate text, or make scene changes like colour changes and image replacements. Visit www.rossvideo.com
IBC 2016
The XPression MOS Plug-in has been significantly upgraded, adding a number of new features making it easier and faster to build graphics for a news show.
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IBC 2016
TMD Media Services OnPoint DURING IBC2016, TMD will feature OnPoint, an intuitive PAM solution for creative services and post houses. OnPoint is part of TMD’s range of media services products, which can be used as a standalone workflow solution for a workgroup, combined as an approach to media management, or configured for a complete enterprise solution as part of a Mediaflex Unified Media Services (UMS) platform. Post houses and creative services departments must be able create large volumes of content, whether this is re-versioning of long-form material or short form promos, often quickly and with sensitive content, which presents a significant challenge in scheduling and managing the work, while providing controlled access to those assets. To make the process easier, TMD’s cloudnative OnPoint production management solution provides workflows for the creation and fulfilment of wish- and make-lists. It supports the browsing and selection of clips, restoring for edit, integration with craft editors such as Avid and Adobe Premiere Pro and comprehensive approval criteria, all within a framework of controlled user access rights. TMD will also demonstrate its range of media services products – designed to meet individual business process requirements, and the requirements of specific operational teams. The available media solutions include Aperture,
EVS: Connecting the Live EVS WILL SHOWCASE its future of live connected production at IBC2016. Stand 8.B90 will act as an IP-enabled hub showcasing live media flows that connect live sports venues, broadcast centre control rooms and consumers. Being introduced this summer at international flagship sporting events, C-Next is a live connected tool that reflects EVS’ IP4Live strategic
The packaged media services products are part of a complete revitalisation of TMD’s flagship Mediaflex product, the new Mediaflex-UMS platform, which delivers the multiple benefits of a service-oriented architecture in a truly cloud enabled environment. Because Mediaflex-UMS can be fully virtualised, it can run and scale flexibly on premise, in a data centre, in the cloud, or in any combination that suits the precise needs of the customer. Visit www.tmd.tv
Cinegy to Infinity and Beyond 8K AS SD PHASES OUT and HD becomes a commodity, more and more 4K channels and 8K broadcasts are already starting in Japan. Will the race ever end for broadcasters, and are any technology investments future-proof? At IBC2016. Cinegy will answer these questions by
ability to share files and metadata content over IP, from any OB truck,
showing broadcasters and content producers how moving to Cinegy
broadcast centre or production HQ.
technologies can ensure they can make the resolution journey without
EVS will also demonstrate its new-generation IPWeb – a remote
technology obsolescence.
where they are – and the IT/software-based, scalable architecture of
Cinegy’s software products for capture, playout, production, and archive
its production switcher DYVI. Enabling more creative and productive
– combined with its GPU-powered encoding, decoding and processing
program assembly based on a pooled resources model, DYVI will be
technology – make 8K workflows possible now, and accelerate HD and
demonstrated in full 4K/UHD mode. EVS’ newsroom production solutions will be demonstrated at the EVS stand and will power IBC TV’s ingest, playout and multimedia delivery.
4K workflows. Cinegy’s existing customer base has smoothly migrated from SD to HD
EVS news solutions rely on the latest features of its IPDirector live
and is now repeating the process in the move to 4K. At IBC2016 Cinegy
content management system for multiformat and multisource ingest.
will preview 8K-capable versions of its products that will enable early
It also features advanced browsing and integrates seamlessly with
adopters to start 8K trials now.
craft editors, graphic systems and the latest newsroom control systems (NRCS).
Cinegy’s flexible and open software platform is what ensures
Showcasing the fast, efficient nature of EVS’ live officiating tool Xeebra,
investment stability and workflow scalability. With commodity IT and
the #EVSlamDunk Experience will be brought to IBC for the first time.
clever software architected for global enterprise environments, Cinegy
EVS will also present its live production servers and creative tools.
achieves far more than the traditional, dedicated hardware boxes that
This will include the XT4K server with its advanced configurations for
still exist in the market, and costs a lot less.
multiformat 4K/UHD and HDR, which offer support for live replays and virtual effects for 4K productions. EVS will deploy its live connected
The core of Cinegy’s 8K IBC demo is the company’s DANIEL2 GPU
infrastructure management tools that support OB facilities’ increasing
video codec for acquisition and production, which was designed for
need to operate within an IP-compliant environment.
recording from camera sources, editing, post-production, and playout.
Visitors to the EVS stand will also be introduced to C-Cast Syndication
Being totally GPU-based, DANIEL2 has zero dependence on legacy
which allows broadcasters and media rights holders to expand
codec architectures. Using an off-the-shelf, sub-€1,000 PC, DANIEL2
audiences. This is achieved through the distribution of near-live multi-angles and highlight VoD to affiliated partners like regional and
IBC 2016
Paragon for archiving now supports MAID storage systems and LTO-7 data storage technology, and Paragon+ for content management provides intelligent, media-aware workflow management. Each media service can be used as a stand-alone solution, or be combined using TMD’s Mediaflex-UMS platform.
initiative. This contribution network platform gives remote teams the
access application that lets users browse and select content no matter
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a new ingest tool for digitisation, capture, and management of content for broadcast operations and media owners. Chameleon, for DAM, enables staff throughout an organisation to manage media, search for content, and raise work orders to fulfil all media requirements. Guardian provides for collections management provides accessioning, acquisitioning, preservation, storage, and the management of physical and digital collections.
can decode up to 1100 frames per second in 8K, which is 16-times the
unilateral broadcasters, as well as sports teams, leagues and federations.
resolution of full HD.
Visit https://evs.com
Visit https://home.cinegy.com
IBC 2016
Creating Space C O N S O L E S
Standard Cable Core
f or New Tec h n ol o g y
Mini Cable Core
From a single operator workstation to complete control rooms, SmartTrac consoles represent the absolute best value in a fully modular and ergonomic console system. SMARTTRAC V2 TECHNICAL FURNITURE also provides an enhanced ability to gang individual workstation components to form complete Master Control and Production Control consoles for broadcast furniture. These configurations have also been used successfully in a variety of other industries including Security, Process Control, Dispatch, Power Utilities, Command and Control, Network Operation Centres and Transportation. There is virtually no application that SmartTrac cannot handle at a cost that is significantly reduced from other standard “full body” console systems.
TBC’S SMARTTRAC CONSOLE SYSTEMS have achieved extraordinary popularity due to their world class ergonomics, quality all aluminum construction and good looks. Unique to this class of console, SmartTrac’s removable turrets, rear device ‘Trac’ and generous cable core with integral power management combine with optional height adjustability for any application that requires a sit/stand desk. Each console can be accessorized to personal preference with a variety of articulating monitor arms, CPU holders, speaker mounts, task lamps and other accessories.
Call or email Studiotech for a “console consult”
Sales | Service | Support | Solution Integration
Studiotech Australia Unit 18/45 Leighton Place Hornsby NSW 2077 Ph: +61 2 8911 5100 Email: info@studiotechau.com
‘‘
We’re a customer driven organisation striving to understand and exceed our customer’s needs and expectations.”
Michael Bentsen Managing Director
www.studiotechau.com
IBC 2016
Studiotech Australia has some of the world’s best factory trained Support Engineers, Solutions Architects, Installation Technicians and Project Managers to ensure you, the customer, get what you need and more.
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ACQUISITION www.content-technology.com/acquisition
NZ Filmmakers Take on Ticklish Subject with Sony PERHAPS TICKLED WILL BE RELATED to film school students as an example of the way documentaries are supposed to happen. You scrape enough together to start chasing a story but then you uncover something much bigger. So much bigger that the movie is catapulted from a somewhereon-the-web release to a full scale theatrical release, a Sundance Film Festival premiere, and a Hollywood Reporter review that calls it captivating and jaw dropping. The sudden expansion of the project called for a big step up from the stalwart 2/3 inch Sony PDW-700 XDCAM with which the two New Zealand filmmakers David Farrier and Dylan Reeve had begun the shoot. For the big screen quality and look they would need, they now turned to a Sony CineAlta PMW-F5 camera. The project began back in 2014 when television reporter David Farrier saw a cash offer for athletes to fly to Los Angeles for 'Competitive Endurance Tickling'. Teaming up with Reeve, whose day job is post-production supervisor, the pair headed into a project that sounds like a comedy, but turned into a story of fear, mystery and intimidation. Their first US shoot exhausted their funds but was brimming with potential and the pair took their footage to New Zealand Film Commission CEO Dave Gibson, immediately winning enthusiastic support. It was time for a rethink, and with cinematographer Dominic Fryer now on board, they sought a camera that was small enough to be practical with specs that would encompass the big screen. They quickly homed in on the Sony CineAlta PMW-F5 fitted with a Fujinon Cabrio 19-90mm T2.9 zoom lens that would give them speed and flexibility, while calling on a set of Zeiss Compact primes in the US when time allowed. The camera not only had the resolution and technical quality for the big screen, the Super 35mm CMOS Sensor would offer a 35mm cinematic look. “We talked about how we would want to shoot it,” says Reeve, now the codirector. “We all agreed that it needed to be a big sensor camera, it needed to be reasonably portable, it needed to be available, and it needed to be affordable.” Alongside the Sony F5 CineAlta camera, they chose a Sony NEX-FS700 with Canon EOS lenses for occasional use as an economical B camera. All this took place back in January 2015 when the 4K option for the Sony CineAlta F5 camera was just becoming available. “So we shot interviews in 4K because we knew we would be able to push the shots in post,” says Reeve. “We could reframe them slightly, and in interviews you have the ability to bump up the size to give a little bit of flexibility in cutting smoothly between dialogue segments.” For the rest of the shoot, they shot in XAVC HD 1920x1080 with a lot of offspeed for the interior traveling shots and tracking shots used in the film. They pushed the rushes through DaVinci Resolve to DNxHD files for editing, and
ACQUISITION
into dark ones without having to worry too much. Having 14 stops of dynamic range helped a lot,” says Fryer who had no assistant and pulled focus himself. “Over all we didn’t find ourselves hampered by the gear, and there weren’t really any cases where we were struggling technically for any reason.” “For example, we spent a day travelling on the New York subway and walking, and our kit was small enough and versatile enough that we could do that. We caught the subway over to Manhattan, we wander around did a lot of shooting in Manhattan, and then we literally walked back across the Brooklyn Bridge, with all our gear. There was only four of us on the shoot the whole time, so it was nice and simple.” Reeve says that they’ve had some really good feedback on the cinematography, but ironically, there is a downside due to the quality of the images. “Sometime people look at the trailer or the film and think that because the images are so good it’s not real,” he says. “Their evidence is that it looks too good, it is too well shot.” But he says they all went into the project not knowing what to expect. “When we started, we’d never heard of competitive tickling, and we imagined a Vimeo online documentary. A few years earlier, it would not have been possible to make it look the way it does with the cinematic quality that we got on screen.” Reeve says the Sony F5 was a perfect choice, but that doesn’t make it an automatic choice for his next documentary shoot, simply because of the extended options now in the Sony range compared to when they shot this
again though DaVinci Resolve for grading.
film.
Behind the camera, director of photography Dominic Fryer says the easiest
“If I was doing some technical camera tests for another documentary the
thing about the camera was the ability to quickly put it on the shoulder and
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coped very well. Shooting S-log3 enabled me to move from bright situations
Sony F5 would definitely be in the room, the Sony FS7 would be in the room,
start shooting without having to worry. He also likes the ability to quickly
the Sony FS5 would be there, and for certain a Sony a7S,” he says.
select built-in ND filters.
Tickled opened in New Zealand cinemas in May 2016.
“Luckily, there wasn't really anything crazy that I couldn't control lighting-
Visit www.tickledmovie.com and http://pro.sony.com.au
wise except maybe in Michigan where we had bright snow. But the camera
and http://pro.sony.co.nz
ACQUISITION www.content-technology.com/acquisition
CREATIVITY BEYOND CAMERA STABILIZATION Trinity stands out from other systems by combining mechanical camera stabilization with 32 bit ARM-based gimbal technology. This enables uniquely fluid and precisely controlled movements for unrestricted operating and total creative freedom.
Coming soon to Australia and New Zealand. Email info@arri.com.au to book your demo. www.arri.com/goto/trinity
ACQUISITION
ARRI TRINITY. TRULY CINEMATIC.
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ACQUISITION
Lens Metadata – Saving Time and Money in Production and Post By Les Zellan Chairman and Owner, Cooke Optics. METADATA IS AN INVALUABLE SOURCE of information in the content creation industry, enabling people to search, find and manage content quickly and easily. However, while the value of metadata is a given for archiving, it is largely overlooked at the acquisition stage. While some metadata from the lens is currently used on set for monitoring levels, there is so much more it could do that could save significant time and money during production and post. Smart lenses can ‘talk’ to other pieces of camera equipment in order to automatically and instantly calibrate controls for that lens when you plug it in, saving prep time. In post, lens metadata can provide crucial information for complex VFX work, working with tracking software to solve scenes that would otherwise have to be solved manually. In addition, lens metadata detailing how footage was shot would be extremely useful for future reconstruction work. Cooke Optics – which has over 130 years of experience in lens development and a Scientific and Technical Academy Award among many other industry accolades – recognised this deficit in lens metadata capture around 17 years ago. It set out to create a metadata protocol that would provide the industry with a digital open standard to gather and share lens data, ensuring compatibility from acquisition to post-production. The result was /i (Intelligent) Technology. /i enables monitoring and transfer of key lens data including focus distance, depth of field, focal zoom position iris setting, horizontal field of view, entrance pupil position and inertial data for every frame shot. It also facilitates lens calibration, lens synchronisation and post-production analysis. On set, this means that Directors of Photography and ACs can have a continuous remote readout of the precise focus setting, T stop and depth-offield from electronics inside the /i equipped lens, allowing them to see the actor in front of them and the focus setting on the lens without even having to turn their heads.
Users can digitally record vital lens settings accurately, frame-by-frame, all synced to Timecode, instead of having to manually write down lens settings for every shot, eliminating human error. Digital cameras that are /i compatible can talk to /i lenses directly via contacts in the lens mount. The /i Technology provides the framework; the extent of camera data made available is the choice of the camera manufacturers via their software and hardware. By feeding this lens data to post-production teams, they can not only save time and cost but also ensure a better quality product because the digital data provided takes the guess work out of many of their processes – the VFX artists can create effects and 3D models that are more accurate, with much greater speed. Cooke created the /i system as an open protocol in an effort to unify lens and camera manufacturers and create an industry standard, and many leading camera, lens and post manufacturers have signed up as /i Technology Partners, including RED, Sony, Panavision, ARRI, Canon, Fujinon, Zeiss and Angenieux. In order to maximise the myriad benefits of lens and camera metadata, the industry needs to unite behind standard protocols so equipment can easily communicate across the set and into post. With the support of the /i Technology partner manufacturers, the industry can promote the uses and benefits of an acquisition-to-post workflow and also add more valuable metadata information that can benefit content further down the production chain. Visit www.cookeoptics.com
Marshall Electronics Enhances HD POV Cameras MARSHALL ELECTRONICS HAS ANNOUNCED new additions to its range of HD POV cameras. The new CV505 Mini Broadcast Camera and CV345 Compact Broadcast Camera utilise next generation chip sets, which in addition to improving on all aspects of video production, support audio input for capturing local sound at the camera level. The CV505 and CV345 utilise 2.5 megapixel sensors to capture HD colour images at high-speeds with improved low light capability, when compared with earlier models. The CV505 Mini Broadcast Camera is built around a 1/3-inch 2.5MP sensor, set in a 1.5-inch body with 3.7mm (interchangeable) lens. The CV345 Compact Broadcast Camera also features a 1/3-inch 2.5MP sensor, housed in a 2.5-inch body with CS/C lens mount and DC auto-iris. Both models offer flexibility in HD lens options to achieve a wide range of angle-of-view perspectives.
Bullseye for Miller with Arrow X MILLER FLUID HEADS, the developer of camera support solutions, will be displaying several brand new products, including the new arrow X Series of fluid heads Combo Live Pedestal Series at IBC 2016 (Stand 12.D30).
ACQUISITION
The arrow X Series is Miller’s newest line of fluid heads and a continuation of its Arrow Series. Each fluid head features the brand new CB PLUS, a sequential counterbalance design, which takes traditional counterbalancing a step forward, resulting in repeatable, accurate and rapid setup. CB PLUS features eight large counterbalance steps, allowing the user to get to their needed position quickly and efficiently. The CB Plus switch adds a half step enabling counterbalance refinement.
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This new feature makes the arrow X Series suitable for ENG, EFP, Studio, field OB, or any other use where frequent and fast re-rigging is required. In addition to CB PLUS, the arrow X Series delivers several additional features such as the ability to remove the clamp stud to easily mount the head on flat base surfaces such as sliders. Where extra rigidity is required, a Mitchel Base
These next generation models support embedding audio on 3G/HD-SDI and HDMI feeds simultaneously when captured via 3.5mm TRS stereo input (2.5V supplied power). The ability to capture sound at the camera level, such as chatter between professional athletes, crack of a baseball off the bat, or the ping of a golf ball off the tee expands the potential use case scenarios of the Marshall Pro-Series POV Camera line. Visit www.quinto.com.au
adaptor can be fitted. All arrow X models come with 120mm sliding plate travel to help quickly re-balance changing camera payloads. Precision ball bearing supported pan-tilt movements help deliver silky smooth starts and soft stop fluid actions. Precise floating pan-tilt calliper locks ensure bounce free on-off locking. The arrow X 3 boasts a payload range of 1-19 kg (2.2-41.8 lbs), 16 positions of counterbalance and 5+0 pan and tilt drag positions. It is designed for lighter cameras used in ENG, documentaries and EFP applications. The arrow X 5 has a wide payload range from 2-21 kg (4.4-46.2 lbs), 16 positions of counterbalance and 7+0 pan and tilt drag positions. It is designed for larger ENG and EFP applications, including documentaries, drama and television commercials. Finally, the arrow X 7 has a payload range from 6-25 kg (13.2-55.1 lbs), 16 positions of counterbalance and 7+0 pan and tilt drag positions. It is designed for heavier rigs, including in-studio and OB applications. Visit www.millertripods.com
ACQUISITION
Ă?#"Ă?0LUS4- features eight larger counterbalance steps, allowing the user to get to their required COUNTERBALANCEĂ?POSITIONĂ?QUICKLYĂ?ANDĂ?EFlCIENTLY Ă? 4HEĂ?#"Ă?0LUSĂ?hONEĂ?mICKvĂ?SWITCHĂ?CONVENIENTLYĂ? located at the front of the head, adds a half step between each of the eight larger steps enabling COUNTERBALANCEĂ?lNE TUNINGĂ?WHENĂ?REQUIRED
s� �POSITION�#"�0LUS4- counterbalance system. • 18kg wide payload range. • Fluid drag system with smooth start and soft stop technology & balanced diagonal transitions. s� #ONTROLS�hALL�IN�ONE�LOCATIONv�DESIGN�FOR�FAST � easy and practical use. • Illuminated bubble level and pan-tilt drag controls. s� 0RECISE�mOATING�PAN TILT�CALLIPER�LOCKS�ENSURE� bounce free on-off performance. s� 2EMOVABLE�BALL�LEVEL�STUD�FOR�mAT�BASE� MOUNTING� 3LIDERS �WITH� v�SCREW�HOLE s� -ITCHELL�BASE�ADAPTABLE • Robust construction for rugged outdoor shooting conditions. s� 3IDE�MOUNTING�POINTS�FOR�VIEWlNDERS�AND� accessories. • Three-year warranty.
Arrowx comes with a three year warranty endorsing the reliability and “THE RIGHT FEELâ€? THATĂ?AREĂ?THEĂ?HALLMARKSĂ?OFĂ?EVERYĂ?-ILLERĂ?PRODUCT
Visit millertripods.com for details of your nearest dealer
Following in the tradition and reputation of the world- renowned Arrow series, the all-new Arrowx delivers precision control to creative professionals. Featuring a wide 18kg payload range, precision mUIDĂ?DRAGĂ?ANDĂ?-ILLER SĂ?INNOVATIVEĂ? Ă?POSITIONĂ?#" Plus4- counterbalance system, Arrowx brings mEXIBILITYĂ?OFĂ?OPERATION Ă?SPEEDĂ?OFĂ?SETĂ?UPĂ?ANDĂ? accuracy of shot, to demanding users. Arrowx series consists of three models, Arrowx 3 (1-19kg), Arrowx 5 (2-21kg) and Arrowx 7 KG Ă? ALLĂ?EQUIPPEDĂ?WITHĂ? Ă?#"Ă?0LUS4- .
millertripods.com
ACQUISITION
I FEEL IN CONTROL
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ACQUISITION
Wireless Timecode and Metadata TIMECODE SYSTEMS IS RETURNING TO IBC with a refreshed range of new and upgraded wireless timecode and metadata hardware and a brandnew, free web-based production dashboard and device control app. SyncBac PRO is Timecode Systems’ new timecode sync accessory for GoPro. SyncBac PRO is a clip-on, wireless, embedded timecode sync solution for GoPro’s HERO4 Black and Silver action cameras. It is among the first accessories to be verified by the new Works with GoPro initiative. In a new firmware upgrade, Timecode Systems has added remote device control to the functionality of its :pulse and :wave products. As production teams seek to capture more footage from increasingly interesting camera angles, there has been a notable increase in the number of sound and video sources involved in shoots. Furthermore, the popularity of rigging broadcast equipment in challenging and often fairly inaccessible locations has made remote device control a hot topic for the industry. Powered and enabled by the company’s B:LINK RF protocol, the free B:LINK Hub app is a web-based solution enabling Timecode Systems’ users to start,
Visit www.timecodesystems.com and http://syncbac.com horizontal on the base. CAM Tank can also be mounted onto another head to create a Dutch shot or a partial third axis.
MATTHEWS STUDIO EQUIPMENT WILL FEATURE its new CAM Tank
Also on show at IBC2016 will be the Matthews Wedge, a portable, low POV camera-mounting device that ensures fast, stable camera positioning in a variety of situations, offering increased creative filming possibilities. A wide range of film, video or DSLR cameras can be mounted to the Wedge via a ball head, flat plate mount, fluid head and 100mm ball fluid head, allowing full camera movement.
Now, low POV shots are easier withthanks to MSE’s CAM Tank. No more struggling with a camera resting on a sandbag, often negating the operator’s ability to pan. CAM Tank, which access both large camera places as well as direct mounts, adds another option for these extremely low shots – without taking away your ability to pan and tilt the camera. It is also a great option for Dutch angles when mounted to a fluid head or shots designed to be pointed straight down off a fluid head or jib. The CAM Tank gets the filmmaker a good 12-inches lower than a fluid head without sacrificing control. There are more 3/8-16 holes vertical and
QXS Ambient ENG and Doco Boom Poles AMBIENT RECENTLY ANNOUNCED the new QXS Boom Pole line. Specifically designed for documentary and ENG booming work, QXS series poles are built out of durable but light-weight pull-wind carbon fibre – with five segments for a better collapsed to extended ratio. QXS Boom Poles are easy to transport while providing long lengths when needed. The new collars feature a machined knurl that provide grip, especially with gloves. The optimised angle of the new compression rings deliver increased locking of the segments.
The Wedge features three adjustable legs with floating/self-levelling feet to ensure stable positioning of the camera. Multiple tapped and untapped holes around the perimeter of the Wedge allow for the addition of accessories or tie-downs. Visit www.msegrip.com compression rings in combination with a steeper thread of the mating nuts, we were able to improve upon an already outstanding locking mechanism – suited toward a run-and-gun 5-segment design. In ENG applications, situations arise where every second counts. Therefore, Ambient offers two different internal cabling options with multiple connector outlet variations to prevent cable ‘spaghetti’. The cabled booms are equipped with in-house manufactured, ultra–thin cables optimised for field audio conditions. With an effective shielding and a polyurethane insulation, these durable cables provide excellent endurance while maintaining flexibility even in temperatures as low as – 40° C.
While designing the QS – premium feature film boom pole, Ambient invested a lot of time in research and development to find the perfect collar surface. The success of the QS Series not only verified the effectiveness of this design, it inspired Ambient to utilise this surface to enhance its QX series boom poles.
The QXS range includes:
The all-new collars designed for the QXS series boom poles feature a machined knurl similar to the popular QS boom that provides firm grip, especially with gloves.
• QXS 580 – Length: 80 – 330cm 620g
A new locking system designed for the new QXS Boom Poles locks faster and easier than previous designs while providing a stronger lock between segments – for even better prevention of slipping and twisting. By modifying the angle of the
ACQUISITION
The company’s wireless workflow system has been SyncBac PRO, Timecode Systems’ updated to focus on four core multitimecode sync accessory functional hardware products (the :pulse, for GoPro cameras. SyncBac PRO, :wave and :minitrx+) and the new B:LINK Hub app. For productions that involve a single camera in a studio, multiple cameras, or a whole army of GoPros on location, these core products can be simply configured and combined to fit the individual requirements of any shoot.
MSE’s CAM Tank to be Featured at IBC camera support at IBC2016 in Building 12–G71.
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stop, monitor and control multiple compatible camera and audio devices remotely and centrally from their smartphones, tablets, or desktop screens.
• QXS 550 – Length: 50 – 195cm 445g • QXS 565 – Length: 65 – 260cm 535g • QXS 5100 – Length: 100 – 420cm 745g • QXS 5130 – Length: 130 – 540cm 925g Visit http://ambient.de
BB&S Area 48 Studio Offers Precise Dimming
system’s colour rendering accuracy is over 98 TLCI, with HD-friendly light output comparable to a 1K traditional soft light, yet it weighs just 3.6 kg.
AT THE 2016 IBC CONVENTION and exhibition, BB&S Lighting will feature a new Studio model of its Area 48 Soft remote phosphor lighting fixture.
Moreover, the phosphor panels themselves are interchangeable, allowing you to quickly change the fixture from daylight to: tungsten, chroma-green, chromablue, new 10,000 K and more – all in seconds without tools.
The Area 48 Studio provides precise dimming throughout the entire dimming range, even in the last five percent where other LED lights fall off. The first of its kind, this feature is especially useful for sound stages, television studios, classic concert halls, theatres, and motion capture studios where extremely smooth dimming through the entire range, from 100% to zero is essential. The new 48V Area 48 Studio operates silently due to the system’s fan-less cooling. The fixture retains the form factor and features of BB&S’ compact Area 48 remote phosphor technology, which greatly improves upon the colour rendering, consistency, and light output of traditional LED lighting fixtures. The
The Area 48 Studio draws 122 Watts at maximum power output. The 48-volt power supply comes mounted directly on the yoke. The unit includes the standard BB&S four-channel Control of: 8-bit, 16-bit, strobe, and manual dimming, as well as ON/OFF. Every Area 48 is equipped with integrated barn doors. BB&S also offers optional DoPchoice light shaping tools including grids and soft boxes for even more control. Visit www.bbslighting.com
ACQUISITION
DOP Stefan Duscio Puts Cooke to the Test in ‘Jungle’
Production for Jungle was split between Australia’s South East Queensland jungle and Colombia (substituting for Bolivia) along the rivers, jungles, villages, and towns, for its rugged and bigger landscapes. Sydney’s digital and film equipment rental house Cinoptix supplied two ARRI Alexa XT cameras and the Cooke Anamorphic/i lenses including a 32mm, 40mm, 50mm, 75mm and 100mm. Cooke Optics also stepped in to supply one of the first production models of the new 65mm Macro Anamorphic/i lens. “I used the 65mm a lot and loved it,” said Duscio. “It is such a versatile lens that it gave us the freedom to go from mid-shot to extreme close-ups without a lens change. The 65mm had a beautiful classic ‘Cooke look’ to it.” With some of the most intensive pre-production work he has ever done, exploring jungles and climbing cliffs, Duscio wanted a classic adventure film look, but not something hand-held. “Almost the entire film is composed with elegant compositions and simple dolly moves, practical and pragmatic setups. It was important that the audience be able to watch Jungle effortlessly, with the cinematography not calling attention to itself.” Duscio has used Cooke lenses already on two previous feature films and various commercials, and thought that, with his desire for big landscapes, Cooke lenses would be perfect for the natural landscapes, skin tones, and faces. “There’s a real roundness and classic quality to the lenses – sort of vintage,”
said Duscio. “Today’s new lenses are way too sharp. The Cooke anamorphics are a beautiful middle-ground between traditional anamorphic lenses and going too sharp. They’re classic lenses that just feel familiar.” The jungles of Australia, while very production friendly (the cast and crew could drive right up to the location), did present some challenging shooting conditions. “It’s very difficult once you’re under the dense jungle canopy,” added Duscio. “It’s really low light levels and you’re shooting almost wide open every day. At 3pm, it starts to get dark with sunset at 5:30pm, so by 2:30pm, we’re bringing out large HMIs and bouncing them around the forest to lift the light level under the canopy. I always tried to place our biggest HMIs as far away as possible to give Greg and the cast the creative freedom they needed for blocking, and the cameras the light they needed.” Duscio used all six lenses in his kit with the 32mm and 40mm for wide setup masters and close-ups on the 75mm – as he likes to have the camera a bit closer to the actors – plus the 100mm and 65mm. Jungle is schedule for release in the U.S. in 2017. Visit www.cookeoptics.com
Booth N2918
ACQUISITION
COOKE OPTICS IS PLEASED TO REVEAL that the forthcoming film Jungle, based on Yossi Ghinsberg’s memoir, ‘Jungle: A Harrowing True Story of Survival’, was shot with Cooke Anamorphic/i lenses. The film recounts Ghinsberg’s 1982 journey through the Amazon where he ended up alone for three weeks before being found and rescued. Jungle stars Daniel Radcliffe (of Harry Potter fame) in an Arclight Films’ production, directed by Greg McLean and lensed by Australian DoP Stefan Duscio.
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SPORTSCASTING Sport coverage worldwide
www.content-technology.com/sportscasting
Olympic Channel Launches THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) has launched its new media destination, the Olympic Channel, where fans can experience the power of sport and the Olympics all year round. From Sunday the 21st of August, after the closing ceremony of the Olympic Games, Rio 2016, the Olympic Channel platform is available worldwide via a mobile app for Android and iOS devices and at olympicchannel.com. In addition, athletes and fans can follow the Olympic Channel on its newly launched social media handles on Facebook, Instagram, Twitter and YouTube, and sign up for Olympic Channel updates at olympicchannel.com. IOC President, Thomas Bach said, “The launch of the Olympic Channel on the 21st of August is the start of an exciting new journey to connect the worldwide audience with the Olympic Movement all year round. Fans will be able to follow sports, athletes and the stories behind the Olympic Games. The Olympic Channel will inspire us all and reach out to new generations of athletes and fans.” With the goal of providing a new way to engage young people, fans and new audiences in the Olympic movement, the Olympic Channel is a free platform that will present original programming, live sports events, news and highlights offering additional exposure for sports and athletes all year round. Olympic Channel original programming will include both short-form
and long-form content, focusing on elite athletes, their quest for success and sport around the world. Designed for a global audience, the Olympic Channel digital platform will showcase content from around the world, and will initially be offered in English. Additional features at launch will include fantastic content as video on demand, as well as individual sport pages within a user-friendly and mobile-responsive interface, subtitled in nine different languages. The Olympic Channel includes an option to register for a personalised experience, where users can follow their favourite athletes, teams, sports and countries to receive an individually-tailored content selection. The dynamic environment also allows videos to be easily shared across social media, and encourages users to regularly interact with the Olympics. After the launch of the global digital product in August, the Olympic Channel intends to foster partnerships with other Olympic stakeholders, including rights-holding broadcasters and National Olympic Committees to develop localised versions of the Olympic Channel. Localised versions will offer language-specific user experiences on digital platforms, and will also include linear television programming options. Visit www.olympicchannel.com
IOC Approves New Sports for Tokyo 2020 THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) recently agreed to add baseball/softball, karate, skateboarding, sports climbing and surfing to the sports programme for the Olympic Games Tokyo 2020.
The additional sports in Tokyo will not impact the athlete or event quotas of existing Olympic sports or be binding on future host cities. The current athlete and event quotas are unaffected.
Plans call for staging the skateboarding and sports climbing events in temporary venues installed in urban settings, marking a historic step in bringing the Games to young people and reflecting the trend of urbanisation of sport.
The inclusion of the new sports will add 18 events and 474 athletes, with equal numbers of women and men for all sports except baseball/softball, which will have the same number of teams but different player totals, because softball teams have 15 players whilst baseball teams have 24. Tokyo 2020 will rely heavily on existing and temporary venues to stage the competitions.
The Organising Committee for the Tokyo 2020 Games proposed the five new sports in response to the new flexibility provided by Olympic Agenda 2020. Tokyo 2020, the first Organising Committee able to take advantage of the change, submitted its proposal for the five new sports to the IOC in September 2015.
RFS Supplies Wireless Comms for Rio
DELUXE ENTERTAINMENT HAS EXPANDED its relationship with MP and Silva
RADIO FREQUENCY SYSTEMS (RFS), the global wireless and broadcast
With this new offering, Deluxe extends its relationship with MP and Silva, building on the success of its current work delivering live American football games to broadcasters in Europe for MP and Silva through its software-defined broadcast platform, Deluxe MediaCloud.
SPORTSCASTING
Visit www.olympic.org
MP and Silva Delivers Live Sports with Deluxe to provide a managed broadcast delivery service that will take European sports properties to viewers in Asia using the public internet. Launched in June 2016, the Deluxe Broadcast Delivery Network (BDN) is delivering live broadcast signals from the UK to Singapore for MP and Silva, enabling them to reach more viewers faster with their popular sports properties.
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Discussions on the event programme in the existing 28 Olympic sports for the Olympic Games Tokyo 2020 are ongoing, and will be finalised by the IOC Executive Board in mid-2017.
infrastructure specialist, provided wireless communication systems for several main venues hosting the 2016 Olympic Games in Rio de Janeiro. RFS’ turnkey solution includes provision of active DAS system equipment and passive components. In addition RFS managed the project to ensure reliable, high-capacity wireless communications at the Games opening on August 5, 2016. The systems supplied by RFS provided indoor coverage in the IBC (International Broadcast Centre) and MPC (Main Press Centre) in Olympic
The solution is designed to transport and deliver up to 16 simultaneous live broadcast signals to Singapore using the public Internet. Deluxe will downlink MP and Silva properties in Europe, encode them to an IP stream, then transport and deliver them directly to the Deluxe data centre in London for monitoring and control purposes where the signals will be inserted into the Deluxe BDN. Once the signal is on the BDN, Deluxe will deliver the live video signals to MP and Silva’s production facility in Singapore, where Deluxe will provision decoders to convert the IP stream to SDI or HD/SDI for handoff to MP and Silva. Deluxe MediaCloud enables MP and Silva to reach multiple broadcasters with a single output channel, and exploit their properties on new OTT and VoD platforms in the region.
Park, Engenhão Stadium, and the Rio Centro Convention Centre, as well as
Visit www.bydeluxe.com and http://mpsilva.com
Visit www.rfsworld.com
coverage for the Maracanã Stadium outdoor arena. RFS supplied equipment for an active DAS solution with Cobham Wireless plus passive components including cables, indoor antennas, diplexers, combiners, and low- and high-frequency stadium antennas. RFS’ Hybriflex, a hybrid feeder cabling solution, was also used to connect master to remote units in the active DAS systems. RFS was alsos responsible for a full deployment including RF design, project management, field supervision, commissioning and tests.
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Join us @ IBC, 8.B50
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SPORTSCASTING
Seven Launches 7Live for the Paralympic Games SEVEN IS SET TO CREATE and deliver a comprehensive and
Screens of Seven with 7Live. It begins with the Opening Ceremony from
technologically advanced coverage of the Paralympic Games in Rio to
the Maracana Stadium in Rio at 7am, AEST on the 8th of September.
all Australians across multiple platforms. Building on its coverage of the
A key component of Seven’s commitment to coverage across television
Olympic Games, Seven will deliver live coverage of the Paralympic Games on broadcast television and through the network’s digital products.
and connected devices is the launch the free 7Live app. The app is created and developed as part of Seven’s suite of digital products for
Tim Worner, CEO and Managing Director of Seven West Media, said,
iPhone, Android, and the web. Available from the Apple App Store, Google
“We are delighted to be able to bring this extraordinary event to all
Play, or at www.7live.com.au, It will include a live simulcast stream of
Australians. The Paralympic Games take sports to a new level, and we take with great pride our responsibility to provide the Games to all Australians across all forms of delivery platforms.” Commenting, Kurt Burnette, Event Director, Olympic Games and Commonwealth Games, said, “We will deliver coverage that takes every moment of the Paralympic Games to all Australians across a range of digital devices. We take immense pride in our partnership, and our newly
7TWO’s exclusive coverage of the Paralympic Games along with medal tallies, profiles of Australian athletes, and video on demand highlights. The live streaming of Seven’s coverage will also be available on multiple devices through PLUS7 and the 7Tennis app. Seven will be delivering coverage via 7TWO’s social channels on Facebook, Twitter and YouTube, with all content being free.
formed agreement as a key sponsor of the Australian Paralympic Team.
Seven’s agreement with the Australian Paralympic Committee delivers
We look forward to working with them, and our marketing and advertising
free broadcast television and premium television rights, and expands
partners in broadcasting an inspiring event in September.”
beyond television to Seven’s digital platforms.
Seven will broadcast the Paralympic Games on 7TWO, and across the
Visit www.7live.com.au
Clear-Com and Pdb3 Kick Goals with GWS Giants THE GREATER WESTERN SYDNEY GIANTS have been representing
HelixNet’s Version 3 firmware and software with its ability to configure
Western Sydney’s passionate AFL supporters since their first match
devices over the Core Confirguration Manager (CCM) web interface was
in 2012. Their home ground is Spotless Stadium in Sydney Olympic
one of the main reasons Paul decided to steer MicroHire away from the
Park, originally built for the 2000 Olympics. This footy season, game
matrix system they’d used previously.
day production provider, MicroHire, has brought in comms specialist, Paul Barrett and his company Pdb3, to provide communications for the production and broadcast crew. Every home game, Paul rolls out a system that has Clear-Com’s HelixNet at its core, providing a solution that’s as flexible as it is powerful. “We’re using most of Clear-Com’s HelixNet range,” explained Paul. “We
physically push buttons and turn dials on the master station to configure the system, but we can now do it through the web. The benefit is that it’s very fast to install and remove.” Another new feature that gets Paul and the crew up and running quickly
station, and a HKB-2X HelixNet desktop station. We put one master with
is ‘User Roles’, which enables the comms tech to save and load favourite
the audio operator to interface programme audio, talk-to-ears paging,
audio settings and key assignments for any device. “Because our comms
IFB, the ground announcer’s comms system, and an audio feed from the
equipment is sub-hired, the User Roles feature makes it easy to deploy,”
OB truck for the broadcast director. We then run an IP link to the comms
Paul elaborated. “I can simply save my files, and the next time I get
tech’s rack where we have UHF bases that can interface with HelixNet via
equipment, load it up and set the User Roles I want each device to have.
their four-wire module and relay connections. We also run an XLR cable
It’s all about faster deployment when it may be different hardware each
to the show-caller’s remote station, and another to the camera switcher’s
week. Because CCM is a simple web interface, it would also be easy for a
desktop station.”
non-comms tech to deploy the system.”
Running through the specs of Paul’s setup, the HMS-4X is a 1RU digital
Changing an established system for live production and broadcast can
audio feed that can support up to 20 beltpacks. The HRM-4X is a 1RU, four-channel remote station that connects to the HMS-4X main station, providing access to four simultaneous channels of comms, plus assignable program audio. The HKB-2X is a four-channel, two display digital partyline
SPORTSCASTING
makes it much easier to configure,” he continued. “Previously, we had to
bring in two HMS-4X HelixNet master stations, a HRM-4X HelixNet remote
partyline main station with four channels of full-duplex audio and program
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“Version 3 enables full web-based control of the comms system, which
speaker station that connects with the HMS-4X Main Station, and can assign and monitor four channels of intercom while communicating on
make technicians nervous. How did the crew react to the rollout of HelixNet? “There were some concerns that some functionality could be lost by going away from a full matrix,” Paul reported, “but there’s been no problems or complaints. Everything MicroHire have wanted to do we’ve accommodated with the HelixNet system. It’s a great half-way between partyline and matrix that fits really well in the sports broadcasting
any two of the four channels. Paul also provides four Clear-Com CC-300
environment.”
single-ear headsets and one Clear-Com CC-400 double-ear headset.
Visit www.clearcom.com and www.pdb3.com.au
SPORTSCASTING
The playing field for decision makers looking to upgrade and invest in technology, just got a whole lot bigger.
C
SPORTSCASTING NEWS & LIVE PRODUCTION
O
N F E R E N C E
&
E X P O
OCTOBER 26 – 27, 2016 Etihad Stadium, Docklands
www.sportscasting.com.au
At the Melbourne Sportscasting news and live production expo you will have face-toface access to a large range of exhibitors who can demonstrate and talk to you about solutions to upgrade and innovate your club’s or association’s technology. If you are from a professional sporting association or sporting club, racing club, venue or school then this trade exhibition is for you!
Conference Organiser:
Exhibition Organiser:
events
SPORTSCASTING
To register go to sportscasting.com.au or for more information: info@sportscasting.com.au
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SPORTSCASTING
Panasonic Delivers AV for Olympics and Paralympics PANASONIC CORPORATION, the Official Worldwide Olympic and Paralympic Partner in the Audio and Visual Equipment category for the Rio 2016 Olympic Games, has announced the full lineup of equipment and variety of solutions the company has provided to support the Rio 2016 Olympic and Paralympic Games. Through cooperation with the International Olympic Committee (IOC), the International Paralympic Committee (IPC), the Rio 2016 Organising Committee for the Olympic and Paralympic Games (RIO 2016), and the Olympic Broadcasting Services (OBS), Panasonic has supplied its visual equipment to the Opening and Closing Ceremonies, competition venues and broadcasting locations. Panasonic has been contributing to the Games with its AV technology for more than a quarter of a century. In Rio 2016, Panasonic signed its partnership with Rio 2016 to become an ‘Official Ceremony Partner’,
and the audiences around the globe to witness the world's greatest Ceremonies in Rio de Janeiro. Panasonic has also installed its LED video screens and video systems to the Games competition venues on the largest scale for any Olympic Games in the company’s history. The technical requirements of video screens are constantly growing at the Olympic Games, and such screens are an indispensable part of stadium visuals, to show gigantic Games images by multifunctional digital video switching. Together with its display panels and AV systems, Panasonic has also delivered turn-key AV management solutions to add excitement to the competition sports presentation for the spectators, and for the first time Panasonic has provided sport-specific AV systems to support video adjudication processes essential to the judges and officials officiating over competition.
systems to bring the Ceremonies to a new level of entertainment with
Panasonic's P2HD broadcast camera system was already decided upon as the recording equipment for Rio 2016. The company has delivered large numbers of broadcasting equipment such as the AJ-PX5000G camera recorder featuring AVC-ULTRA codecs. Since the Barcelona 1992 Olympic Games, Rio 2016 will be the 12th consecutive Olympic Games in which Panasonic’s digital technology has been used as the official recording format.
impressive images to the spectators at Brazil’s iconic Maracana Stadium,
Visit http://business.panasonic.co.uk
providing turn-key visual solutions including full system design, projection mapping and technical operations to the Olympic and Paralympic Games Ceremonies project. Panasonic supplied around 110 units of its high brightness compact 20,000 lumens projectors (PT-DZ21K2), broadcast grade 2-M/E live switcher (AV-HS6000 Series), and other full line-up visual
Bridgestone, Toyota Founding Partners of Olympic Channel THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) and Bridgestone
overcome adversity and reach their goals. The first episode in the series
Corporation (Bridgestone) have announced a collaborative agreement
premiered on the 21st of August.
that makes the world’s largest tyre and rubber company the first Founding
Complimenting Bridgestone in more ways than one, Worldwide TOP
Partner of the Olympic Channel. The new digital platform, where fans can
Partner Toyota has also become a Founding Partner of Olympic Channel.
experience the power of sport and the Olympic Movement all year round launched worldwide on Sunday the 21st of August following the Closing Ceremony of the Olympic Games Rio 2016. The four-year partnership between Bridgestone and the IOC extends through to 2020.
Through the Olympic Channel Founding Partner relationship, Toyota will receive exclusive advertising opportunities and will work with the Olympic Channel team to co-develop content.
Bridgestone will serve as the presenting partner of the Olympic Channel’s
“We are delighted that Toyota, our newest Worldwide TOP Partner, will
‘Against All Odds’, an eight-episode documentary series that demonstrates
also support the Olympic Channel as a Founding Partner. We look forward
the very embodiment of the Olympic spirit following eight athletes.
to strengthening our partnership through the Olympic Channel,” said IOC
Each half-hour episode will focus on one athlete, offering a first-person
President, Thomas Bach.
account of a key turning point, and how will and determination helped to
Visit www.olympicchannel.com
NextVR and FOX Sports Broadcast Bundesliga Live in Virtual Reality CONTINUING ITS RELATIONSHIP with FOX Sports, NextVR, the developer
goal, as Manuel Neuer , Philipp Lahm and Robert Lewandowski aim to kick off
of live virtual reality broadcast technology, presented the opening match
Bayern München’s title defense against four-times champion, Werder.
of the 2016/2017 Bundesliga season in live virtual reality. Kicking off the
This virtual reality event included live commentary by former American
start of one of Europe’s leading football competitions on the 26th of August, NextVR broadcast Bayern Munchen vs. Werder Bremen from Allianz Arena in Munich, Germany, to fans in select locations globally. This marks the first time the Bundesliga broadcast live to an international audience in virtual reality. This is another innovative event production for the Bundesliga, which aims to stay ahead of the curve through innovation and
SPORTSCASTING
technology in sports. In total, seven cameras captured the action, providing
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professional soccer player and Bundesliga player, Heath Pearce , as well as FOX Sports commentator, Mark Rogondino . “The pipeline for captivating content in virtual reality keeps growing as we work with NextVR, and the Bundesliga match is an opportunity to provide fans with immersive content in the world’s most popular sport,” said David Nathanson , FOX Sports Head of Business Operations “Providing early
pitch-level shots as NextVR continues to build a virtual reality platform that
adopters of virtual reality with content in new markets allows fans globally to
provides content for the largest fan bases around the world.
be a part of the action and take their viewing experiences to the next level.”
The Bundesliga brings Germany’s top 18 football teams together in an
The match was produced with production and technical support from DFL’s
annual competition. Viewers have the ability to watch a produced feed with
production arm, Sportcast and Sky Deutschland.
cameras placed in the stands, along the sidelines, midfield and behind the
Visit www.nextvr.com
See us at IBC booth 10.A31
NEWS OPERATIONS
CONTROL COMMUNICATE
INTERCOMANDMEDIORNETCONTROL SMARTPANEL RSP-2318
RIEDEL widens its SMARTPANEL app portfolio with the new MEDIORNET CONTROL app. Switch video, audio or combine in macros… all while using your intercom.
www.riedel.net
NEWS OPERATIONS
TOGETHER IN ONE DEVICE
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SPORTSCASTING
Manila eSports Championship powered by Blackmagic DESPITE REQUIRING LITTLE PHYSICAL EXERTION, there are many leisure activities that have attracted the label of 'sport' – darts, lawn bowls and golf, to name a few. The latest activity vying for this status is eSport or, as married adults would know it, 'playing video games'. Live production at this year’s Manila Major, one of the biggest gaming Championships in eSports, was delivered using a live solution built around Blackmagic Design technology. The six day tournament, which saw sixteen elite eSports teams battling for a $3,000,000 prize pot, was produced by PGLeSports and takes place at the Mall of Asia Arena, with thousands of spectators at the venue and many more watching sports channels or online. Each of the four production hubs featured an ATEM 2 M/E Broadcast Studio 4K switcher for localised production, while a centralised switcher and Smart Videohub 40×40 were used to bring the action together. Signal management was monitored and standardised using the Blackmagic MultiView 16 and Teranex Express. The scale of production at the event was huge, with 28 cameras and dozens of computer screens in action at any one time, so the PGL team developed a solution that split the video production into several hubs, including delivering in game content, or capturing player and commentator reactions, with content from each hub being produced through an ATEM 2 M/E Broadcast Studio 4K. Vlad Petrescu, head of broadcast for PGL explains that the ATEM’s creative features are integral to the way in which the team helps fans follow the multiple storylines unfolding through the various battles on screen.
“Blackmagic’s MultiView 16 is a crucial element in delivering onstage coverage of the players. We couldn’t monitor ten player cameras and ingest all of the various live graphics feeds via the ATEM alone. Having separate hardware multiviewers made monitoring all of that action a lot less painful,” explained Vlad.
“As well as traditional picture in picture effects, we also created a ‘Tri-Lane Cam’, with two screen wipes alongside the main camera shot, so fans could follow the three paths in the game simultaneously,” he said.
The final live program mix was screened throughout the arena on four 16x9m large scale LED screens and streamed out to a global audience through Twitch. tv and mainstream broadcasters including TV5 in Manila and VIASAT in Poland.
Signals were also combined with PGL’s own graphic production, which used DeckLink capture cards for player statistics and scoring overlays. All camera, computer and CGI inputs were standardised using Teranex Express processors to PGL’s default 720p5994 format, before being taken into a central video router.
“Capturing those special plays that differentiate a great player from a casual one, and complementing this with the live audience reactions is so important,” concluded Vlad. “Achieving this in eSports is far more complex than in traditional sports broadcasting. Blackmagic’s hardware has allowed us to develop a very robust solution for live production, but in a way that is really easy to operate in a highly pressurised live environment.”
Signal monitoring was managed with a package of Blackmagic hardware including SmartView HD preview monitors, Blackmagic Audio Monitor and three MultiView 16s.
Visit www.blackmagicdesign.com
Immersive Platform Explores Endurance Sports SPORTS FANS ARE ABOUT TO GET a whole new way of experiencing the upcoming Tour de France and select endurance sports at the Rio 2016 Olympics, thanks to a start-up out of CSIRO’s Data61 group. This year, spectators through doarama.com were able to access customised 3D interactive map visualisations of the routes which were be used for the Tour de France (July 2nd to 24th). Fans were able to interact with the maps by controlling how they view the route in a 3D virtual world. Spectators were also be able to preview selected routes for the Rio 2016 Olympics. CSIRO’s Data61 Software Engineer and head of Doarama, Pete Field, said the 3D maps are changing how endurance events are experienced, either as a spectator or an athlete.
SPORTSCASTING
“Until now we’ve ‘made do’ with a 2D overhead map and a separate terrain profile,” Mr Field said. “3D fly-through maps were only available to large media broadcasters, and even then, these maps were limited to a single point-of-view, and only made available for the largest races. With Doarama, sport routes can be made available online, and it is completely interactive. The viewer can move around inside the 3D world while the route is laid out before them. For athletes, sports enthusiasts and event organisers, Doarama gives you an edge when preparing for that big event.”
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“Paragliders and ultra-marathon races in Italy, France and California and the RedBull XAlps Competition have been early adopters,” Mr Field said. “We’re expanding into more sports including base-jumping competitions and we’re excited to see the new ways people use Doarama.” Doarama is free to use, works on desktop and mobile devices, and gives sport enthusiasts the opportunity to experience the walk, run, hike, rock climb,
Doarama’s 3D visualisation of the 2016 Olympics Marathon course.
paraglide, cycle or ski route, using its GPS route visualisations. Other key features include: • The ability to share experiences on social media. • Ability for anybody to create their own 3D maps. • Ability for content providers to embed Trayse into their web service. Originally launched in 2013, the revamped Doarama platform has seen great uptake with approximately 400% user growth this year by offering a new, engaging way to gain a deeper understanding of the environment and obstacles that athletes are tackling. “Television and 2D maps just don’t compare – with Doarama, it’s visceral,” Mr Field said. Visit http://doarama.com
SPORTSCASTING
SPORTSCASTING
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NEWS OPERATIONS www.content-technology.com/newsoperations
Nine Boosts News Management Team DARREN WICK, NINE NETWORK DIRECTOR of News and Current Affairs, has announced two major appointments within the management team at Nine News. Amanda Paterson is to become the Queensland News Director while Mike Dalton will move into a new position as the Head of Nine News Regional. Amanda Paterson began her television career as a 19-year-old reporter, recruited from the University of Southern Queensland to join the Extra program at the Nine Network in Brisbane. She subsequently moved to A Current Affair, working as an investigative reporter in Melbourne and Brisbane, before being appointed as the program’s Queensland Bureau Chief, a position she has held for the past eight years. Paterson has been a three-time Walkley Award finalist for her reporting and a multi-award winner at the prestigious Queensland Media Awards, including the Investigative Report of the Year, after revealing a high-flying business millionaire to be a sexual predator. Other acclaimed reports include an investigation into medical negligence at a major hospital, exposing the
Reuters TV Version 2.0 REUTERS HAS RELEASED version 2.0 of Reuters TV. This new version of the connected TV service introduces Featured Programs – thematic programs curated and hosted by Reuters journalists – alongside live feeds of global events and personalised video newscasts. The update includes a major redesign on both Apple TV and the web that seeks to set the standard for premium online video delivery. Reuters TV is available for iOS and tvOS devices on the Apple App Store, Android devices via Google Play, and on the web globally at Reuters.tv. Introduced in 2015, Reuters TV is aimed at ‘a growing segment of informed, on-the-go and globally curious consumers who value authenticity and personalisation and are too busy to watch traditional TV’. For these users, Reuters TV delivers a habitual new category of mid-form engagement that fits between the TV and the web. Session frequency on Reuters TV has doubled in the past year, as session length has grown 68% and the number of active users has grown by 22 times. Reuters TV 2.0 features three ways to watch for most users:
Ross Smartens Up the News THE ROSS VIDEO INCEPTION News system now offers a new Enterprise Edition designed to support over 1000 concurrent users in a truly fault tolerant, enterprise class environment. No single point of failure redundancy includes node-based job delegation and automatic failover in case of hardware failure.
NEWS OPERATIONS
Inception version 10, the latest software release includes the Inception API and SDK. The API enables developers, partners, customers, and resellers the ability to add new core features and to create custom connections to a CMS, social platform, or other internal system.
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Horizon is an enterprise hub that connects multiple Inception systems to each other. Horizon provides content sharing and authoring, manages permissions and access, and federated search across all systems. Horizon also offers copying of information between systems and supports MOS redirection. Horizon is ideal for local news operations each with its own Inception News system that want to see and share content. The latest software version of the Streamline media asset management application introduces tight workflow integration with XPression Clips for seamless playback operation and automatic transcoding into the XPression codec, as well as integration with OverDrive automated production control systems. Streamline also has many improvements for graphics asset management, including folder structures, implicit metadata profiles and
national sporting coach who resigned after an improper relationship with a young athlete, and the killer who confessed to her on camera, forcing police to reopen a cold case and ending with him being jailed for 26 years. Following five years as Queensland News Director, Mike Dalton will be the Network’s first Head of Nine News Regional. In this new role, Dalton will build a regional television network for Nine News from the ground up. He will work closely with Nine’s affiliate partners, Southern Cross Austereo, to establish news bulletins and newsrooms in all major East Coast regional markets. Dalton has more than 30 years of television experience in metropolitan and regional markets across Australia. He has been Chief of Staff at Nine News in Sydney, working with the legendary newsreader Brian Henderson and the current team of Peter Overton and Ken Sutcliffe. In 2011, he took over the reins of Nine News Queensland. This year Dalton has overseen the relaunch of Nine News Gold Coast, with Bruce Paige and Wendy Kingston. Visit www.nine.com.au • Reuters Now – an algorithmically assembled but editorially curated news program that is on-demand, up-to-date, any duration (between 5 and 30 minutes), customised to each viewer’s interests and location, and downloadable for offline viewing. • Featured Programs - thematic, editorially-curated programs, on topics from Zika to Brexit to the battle to retake Mosul, hosted by a Reuters journalist to provide context around the topic, with multiple new programs added each week. • Live feeds - Real-time coverage of global events, from protests to Presidential speeches, unfiltered and uninterrupted, and available live and on-demand. Live feeds are currently available on all platforms except Android, with support for that platform coming soon. Editorial content from Reuters TV is produced exclusively for the service and draws upon Reuters reach from 2,500 journalists in over 160 countries. In order to deliver the service’s variable program lengths, all content is produced in multiple versions and organised by editorial teams in London, Hong Kong, New York and Washington DC, providing 24/7 coverage for viewers. Visit www.reuters.tv
support for Adobe XMP based metadata in assets. Furio RC, the remote control dolly system for live stage productions, is now available as a pan/tilt head only system, without the dolly. This package is ideal for remote control Pan Tilt head applications such as concert halls, houses of worship or sports venues where speed and responsiveness are critical. The SmartShell 4 robotic control and management application adds support for Grass Valley Ignite and Sony ELC automated production systems, in addition to Ross OverDrive and Viz Mosart. The number of video routing protocols has been greatly expanded, XY floor limits for the CamBot 700XY have been implemented, and robotic control and camera control of Hitachi and Panasonic box cameras is integrated through DashBoard to provide a single, consolidated control station. Lastly, the latest version of Ross’s Legislative Production System, LCS has a simplified user interface while adding significant new production capabilities. Control of any type of Ross XPression graphic is done directly in the system interface. In addition to providing additional graphics control, the latest software version now works with a variety of models of XPression Graphics hardware. Visit www.rossvideo.com
NEWS OPERATIONS
Autoscript Integrates with Sony ELC Playout System AUTOSCRIPT, HAS ANNOUNCED a new collaboration with Sony to produce an original automated newsroom workflow. Through this collaboration, Autoscript’s Winplus teleprompting software and Sony’s ELC control system have been integrated to improve operational efficiency and reduce the chances of human error. Sony’s live production control automation system, ELC, manages all newsroom control functions from a dedicated operator position. These include video and sound sources, studio cameras and audio, playout servers, DDRs, and graphic devices. Now, integration with Autoscript’s leading WinPlus Newsroom Prompting software adds control of the script and the prompter rundown to that list.
launch the correct rundown and start position into WinPlus. This removes the additional step of the prompter operator coordinating with the producer and manually selecting the correct script for broadcast. In a busy, live production environment an efficient and accurate workflow is essential. This collaboration between two of the world’s leading production equipment providers is an innovative time-saver that helps optimise productivity and reduce errors.
In combination with all leading newsroom systems, the Sony ELC will
Visit www.quinto.com.au
MediaPower to Preview News Sharing Service AT IBC2016, MEDIAPOWER will be packing its homegrown products including NewsTouch touch-based presentation system, AirGo ingest and playout server, and Arkki media asset management. On top of these, MediaPower is also introducing a new global news sharing service and featuring a couple of its technology partners.
people who are present when breaking news happens.
At the show, MediaPower will provide a sneak peek of NewsApp, a global news sharing service that aims to bring broadcasters and ordinary citizens together into a mutually beneficial news gathering process. With NewsApp, broadcasters and news networks can augment their traditional newsgathering process by crowdsourcing news footage from the very
MediaPower is also featuring ProMAX’s range of shared storage devices and workflow servers purpose-built to improve the efficiency of the content creation process whether in Film/TV, broadcast, post production, education, or other industries – from ingest to archive.
Octopus Newsroom Gets Social at IBC OCTOPUS NRCS BRINGS TOGETHER at IBC2016 a complete system packed with graphics, teleprompting, traffic management and delivery for broadcast television, radio and the web. The latest version of Octopus 8 will be demonstrated. It features an advanced dashboard GUI which brings together every assignment, notification and update. Twitter, Facebook and Instagram become fully integrated into the newsroom. Social media are then treated with the same importance as a traditional news feed or a programme rundown. Octopus 8 enables administrators to assign users to create content for social media. Tweets and Facebook posts are treated like any other news story with team managers able to assign and share tasks, and to approve posts before they go live. Journalists can now follow Twitter trends and track topics of particular interest to them across the social network in real time. The research process is now automated, giving teams instant information and analyses
MediaPower’s friends from NetApp will be joining in at stand 7.J42. the company will also be featuring a NetApp E Series, a storage system that provides extreme video bandwidth in a choice of reliable and costeffective modules.
Visit www.media-power.it trends over time. Editors can tweet, reply, re-tweet or favourite directly from Octopus as well as manage the channel’s relationships by following or blocking Twitter users. Octopus 8 now directly interconnects with CMS systems such as Wordpress or Joomla, allowing scripts and articles to be uploaded dynamically to web portals. This web component allows TV news editors to upload pages directly, saving time and reducing the workload on web managers. Another new feature is the ability to publish social media posts directly from the rundown. The Octopus Mobile App offers journalists full news production capabilities on tablets and mobile phones running Apple iOS or Google Android. Reporters and editors working remotely gain instant access to all wires, rundowns and assignments. They can also edit stories within a rundown, preview prompter text as well as create wires and reports in the field. The new app supports both Octopus 8 and the most recent versions of Octopus 7. Visit www.octopus-news.com
LiveU Solo: best-in-class, bonded multi-modem live streaming solution.
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NEWS OPERATIONS
Bringing LiveU’s broadcasting expertise to the online media market.
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NEWS OPERATIONS
Aviwest Reveals Array of Upgrades AT IBC2016, AVIWEST WILL DEMONSTRATE the latest enhancements to its live video contribution and distribution systems. Aviwest’s live video contribution platform enables broadcasters to capture and broadcast live 4K, HD, or SD video over multiple unmanaged IP networks, including bonded 4G/3G cellular, Wi-Fi, ethernet, and satellite links. First up, Aviwest will demonstrate a new version of its DMNG App, featuring an optimised interface, advanced camera settings, dynamic resolution, and video quality improvements. The DMNG App is now available as an SDK, allowing broadcasters to develop a personalised application that is based on Aviwest technology and fully integrated into the AVIWEST ecosystem. Aviwest’s HE4000 contribution and distribution video encoder will be on show, and supports HEVC compression to optimise distribution of SD, HD, and 4K content over unmanaged networks. The HE4000 implements a HEVC/H.265 video encoder, allowing broadcasters to deliver the same visual quality as H.264/AVC at 50% of the bitrate, up to 4K resolution. Also to make an appearance is the DMNG Laptop. Touted as a powerful newsgathering tool, the system combines an H.264/AVC and H.265/HEVC encoder in an Apple MacBook Pro to enable high-quality streaming. Using the DMNG Laptop, broadcasters can receive video content from a range of video sources, including webcams and external SDI/HDMI cameras. The laptop application features an intuitive GUI that makes it easy to manage various content delivery profiles, and provides support for a variety of broadcast applications, including live streaming, file transfer via various
networks (wireless, cellular, satellite, LAN/WAN, public internet), and storage. By detecting and bonding multiple IP network interfaces, the DMNG Laptop enables broadcasters to take advantage of every IP network in the area. Aviwest will also showcase two major evolutions of the DMNG Manager: video grid, and statistics capabilities. The DMNG Manager provides a video thumbnail of each feed coming from field units or from any standard IP video source. When arranged in a grid-view, these thumbnails ease system resource allocation by helping operators route the video streams to one or multiple receiver outputs or CDNs. IBC2016 will also see Aviwest’s latest version of its DMNG StreamHub receiver, decoder, and distribution platform, including 4K UHD H.265/HEVC decoding and recording functions. The DMNG StreamHub supports a set of input IP protocols, enabling reception of up to 16 concurrent incoming streams from remote Aviwest DMNG PRO transmitters, DMNG smartphone applications, or third-party systems such as IP cameras. Leveraging the platform’s four SDI outputs with a genlock input, broadcasters can decode up to four videos simultaneously. Designed to fit customers’ needs and headend constraints, the DMNG StreamHub application can be hosted on a 1RU or 2RU server platform with various software configurations. The DMNG StreamHub also operates in virtualised mode. Visit www.aviwest.com
Dejero Reveals Cloud IP Connectivity DEJERO WILL SHOWCASE the latest developments in its IP connectivity
Express server. Files are automatically transcoded to the desired format
solutions for electronic newsgathering and remote broadcasting at the
for previewing and use. Working together, Dejero and Grass Valley are
IBC2016 exhibition. Throughout the show, Dejero will be showcasing
simplifying the overall file-based workflow to meet the needs of news
enhancements to its LIVE+ Control management system that simplifies the
production.
task of broadcasting live from remote locations and transporting recorded
IBC2016 attendees will also see the first European demonstrations of the
content to broadcast facilities over bonded IP networks including cellular,
convenient SIM module and new modem module for LIVE+ EnGo. Aimed
Wi-Fi, ethernet, or satellite. The updates enhance monitoring, station
toward broadcast journalists and news crews, LIVE+ EnGo encodes IP
administration, and reporting capabilities, displaying real-time analytics
video and bonds all available networks, including cellular, Wi-Fi, ethernet,
of network connection performance, and overall transmission quality for
and satellite.
each Dejero transmitter. These updates go hand in hand with the release
Earlier this year, Dejero joined the newly formed Alliance for IP
of version 4.0 of the company’s LIVE+ Core software This major software
Media Solutions (AIMS) which was created and is run by leading
release will make its IBC debut this year and has added significant new
technology providers to encourage the adoption of open standards and
capabilities to the LIVE+ platform of products including an enhanced
interoperability as the broadcast and media industry transitions from SDI
congestion control algorithm and faster transport of files.
to IP.
In a related IBC2016 first, Dejero will also be showing off its collaboration
Dejero will make a major announcement at IBC2016 that according to the
with Grass Valley, which sees its LIVE+ Control embedded into the GV
company will revolutionise the movement of files from the field, further
Stratus video production and content management system. This allows
simplifying broadcast workflows.
users to move recorded clips from a LIVE+ Broadcast Server to the Stratus
Visit www.dejero.com
NEWS OPERATIONS
Domo Broadcast Extends Concept of SDR
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DOMO BROADCAST WILL DEMONSTRATE advances for its concept in
support. The new module in development on Domo’s proprietary IP
electronic newsgathering and live production at IBC2016. After launching the SOLO7 OBTX modular camera back transmitter, Domo is developing a module to interface directly within it, which will transform the already feature-rich radio into an ENG transmitter based on the company’s SOLO8 Software Defined Radio platform.
software platform will provide bi-directional communication and control
New functionality will boast full SD and HD, including 1080p50/60 formats, IP encoding and streaming capabilities, traditional ASI COFDM, bi-directional IP over RF (Mesh), return IFB, plus 3G and 4G dongle
from camera to studio, enabling production teams to move more of the command, control, and creative functions back to the studio or OB truck. Domo will also feature its SOLO7 OBTX, which boasts 1080p60 and 4:2:2 compression with integrated camera control. It includes swappable RF (340MHz – 8.6GHz) modules and H.264/MPEG-4 AVC video encoding. Visit www.domotactical.com
NEWS OPERATIONS
DFT’s Scanity HDR Upgraded DIGITAL FILM TECHNOLOGY counts major archives worldwide among its customers, including the British Film Institute, The Korean Film Archive, The Film Archive of Thailand, National Library of Norway, National Film and Sound Archive of Australia, Library and Archives Canada, The Slovak Film Institute, Film Institute Netherlands, National Audio-visual Archive of Finland and The Royal Thai Archive. At this year’s NAB, the company is announcing new technology developments for its latest Scanity HDR film scanner. A full wet-gate system will be demonstrated at the DFT’s stand. Specifically designed for Scanity HDR, it provides a real-time solution for ingest and management of difficult-to-solve historical film transfer issues – such as dust and scratch removal – at the same time surpassing prior transfer standards. The wet-gate is ideal for archive owners that require a scanner that’s able to handle a range of problematic and historically-aged film issues. New 16/8mm small gauge film gate: DFT will also demonstrate its new small gauge film gate strategy, showing the optional ‘16plus’ LGA for its Scanity and new Scanity HDR models. New software release: DFT’s Scanity HDR, developed in response to the demands of both the post production and the film archive and restoration industries, will be demonstrated with the latest Scanity software release. Scanity HDR offers a host of user friendly features that serve a variety of film scanning applications, including – but not limited to: film archive scanning for mass digitisation, EDL/conform scanning, low resolution browsing for archive and restoration, short-form commercials, and 4K UHD ready and digital intermediate scanning. Scanity HDR has a number of advantages over other scanner solutions, namely its touch-less patented capstan drive Lens Gate Assembly (LGA) system. This provides both automatic shrinkage compensation and gentle film handling, whilst delivering image stability. Key features include a black and white HDR function, a new triple exposure (executed once) in realtime 2K or 4K data ingest. This means the scanner speed remains constant, creating time and cost benefits and allowing access to previously unseen details from the high- and low-lights of the film. Visit www.dft-film.com
New Avid Media Composer AVID HAS ANNOUNCED a new version of Avid Media Composer which enables video editing professionals to work faster and more easily, is now available. The new version of Media Composer enables video professionals to take on HDR projects. Along with Avid Resolution Independence and high-resolution workflows, Media Composer’s support for HDR workflows enables editors to overcome today, and tomorrow’s technology challenges. This version of Media Composer also enables editors to work up to 64 audio tracks – 250% more than previously available. Visit www.avid.com
Edit Bridge to Interface with Multi-Vendor Systems Marquis Broadcast has recently announced Edit Bridge, its integration application for Adobe Premiere Pro CC and Avid Interplay, has been developed to interface with multi-vendor systems such as Apple Final Cut Pro X or Grass Valley’s Edius. The application will be shown at NAB for the first time, on booth SL8730. “Edit Bridge was awarded the IABM’s Design and Innovation Award in the Post Production category at the prestigious IABM awards ceremony held at IBC last year,” confirmed Chris Steele, Managing
PreRoll Post from Imagine Products is aimed at making LTO tape archiving easier and more efficient. The system automates indexing of camera originals, complete with thumbs, proxies, and metadata, while backing up full-resolution media to local disk, long-term LTO tapes, or optical disc. Apple or Windows users can now use PreRoll Post to create nonproprietary backups of any file or folder using the open-source Linear Tape File System (LTFS). The archiving application streamlines the process of placing any file type onto an LTO-7, LTO-6, or LTO-5 tape, or onto Sony’s Optical Disc Archive.
Edit Bridge offers a solution to enable competing manufacturers’ products to work together, allowing users to search Avid Interplay from within the Premiere Pro or After Effects interface, view thumbnails, find media and select it for editing. Content is either streamed directly, or copied and re-wrapped to Premiere Pro or After Effects for immediate editing. Delivery of the completed story and associated metadata back to Avid ISIS is achieved with Avid interplay check-in. “The new Edit Bridge Client now provides the same connection into Avid Interplay for non-Adobe specific workflows.” confirmed
PreRoll Post takes advantage of LTFS, which is supported by many tape drive manufacturers. LTFS mounts a tape as a volume within the operating system. This makes it possible to read and write from the tape as if it were a hard disk – without proprietary software formatting. It also makes PreRoll Post hardware-independent, enabling use with any LTFS-compliant tape drive or Sony ODA.
Steele. “Users can now source content from Interplay by browsing
Visit www.imagineproducts.com
Visit http://www.marquisbroadcast.com
and searching within the panel before triggering a drag and drop import into the chosen application. The Edit Bridge Client has been designed to support both Windows and Mac platforms.
NEWS OPERATIONS
Imagine Products’ PreRoll Post Upgraded
Director, Marquis Broadcast.
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POST PRODUCTION www.content-technology.com/postproduction
Animal Logic Launches VFX Academy with University of Technology Sydney AUSTRALIAN AWARD-WINNING digital animation and visual effects production studio, Animal Logic, has partnered with the University of Technology Sydney (UTS) to deliver a ground-breaking industry led postgraduate program in digital animation and visualisation. The establishment of the UTS Animal Logic Academy (UTS ALA), a first for Australia, will offer up to 50 students exclusive access to the first postgraduate degree of its kind, a Master of Animation and Visualisation (MAV). The MAV program will foster the development of Australian creative talent in animation and visualisation industries, elevating Australia’s reputation as a centre of innovation and creative excellence. Widely known as one of the world’s most creative digital production studios, Animal Logic has produced highly successful animated features including Happy Feet and The LEGO Movie and visual FX for blockbuster films such as The Matrix, 300 and The Great Gatsby. With studios in Sydney, Los Angeles and Vancouver, Animal Logic is at forefront of the creative industries and says it is in the perfect position to guide the next generation of smart creatives. The UTS Animal Logic Academy will be located at UTS in the heart of Sydney’s Creative Precinct. Commencing in 2017, the Academy will run an intensive postgraduate program that will be delivered in a professional studio setting that emulates the working environment of highly creative and technologydriven studios like Animal Logic. UTS Vice-Chancellor Professor Attila Brungs, said the insights, skills and abilities acquired through this course would benefit people wanting to take their careers to new heights and prepare many for jobs of the future requiring the ability to interpret and visualise big data. “This is a program like no other in Australia, deeply industry linked and led, and one that aims to generate skills and capacity to enable Australia to be a leading player globally in the creative industries and in particular the emerging visualisation industry,” said UTS Vice-Chancellor Professor Attila Brungs. “I predict this sector will be a critical contributor to future employment.”
Professor Brungs added that the collaborative agreement strengthened a relationship with Animal Logic that had progressed across many years. “Animal Logic is a major player in the film, entertainment and creative industries, going from strength to strength over the past 25 years,” he said. “During that time a succession of UTS graduates has worked for the studio, starting their careers while contributing to the studio’s global success.
Animal Logic CEO Zareh Nalbandian.
“Animal Logic’s professional and production teams engaged in industry-led discussions for the development of the UTS Bachelor of Creative Intelligence and Innovation and they produced an inspiring showreel for the launch of the UTS Data Arena.” The UTS Animal Logic Academy will be transdisciplinary and collaborative, with connectivity across several faculties and research streams, including Engineering and IT, Design, Architecture and Building, Arts and Social Sciences, and the UTS Data Arena. “The Academy will provide a cutting-edge, immersive environment for students to be able to develop critical industry-focused knowledge and professional practice skills that will be immediately transferable to established and emerging visualisation industries, both in Australia and internationally,” Animal Logic CEO Zareh Nalbandian said. “Animal Logic will contribute considerable human, creative and technical knowledge to the program, which is intended to push students’ work beyond existing techniques into innovative solutions, refining their approach to professional practice in today’s challenging world.” Candidate interviews will form part of the course application process which will draw out the best of the best as well as rising talent. University graduates and those with proven industry experience can now express interest in the Master of Animation and Visualisation and register for notification of the opening of the application process. Applications will close on 28 October 2016 for placements commencing in January 2017. Visit http://animallogicacademy.uts.edu.au
Digistor Introduces Forscene Cloud Editing in ANZ
POST PRODUCTION
FORBIDDEN TECHNOLOGIES PLC, the developer of professional video editing software, Forscene, has announced a new partnership with Australian technology solution provider, Digistor. Under the non-exclusive agreement Digistor will become Forscene’s first Australian service provider and boost the software’s representation in the Australian and New Zealand markets.
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Digistor has supplied technology solutions to the VFX, post-production, broadcasting and digital media industries in Australia for over 25 years. With many of its clients expressing interest in cloud-based workflows, Digistor was impressed by a demonstration of Forscene’s capabilities at NAB earlier this year and proposed the partnership. Forscene provides professional post-production software in the cloud and has demonstrated exponential time and cost savings to clients in all video industries – including broadcast entertainment, news, and sports. The software allows video producers to access centralised material from a web browser or app on any device and to collaborate from anywhere in the world
using a full range of post-production tools. It is the only unified platform that offers review, logging, editing, and publishing entirely in the cloud. “Our customers are increasingly looking to cloud-based editing, postproduction, storage, compute and distribution solutions in order to better satisfy the escalating demand for content creation and distribution in ever more formats on tighter budgets,” said Andrew Mooney, Managing Director at Digistor. “Forscene is an important piece in this puzzle for Digistor. There is no doubt there is demand for Forscene in the Australia and New Zealand market where customers are keen to innovate.” “Digistor is a respected Australian technology provider with an impressive list of clients and partners,” said Jason Cowan, Director of Business Development at Forbidden. “Their progressive, hands-on approach to new technology and workflow solutions makes them the ideal partner to introduce Forscene to the Australian and New Zealand markets.” Visit www.forscene.com and www.digistor.com.au
POST PRODUCTION
Avid NEXIS™
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Select your Media Packs Select your Storage Engine Select options like Redundant Controllers Select more options like System Director Add your editing client (e.g. FCP, Adobe, Media Composer)
Amber Technology – Australia’s largest Avid Elite Solutions Partner.
POST PRODUCTION
www.ambertech.com.au broadcast@ambertech.com.au
SOURCE SUPPLY SUPPORT
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POST PRODUCTION
Digital Film Technology Partners with Quinto in ANZ DIGITAL FILM TECHNOLOGY (DFT) has announced the appointment of Quinto Communications as its representative in Australia and New Zealand. DFT is a provider of high-end film scanning solutions that preserve, manage, and deliver film images for archives and post-production facilities. Its products are used around the world, with users including the British Film Institute (BFI), the Korean Film Archive (KOFA), National Library of Norway (NBR), Library and Archives Canada (LAC), the Royal Thai Archive, Thai Film Archive, and Australia’s National Film and Sound Archives (NFSA) in Canberra. Simon Carter, DFT’s Sales Director, said of the partnership, “We are extremely pleased to be working with Quinto Communications which I have always regarded as a highly professional company at the top of its game. Having worked with Quinto on multiple projects over the past two decades, I know it can deliver technical expertise and a superb local service for our customers in Australia and New Zealand. It is a pleasure to be working with Quinto and I am looking forward to many future years in partnership.” Quinto’s Executive Chairman, Alan McIlwaine added, “Quinto Communications has been associated with film scanning for many years and we look forward to working with DFT in this region.” DFT is best known for its Scanity product range which was developed to provide the highest possible quality film scanning for applications including 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 patented ‘touchless’ capstan drive Lens Gate Assembly (LGA) system. This provides both automatic shrinkage compensation and gentle film handling, while delivering image stability designed to liberate data from old films. Key features include its patented black and white HDR function, a new triple exposure – executed once – in realtime 2K or 4K data ingest. This means the scanner speed remains constant, instead of having to slow down, creating significant time and cost benefits and allowing faster access to previously unseen details from the high and lowlights of the film. Meanwhile, DFT’s recently patented 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. The WetGate is suitable for archive owners who need a scanner able to handle a range of problematic and historically-aged film issues. An Audio Scanning option allows facilities to scan analogue optical mono or stereo audio tracks on 16 and 35 mm film, and magnetic tracks on 16mm film. This feature eliminates extra and separate image and audio scanning passes. Visit www.dft-film.com and www.quinto.com.au
SoundFirm Selects Lilliput UHD Monitoring for Post SOUNDFIRM, AUSTRALIA’S LARGEST iindependent picture and sound post production company, has recently installed a Lilliput BM280-4K 28-inch for 4K monitoring in their online edit suite.
POST PRODUCTION
Ross Mitchell, Head of Soundfirm’s Melbourne operations, explained, “The unit was placed in operation straight out of the case, with image clarity that provides detailed analysis of our UHD content”.
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With three facilities situated in Port Melbourne, on the Fox Studios lot in Sydney, and in Central Beijing, Soundfirm’s studios are equipped to offer creative and technical services to leading filmmakers and producers around the world. The recently released Lilliput BK series 4K monitors are now available from AVW (Australia and New Zealand), via three model sizes encompassing 15-, 23- and 28-inch. All 4K series monitors support up to 3840 × 2160 UHD native resolutions, along with 3G-SDI, HDMI, and analogue inputs. Visit www.soundfirm.com.au and www.avw.com.au
Autodesk Upgrades Media and Entertainment Products AUTODESK HAS ANNOUNCED UPDATES to its portfolio of media and entertainment products. These include Autodesk Stingray 1.4, the newest version of its 3D game engine and real-time rendering solution, the latest design animation solutions for Maya 2017 and Maya LT 2017, and an update to 3ds Max.
AUTODESK STINGRAY 1.4 ADDITIONAL FEATURES: • The Stingray 1.4 release offers improved VR capabilities and enhanced connectivity with Maya LT, facilitating a powerful art-toengine workflow for game developers. • Improved support for VR platforms includes compatibility with the Oculus Rift SDK v1.3 and the SteamVR SDK v0.9.19. • Flow scripting for HTC Vive controllers offers a faster and more efficient way to add interactivity to VR experiences, while simplifying the process for designers to create and test prototypes. • Unique to Stingray, support for WebGL2 enables developers to test projects on WebGL2 supported browsers. • Level sync, with Maya LT, enables artists to link and export entire scenes directly to Stingray. This creates an easier way to build, iterate, review and change game levels, and design scenes without having to manually reproduce layouts in two tools. • Easier asset share between different Stingray projects.
AUTODESK MAYA LT 2017 ADDITIONAL FEATURES: • New Time Editor tool in Maya LT helps game developers streamline animation of complex characters. • Updated graph editor has new features including a UI/UX refresh that simplifies day-to-day tasks. • Shape authoring tool improvements provide artists with more control to create, tweak, and correct animations. • Viewport 2.0 improvements facilitate faster selection performance for scenes with large numbers of nodes and scenes containing hidden objects. • Vertex order transfers and corrections make it easier to work between different game creation tools without losing data as an asset moves through the pipeline.
MAYA AND ARNOLD • Maya 2017 now includes Arnold as its default renderer. This integration of Arnold into Maya 2017 builds on the MAXtoA Arnold plugin and brings advanced rendering capabilities within Maya. • For Maya artists, Arnold brings efficiency, power and ease of use, enabling great looking results in a short time.
3DS MAX AND ARNOLD A new MAXtoA plugin allowing 3ds Max users to take advantage of Arnold’s rendering capabilities. The plugin will be available from Solid Angle’s website where 3ds Max users can also find details on capabilities of the new plugin. Visit www.autodesk.com
POST PRODUCTION
Red Giant Boosts Trapcode for 3D Motion Graphics and VFX
SGO WILL BE SHOWCASING a substantial number of new post-production tools to service the most demanding high end finishing for virtual reality (VR), high dynamic range (HDR) grading, and 8K post production at IBC2016. These capabilities will be demonstrated through Mistika v8.7 and will be displayed on booth 6.A11. Mistika 8.7 introduces a multitude of immersive reality VR specific functions. The toolset, that integrates into existing Mistika Stereo 3D toolsets, allows users to roto shapes that distort and dynamically adapt to the spherical VR space, allowing for realtime playback and colour grading. Additionally, the latest version of Mistika offers VR streaming capabilities directly to tablets, phones and other network enabled devices such as Samsung GEAR VR that will be available at the stand. Version 8.7 of Mistika benefits from editorial auto-conform interface that will provide users with smart filters and matching tools enabling users to import and link an ever growing variety of client provided AAF, EDL, and XML timelines to the intended original media. The new tools will also make it easier for clients to auto-conform against untouched source footage as well as re-auto-conform against already worked on media. Furthermore, Mistika 8.7 showcases several colour selection keyers, such as the 3D keyer, RGB keyer, improved HSL keyer, unique 4th ball highlight recovery tool, HDR mode, and expanded HDR range sliders. These enable users to work well outside of the standard 0 – 100% video range. Visit www.sgo.es
Avid Bundles axle Media Management with NEXIS|PRO AXLE VIDEO, A DEVELOPER OF SOFTWARE to manage video and
New features in Red Giant Trapcode 13.1 include: • Trapcode Form 2.2 – Updated UI graphs, ‘Colour over Life’ and ‘Size over Life’ in Trapcode Form now match those found in Particular 2.5. • Trapcode Sound Keys 1.4 – Updated Sound Keys colour map to match Particular 2.5’s colour map. • Trapcode Tao 1.1 – 25 new presets to help users get started with 3D animation processes • Negative OAS Duration allowing for negative values – useful for audio visualisations • New Lights Modes for even faster rendering, useful for building long structures with Tao Lights when only the newest part of the structure is visible. • New modes include Build-up and Remove, Build-up (fast), and Build-up and Remove (fast) • Particular 2.6 – Effect Builder updates include a new switch for disabling motion blur within the builder and minor bug fixes • Mir 2.1 – New presets for dynamic 3D surfaces, bringing the total to 43 presets to jumpstart your work • New visibility settings accommodate higher-resolution projects Current Trapcode users can update for free to the latest version via the Red Giant Website or through Red Giant Link. Visit www.redgiant.com
HDR Colour Accuracy PORTRAIT DISPLAYS HAS ANNOUNCED a comprehensive colour accuracy solution for high dynamic range (HDR) video displays. Exhibited at this year’s IBC, SpectraCal CalMAN 2016 is the latest version of video
still image media, has announced that axle Starter, a new entry-level
calibration software from the company, and ensures the latest video
version of its flagship media management software, is now included
technologies show all the details in content mastered to new industry
with all configurations of the industry-leading Avid NEXIS|PRO software-
standards, whether mastering HDR content in post-production or viewing
defined storage platform from Avid.
it at home.
Customers receive a two-user licence for axle Starter software with each
Keeping pace with the rollout of high dynamic range displays and the
Avid NEXIS|PRO purchase, including search and browser-based display,
even more rapid evolution of HDR technologies, Portrait Displays has
browse, shot selection, annotation, review and approval capability for
provided a solution for ensuring image accuracy in the three shipping
up to 300,000 assets, along with their purchase of Avid NEXIS|PRO
versions of HDR: Dolby Vision, HDR10, and HLG.
storage.
CalMAN 2016 features complete support for the new wider colour
Axle Starter can be upgraded to full two-user or five-user license blocks
palettes, including support for the new BT.2020 colour standard.
of axle Video’s 2016.2 media management software with Cam media
CalMAN 2016 also supports the wide variety of hardware devices being
ingest, 1 million asset support, and additional features. Axle media
introduced to support HDR, as well as support for new models from
management complements Avid NEXIS|PRO media storage, which
Murideo, Panasonic, Teradek, Atomos, Eizo, and Quantum Data.
targets the production and storage needs of independent professionals
The new version is available at no charge to CalMAN users current on
and smaller workgroups, and supports all the top media creation
their All Access plan. It is available at various license levels and several
applications including Avid Media Composer, Adobe Premiere Pro and
price levels to new users. For more information, visit the CalMAN online
Apple Final Cut Pro X editing systems.
store – or consult your local authorised CalMAN reseller.
Visit www.avid.com and www.axlevideo.com
Visit http://calman.spectracal.com
POST PRODUCTION
VR, HDR, Grading and 8K
RED GIANT HAS ANNOUNCED the availability of Trapcode Suite 13.1, an update to tool suite for creating 3D motion graphics and visual effects in Adobe After Effects. The update includes new features to Trapcode Form, Tao and Sound Keys, new pre-sets for Trapcode Mir and Tao, as well as bug fixes for Particular, Form, Mir, Tao and Lux. This update is free to current Trapcode users.
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MEDIA IN THE CLOUD, STORAGE & DAM ASE and Partners Offer Media-Specific Cloud Workflows AUSTRALIAN CLOUD PROVIDER ASE has announced it is offering a no-access-fee cloud-storage and archiving service for media and entertainment companies. The service is designed to work with a variety of cloud-based production workflow, delivery workflow, asset management, storage, and backup/archiving applications. “Media companies today deal with a massive amount of data, and as that data grows, so do the storage and maintenance costs. At the same time, these companies need more tightly integrated real-time media-workflow support than most cloud service providers are currently offering,” said Andrew Sjoquist, CEO of ASE. “That’s why we’ve built a cloud-storage architecture that lets us offer cloud storage on a cost-per-gigabyte basis with no charge for retrieval. In this way, media companies can deploy multiple clouds as needed for their workflows and use any of those tools against the data that we hold for them.” Such versatility allows each company to use whichever application works best for any given situation knowing that it will be compatible with ASE’s cloud-storage architecture. Furthermore, unlike with other cloud-storage services, clients pay only for the storage they use, not for accessing or retrieving the data. This cost structure results in significant cost savings for media companies, which trade in massive files sizes and high-bandwidth workflows. Built on NetApp StorageGRID Webscale object storage system, ASE’s cloud-storage service takes advantage of the object storage concept and NetApp’s Data Fabric. Unlike file systems, object stores group files and their metadata into objects that can be coherently accessed by different MAM systems, file-delivery systems, and other production and distribution applications. Object stores are designed to support multiple storage nodes across internet-connected sites, ensuring there is a unified data fabric that connects clouds and on-premises architectures. Allowing customers to push data in and out of the ASE cloud without penalty gives them more choice in terms of where they want to store their data – on premises, in the cloud, offline, or a hybrid of those – and what services they want to use to access it. A related benefit of the ASE cloud-storage service is lifecycle
management, meaning that the ASE service manages the data from content creation through archiving. Based on user-defined rules, the ASE service uses StorageGRID Webscale’s intelligent policy engine to move content to tape or to other S3 cloud targets or simply delete it automatically as the content ages. This capability not only eliminates the need to move or delete thousands or millions of files manually, but it ensures each piece of data is stored in the most economical part of the storage infrastructure based on its value. The cost-per-gigabyte, no-retrieval-fee service is available now to cloud-based application providers who wish to integrate their workflows with ASE storage for end users in the media and entertainment space. Those providers can pass the cost benefit on to the broadcasters, post houses, aggregators, and other media companies they serve. Several ASE customers have tested the ASE service with cloud-based applications such as Silver Trak Media Room, Avid ISIS, the Encoding.com platform, Brightcove Video Cloud, and Aspera FASP, and all have begun offering it to their customers. “We chose to integrate ASE with Media Room because media and entertainment clients have very specific concerns about data integrity and access. ASE’s StorageGRID service provides a level of confidence and performance benefits at a price point that is suitable for retrieving and archiving large volumes of media,” said Silver Trak Managing Director, Christian Christiansen. “Silver Trak now has a platform that allows us to further extend the value of storage objects with a sophisticated policymanagement engine.” “We designed StorageGRID Webscale to help companies reduce the complexity of their data repositories, optimise their workflows, and minimise the cost of managing their data from cradle to grave,” said Jason Danielson, media and entertainment solutions at NetApp. “ASE has been a longstanding NetApp customer across a wide range of our products. Its focus on building real media workflows is making the cloud more than simply a computing or storage platform.” Visit www.aseit.com.au
MEDIA IN THE CLOUD, STORAGE & DAM
Silver Trak Sees Through the 4K Iris
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FURTHERING ITS COMMITMENT to having the latest in broadcast services and technology, Silver Trak has purchased and installed the Iris media player platform from GreyMeta, enabling the company to offer comprehensive quality control for 4K content. The move makes Silver Trak the first company in Australia to adopt Iris to enhance its QC services.
The new Iris solution has hit the ground running with Silver Trak already
Silver Trak MD, Christian Christiansen, explained the company’s decision to invest in the software. “Iris lets us take our QC offering to the next level and include 4K content. We use Iris so we can playback very high bitrate files such as 4K IMP and DCP (encrypted and unencrypted) image sequences. We can also review and edit captions on screen. Iris also allows us to playback HDR content and has a number of scopes which are valuable for 4K QC purposes, especially when those files have to be sent to companies like Netflix.”
Trak’s leading position in Australia’s high end post production marketplace.
Iris is a collaborative professional media player renowned for critical viewing and quality control. By combining on screen drawing, file checking templates, timeline annotations and messages shared instantly and safely with key stakeholders the system is safe, secure and efficient.
receiving and QC-ing 4K master files from a significant number of clients across Australia. President of GrayMeta, Mark Gray, added, “The investment in world leading 4K quality control technology at this crucial juncture underscores Silver As IRIS’ first adopters, it’s clear they are again the most forward thinking in this space. IRIS is being sold and supported in Australia by Techtel and they were instrumental in enabling this relationship from product sales and technical support through to systems integration.” Christian Christiansen concluded, “We are delighted to be able to offer the market full, proper and comprehensive QC for 4K content in Australia. With Iris and our already-proven in-house workflows and expertise we can offer the best service possible, and this means that our clients’ high quality requirements for 4K QC are met every time.” Visit www.silvertrak.com.au and www.graymeta.com
MEDIA IN THE CLOUD, STORAGE & DAM
TBWA Boosts Media Efficiencies with Quantum QUANTUM HAS ANNOUNCED that TBWA Australia, one of the country’s top advertising and creative agencies, is using a Quantum storage solution powered by StorNext to streamline content sharing, keep content protected and available and reduce administrative overhead by hundreds of hours a year. Prior to deploying the Quantum platform, video editors at TBWA Australia worked on servers with direct-attached disk storage, a model that compromised both workflow efficiency and the security of content. To bring content from existing assets into current work, team members had to find the disk, mount it, locate the right files and then find enough space to restore the appropriate content back onto the local disk where they were building the new project. In addition to bogging down editing processes, this model complicated collaboration because editors could only share files by moving RAID arrays between servers or using flash drives, whether transferring the files across the office or between offices in different cities. TBWA Australia’s rapidly increasing workload, and corresponding increase in volume of high-res file storage, put further pressure on storage. Teams worked on RAID arrays until they were full and then stored them on-site with rarely enough time for a real backup. Preservation of this growing store of client content was a significant concern. The Quantum solution has made it easy for TBWA Australia to improve collaboration among editors, protect content and leverage direct access to archived data to speed reuse of existing assets. Supplied and integrated by Quantum partner CompNow, the StorNext-powered system provides a dedicated SAN fabric, 48TB of high-performance disk, a Quantum Xcellis
Within the agency’s new workflow, StorNext Storage Manager automatically creates a tape copy of any file saved on Xcellis shared storage. Stored in the StorNext AEL archive, this tape copy serves as a backup while work is in progress. When a project is complete, StorNext then removes the content from shared storage, while the tape copy remains accessible from that storage as an active archive, minimising the disk space required on the shared storage. The IT team has also established a policy so that whenever StorNext makes a copy to the tape archive, it creates and sends a copy to Q-Cloud. As a result, TBWA Australia can use the tape for normal recovery
Workflow Director to manage data across different tiers, a StorNext AEL500
and archive access whilst maintaining DR protection.
LTO archive and Quantum Q-Cloud off-site cloud storage. Mediaproxy_Ad_Content_Plus_Technology_ANZ_September2.pdf 1 18 Aug 16
Visit www.quantum.com
3:40:06 pm
ULTIMATE VERSATILITY TS Analysis IP Multiviewer
LogServer mediaproxy.com
Visit us at IBC Booth 7.J07
MEDIA IN THE CLOUD, STORAGE & DAM
OTT Monitoring Caption Compliance
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MEDIA IN THE CLOUD, STORAGE & DAM
Suitcase Packed for IBC
Facilis Technology Ups SSD Tech
AT IBC2016, SUITCASE TV will feature MediaStor Archive, a 2016 IABM
AT IBC2016, FACILIS will showcase its Flash/SSD technology, which it has
Game Changer Award finalist that is a flexible, secure, and scalable software-
incorporated within the TerraBlock Hybrid24 and SSD8 products. While the integration of SSD technology increases the available shared bandwidth for 4K+ production, it’s important to correctly and efficiently utilise SSD technology in a broadcast or post production workflow.
defined storage platform designed for broadcast media operations. With 128TB of storage available in a single 1RU chassis, the MediaStor Archive resolves the long-term media asset storage problem. Suitcase TV Technical Director David Atkins said, “We’re not your traditional broadcast manufacturer. We’re proud to be a major proponent of what some consider the disruptive advent of IP. Our firm belief is that IP is a more exciting and cost-effective approach and is already displacing traditional broadcast hardware, which suits us just fine, but we also recognise that SDI
Storage capacity increases have also been announced across the model range with substantially lower price points. High bandwidth connectivity options being shown include 32Gbps fibre channel and 40Gig ethernet, as well as internal 12Gbps SAS controllers all of which will deliver increased speed and performance.
greater amounts of content at vastly reduced costs.
For the first time at IBC, Facilis will show the shipping FastTracker application, designed for cataloging, searching and viewing many media types within Facilis Shared Storage, including all major QuickTime, MP4 and MXF codecs, along with DPX and TARGA image sequences. The system includes custom metadata tagging, catalogue user permissions, Boolean search capability and incremental indexing functionality.
Visit www.suitcasetv.com
Visit http://facilis.com
still has its place.” To address those worlds, Suitcase will also feature Iphrame Vision. The solution offers centralised production of outside broadcasts and other live events, with the technology providing broadcasters the ability to generate
Dalet Unleashes Media Workflow Evolution DALET DIGITAL MEDIA SYSTEMS will be demonstrating its media
simpler process for global distribution of content, and the Dalet Workflow
management and workflow solutions at the 2016 IBC show. Attendees can book a private demonstration or workflow consultation with a Dalet expert to learn how enhancements to the Dalet Galaxy, Brio and AmberFin platforms can help create, manage and distribute content. Dalet offers embedded, as well as federated tools to plan, collect, research, write, edit and distribute text, audio and video to television, radio, web and social media.
Engine, available both in Dalet Galaxy and Dalet AmberFin platforms.
Dalet is also showcasing integration with products like NewTek TriCaster and VidiGo multi-camera production systems. Driven by Dalet Galaxy, radio broadcasters can incorporate graphics such as lower-thirds and branding to enhance OTT distribution and maximise sponsorship opportunities, all while maintaining graphics metadata. With tools that take advantage of industry standards, Dalet is offering a
Square Box Systems Next-Gen MAM DURING IBC2016, SQUARE BOX SYSTEMS will showcase its next-
MEDIA IN THE CLOUD, STORAGE & DAM
generation MAM solutions. Square Box Systems’ flagship product CatDV accelerates collaborative media asset management operations and empowers small- to large-scale enterprises to repurpose and monetise millions of assets.
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Square Box Systems will highlight CatDV 12, the latest version of the company’s MAM system. CatDV 12 features an updated and streamlined user experience along with native support for Square Box’s’ recently introduced Server 7. CatDV 12 includes enhanced support for audio files including an advanced waveform display, VU meters, and the ability to handle more audio tracks. The system’s logging and ingest capabilities have been updated, with CatDV 12 now able to operate independently of specialised video players. CatDV now features a 64-bit architecture and a playback engine with native support for the latest broadcast and camera formats. Square Box will also introduce Worker 7 for Linux which includes many new functions designed to make workflow automation and integration more powerful and easier to deploy. For collaborative enterprise deployments, the CatDV Enterprise Server 7 server now features web-based system administration and a REST administration API, as well as core improvements including support for larger customer deployments, centralised path mapping, more efficient search tools, and a customisable user interface. Square Box will also launch CatDV Archive to Cloud, allowing customers to utilise cloud services in their MAM operations. The company will demonstrate CatDV Archive to Cloud’s ability to archive media assets and associated metadata to Amazon’s Simple Storage Service. Visit www.squarebox.com
Both platforms support IMF, an industry format that serves as a model to assist with and enhance program preparation and mastering. Visitors to the stand can see first-hand how the Dalet AmberFin media orchestration platform bundles media assets into an IMF, which can then be imported by Dalet Galaxy for distribution. Dalet AmberFin can also generate metadatarich IMF bundles authored with user-focused media-aware tools such as those found in Dalet Galaxy. Attendees of IBC2016 can also experience first-hand new Dalet xN marketplace apps that aid in national video exchange and delivery, as well as enterprise-wide cloud-enabled workflows. Visit www.dalet.com
Piksel Advanced Metadata Capabilities PIKSEL IS HIGHLIGHTING the newly launched Piksel Fuse Metadata solution at this year’s IBC show. Built on the foundation of the Piksel Palette developed using a micro-services architecture (MSA) platform, the new Fuse Metadata product consolidates, enriches and augments metadata across both broadcast and OTT workflows. It also uses natural language processing, semantic search, image analysis and machinelearning technologies to create proprietary metadata on a scene-byscene basis. Piksel Fuse Metadata’s advanced analysis tools will automatically generate consistent, deep metadata across a customer’s entire catalogue and will be tailored specifically towards their service, content and viewer needs. Piksel executives will be present at IBC2016 to showcase the latest product developments and discuss the ever-important issues of monetisation of content, reaching new audiences, how businesses can expand their digital footprint, and the role the Palette can play in building a sustainable video business. Visit www.piksel.com
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Fairlight to Divest Itself of Pro Audio FAIRLIGHT.AU, the Australian technology development company best known for its professional audio products that are used by major broadcasters and producers around the world, has announced that it is actively seeking a buyer for its professional audio technology. “Over its long history, Fairlight has continually developed highly innovative professional audio technologies that are used by a large number of major content producers around the world,” said Philip Belcher, CEO. “With a range of innovative new AES67 compliant audio distribution products approaching release, it has been decided that the potential for Fairlight’s professional audio technologies is much larger than can be achieved under the current ownership. “Fairlight is seeking to enter into discussions with organisations that wish to leverage its professional audio technologies to augment their offerings and enhance their competitive positions in this rapidly evolving market. It is anticipated that with the level of interest for the technologies that offer the potential of a key strategic advantage as part of a larger portfolio, it should not be long before a transaction is complete. “The company will now focus its efforts on its patented picture key work surface technology which it licences to manufacturers of highly user interactive tactile equipment.” Fairlight recently licenced its Picture Key Technology to U.S. company SUZOHAPP. After a year of collaboration, the partnership between Fairlight and SUZOHAPP resulted in the development of a 2RU Control Panel targeted at Broadcasters who are looking for video router control, vision switches and camera control.
The Fairlight name came to international attention in the 1980s with the creation of the first commercial audio sampler, the Fairlight CMI Synthesiser, developed by Peter Vogel and Kim Ryrie. Invented by Vogel and Ryrie in 1979, the Fairlight was the first digital synthesiser and sampler and was been used by the musical likes of Kate Bush, Stevie Wonder, Peter Gabriel, Iva Davies (of Icehouse) and Nick Rhodes (of Duran Duran). While audio sampling is commonplace today, the Fairlight’s ability to store (on a floppy disc) and manipulate recorded natural sounds was a revelation throughout the industry. According to Kim Ryrie, “I was first blown away by the potential of synthesisers when I heard Wendy Carlos’s 'Switched on Bach’. I contacted school friend Peter Vogel, a far more capable electronics designer than me, to ask if he’d be interested in starting a company to make the world’s best synthesiser using these new microprocessor things. “Peter agreed, despite having barely enough money to pay for the company’s registration costs. We started business in my grandmother’s Point Piper waterfront basement, where lunch and rent were free.” “To me, the most memorable part of the Fairlight story is the way some of the biggest names in the music world of the era welcomed me into their world,” said Peter Vogel. “They were all very kind to this long-haired 25-year-old from Down Under. I was such a geek I had no idea who any of these stars were.” Visit http://nfsa.gov.au/blog/2015/11/20/fairlight-instrument-inventedsampling and www.fairlight.com.au
AES to Focus on Broadcast and Streaming at 141st International THE 141ST AES INTERNATIONAL CONVENTION will keep attendees on
lecture covers a host of broadcast and production topics, from a new, more
top of the latest industry developments and trends with its Broadcast and
accurate proposed film leader format to Dysonics’ Rondo360 spatial audio
Streaming Media Track events. These sessions, organised by Track chair
post-production toolkit and techniques for mixing hip-hop with distortion.
David Bialik, will offer in-depth panel discussions and presentations from
Friday’s sessions will also include an interview with industry legend
some of the most influential names in the industry over the four days of
Bob Orban, creator of the Orban Stereo Synthesizer, Optimod FM audio
the AES Los Angeles Convention, September 29 – October 2, 2016, at the Los Angeles Convention Center. Thursday, September 29, will kick off with ‘Immersive Audio Absorbing Radio and TV Audiences in 2016 and Beyond’, led by John Storyk of Walters-Storyk Design Group, on the technical and acoustical challenges of upgrading existing broadcast studios to handle immersive audio. Subsequent panels will examine the physical and psychological effects of listener fatigue and what can be done to reduce it, and the unprecedented capabilities of immersive and object-oriented audio in customising the home listening experience. In the spirit of SMPTE’s 100th anniversary, the day will end with a historical look back at key developments in audio technologies for broadcast and cinema. Friday, September 30’s ‘Audio Considerations for 4K and 8K Television’
AUDIO
seminar will look at the evolution of 4K and 8K UHD broadcasting as it
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processor and other game-changing studio hardware, as well as an ‘Audio Considerations for Over-the-Top Television’ (OTT) presentation, which will examine the latest advancements in online content delivery. Saturday, October 1, will focus on practical considerations for broadcast and streaming, starting with ’Designing, Building and Maintaining a Radio Performance Space,’ where CBS Radio’s Tracy Teagarden will talk about equipping such a facility when faced with limited resources. The day’s second session addresses IP in the broadcast world, where Steve Lampen of Belden will look at the realities of implementing wired, fibre-optic and wireless cable and hardware for IP audio applications. ’Considerations for Podcast Audio’ is sure to be a popular session to end the day, with experts from American Public Media, Love + Radio and others discussing the evolving craft of sound design for podcast audiences.
becomes increasingly prevalent in events like the Super Bowl, the Masters
Complete AES 141st International Convention Broadcast and Streaming
and the Summer Games. The session will also cover ATSC 3.0 and Super
Media Track information is available on the AES website at
Hi-Vision experimental transmitters. The subsequent Engineering Brief
www.aes.org/events/141/broadcast
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AUDIO
RTW Loudness Solutions RTW WILL BE SHOWCASING its range of monitoring and metering software and hardware devices, as well as a few new product updates at IBC2016. Its new audio processor hardware, APRO-CLC01 for continuous loudness control will be shown for the first time. The combination APROCLC01 provides the first OEM hardware for the CLC algorithm that RTW developed in cooperation with the German Institut für Rundfunktechnik (IRT). The CLC algorithm allows users to constantly control and regulate to a given program-loudness value.
and features such as selectable 12th octave RTA, cinema loudness (TASA
RTW will also announce software version 4.0 of its Loudness Tools and Mastering Tools software. The update adds support for Mac OS X 10.11,
TouchMonitor and SurroundControl series.
Minnetonka Showcases Surcode and Audiotools
and SAWA), and free scalable instrument size. The software can also be operated as a stand-alone version. In addition, RTW will exhibit version 1.5 of TM3-Primus and USB Connect. This adds support for Mac OS X 10.11 and adheres to the standards changes in the EBU Loudness Recommendation (EBU R 128). Users can now select to read the Smax and Mmax values. RTW will also showcase its Visit www.rtw.com
DTS Announces New DTS:X Tools
MINNETONKA AUDIO will be showcasing the latest features of its audio
DTS HAS ANNOUNCED its new DTS:X tools. The software-based tools allow
software solutions at IBC2016. Among the products being demonstrated will
professionals to create and QC DTS:X immersive audio streams for Blu-ray,
be the current updates for AudioTools Server, SurCode Dolby Digital Plus for Avid and SurCode Dolby E for Adobe Premiere Pro CC. Version 4.1 of AudioTools Server will have an optional LicenseServer allowing floating licenses to be shared between machines. A ‘Bring Your Own
Ultra HD Blu-ray, and streaming media. The DTS:X Encoder Suite includes the DTS:X Encoder and DTS:X MediaPlayer. The DTS:X Encoder is a stand-alone Mac-based application enabling users to
License’ (BYOL) license also allows deployment in a private or public cloud.
produce DTS content for Blu-ray and Ultra HD Blu-ray, as well as file-based
Child workflows, APTO advanced loudness adaptation and linear acoustic
and streaming media. DTS encodes can be created from a variety of audio
UPMAX up-mixing round out the new features. Available as a free upgrade
source files, including PCM WAV, Broadcast WAV, AIF or M2X. Retaining key
to existing AudioCare subscribers, 4.1 includes an ‘Operator’ application for
workflows from the DTS-HD Master Audio Suite, the DTS:X Encoder has a new
workflow configuration, design and submission. SurCode for Dolby Digital Plus Encoder and Decoder will also be on display. The decoder and encoder support up to eight channels of audio – ranging from 5.1 plus stereo to four independent stereo channels. With SurCode for Dolby Digital Plus Decoder, users are able to audition and decode/
interface that make it easy for users to choose different encode settings such as channel layout, stream type and bit rate. Additional features include the ability to create custom down-mixes for channel-based encodes as well as the ability to check for down-mix saturation before creating an encode.
confidence monitor Dolby Digital Plus and Dolby Digital encoded audio files.
The DTS:X MediaPlayer provides content professionals the ability to QC DTS
It also has the capability to decode back to multichannel PCM audio directly
audio against video prior to final multiplexing, authoring or packaging. The
into the timeline. SurCode for Dolby Digital Plus Encoder, allows users to
product supports various files types and video formats, including HEVC, with
create Dolby Digital Plus E-AC-3 files from multichannel WAV or AIFF sources. When working with legacy content, SurCode for Dolby Digital Plus also provides encoding and decoding of Dolby Digital AC-3 files. Rounding out the company’s Dolby solutions is the SurCode Dolby E Encoder
settings required to complete this critical step. DTS:X technology transports sound objects to and through specific locations within the viewing environment – in front, behind, above, and beside the
and Decoder, which brings the plug-in to Adobe Premiere Pro CC.
audience in configurations up to 11.1.
Visit www.minnetonkaaudio.com
Visit http://dts.com
Clear-Com Unveil Fibre-Wireless Intercom AT THIS YEAR’S IBC, CLEAR-COM will unveil FreeSpeak II-Base II, the new FreeSpeak II wireless base station, and the new fibre capable FreeSpeak II splitter box (FSII-SPL). These FreeSpeak II components
• Two built-in optional SFP fibre connectors for enabling either a native single-mode or multi-mode fibre link between base stations and the
to provide unprecedented coverage, flexibility and reliability for any
new FreeSpeak II splitter (FSII-SPL).
FreeSpeak II-Base II’s features include: • A Base Station for digital signal transmission over 1.9GHz and 2.4GHz
• Multiple 2-wire and 4-wire ports are also available to connect with any industry-standard analogue partyline and 4-wire audio devices. The new FreeSpeak II splitter (FSII-SPL) connects up to five FreeSpeak II
frequency bands with a cascade menu and a browser-based core
transceiver modules from one of two antenna ports on the FreeSpeak
configuration manager (CCM) for system configuration and real-time
II-Base II via the SFP fibre connectors. It offers five RJ45 Ethercon
system changes.
connectors, LED status indicators for each connection, and a DIP switch
• Supports up to 25 full-duplex wireless belt-packs and covers a large production area with up to 10 distributed-antenna transceivers and
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communicate with anyone wired or wireless on the system.
complement the recently-released belt-packs and transceiver antennas broadcast production requirements.
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• Can be used with a headset as a Master Station for operators to
for setting CAT5 or fibre operation. It can be mounted into the 1RU splitter rack, which holds up to two splitters, on a microphone stand or against the
two transceiver splitters spanning up to 20,000 metres from the base
wall. The box is IP-54 rated, approved for outdoor use.
station over fibre connection.
Visit www.clearcom.com
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IP-based Monitoring from Wohler WOHLER TECHNOLOGIES WILL BE DEMONSTRATING its latest monitoring technologies at the HHB Communications Ltd. stand (8.D56) during IBC2016. Among the offerings will be its new IP-based solutions – the iAM-MIX multichannel audio monitor and mixer iAM-AUDIO audio monitor, as well as Dante and Ravenna modules for the AMP2-16V series audio monitors. For those looking for Wohler’s audio monitoring in an affordable package, the AMP1-8-M dual-input SDI 8-channel audio monitor will also be on display. iAM-MIX features an intuitive front-panel control surface for individual master and per-channel mixing and muting, for operators who require robust auditory monitoring from a range of sources. A simple yet full-featured platform for eight- or 16-level control out of the box, audio-only monitoring, iAM-MIX integrates with A/V router solutions to push and pull channel-name data. The iAM-AUDIO introduces touch-panel interfaces to allow command and control of the unit and new I/O options, including Dante and Ravenna combined, with rich data displays and Wohler’s audio monitoring. All products running on the iAM platform offer a browser-based GUI to complement Wohler’s traditional front-panel monitoring interfaces for remote control, and future options for remote monitoring and logging. In addition,
A/V workstation with a suite of tools for analysing and managing audio quality, level and loudness, metadata and more. Finally, with the AMP1-8-M, Wohler is providing access to its advanced audio monitoring technology at an aggressive price point. The AMP1-8-M offers fast operation for monitoring SDI audio in the most demanding production applications. AMP1-8-M provides instantaneous selection and summing of any grouping of the first four SDI audio pairs. It features adjustable volume and
all units can be controlled by third-party software via an API. The use of SFPs
balance controls, clear display of levels, and phase indications on bright 2.4-
enables simple, in situ adaptation of interfaces and a wide selection of signal
inch, LED-backlit LCD displays, with configurations that can be created, saved
I/O. This, in combination with other software-defined features, creates an
and recalled via ethernet using a PC interface. Users are able to monitor both
upgrade path to new and emerging audio protocols, such as Dante and AES67.
in stereo and surround through built-in speakers, headphones or analogue
The new Dante- and Ravenna-capable modules bring audio-over-IP monitoring
outputs with optional muting for internal speakers.
functionality to the AMP2-16V platform. The AMP2-16V is a 16-channel, 2RU
Visit www.wohler.com
calrec.com/brio
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Slogan created by: Name: Tim Jacobs Job title: Technical Director Company: NBC Universal
190x127C+T_ThisisAudio.indd 1
10/08/2016 17:55
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New Calrec Audio Products CALREC AUDIO’S NEW BRIO console will take centre stage at IBC2016.
engine is a 2U core that contains integrated, FPGA-based DSP, which
Brio is a compact digital broadcast audio console, with a comprehensive broadcast feature set supporting a wider breadth of broadcasters. The smallest in Calrec’s Bluefin2 family, Brio’s control surface is 892mm wide – the dual-layer, 36-fader surface provides more faders in a given footprint than any other audio broadcast console. Brio’s uncluttered, compact, and configurable surface gives instant access to a large number of audio paths, while a 15.6-inch HD touchscreen UI provides quick access to more in-depth control. Brio is entirely self-contained, with analogue and digital I/O and GPIO built into the surface. Additional expansion I/O slots allow for further I/O integration, and fitting an available Hydra2 module makes it possible to connect to and share audio over Calrec’s Hydra2 network.
enables a console surface at another facility to control all mixing
Calrec’s RP1 remote production unit will make its IBC debut. Visitors will see a live-broadcast product that addresses the requirement for highquality content from remote locations. The new RP1 remote production
functionality. Four new networking interfaces will be on show, including an AES67/ Ravenna interface, an AVB interface, and a modular I/O Dante card that includes AES67 compatibility. In addition, Calrec will debut a SMPTE 2022-6 video interface. Calrec customers can now interface with multiple protocols simultaneously. For example, a signal can be received via AES67 and then sent via SMPTE 2022, AVB, Ravenna, Dante, or AES67. Signal processing takes place via modular cards or 1RU boxes. Each signal benefits from the management facilities inherent in Hydra2. This is especially beneficial in remote environments where multiple trucks are connected. Visit http://calrec.com
Jünger Audio Promotes Smart Audio
Nugen’s Audio AMB Processor
JÜNGER AUDIO’S CAMPAIGN to focus attention on effective, high quality
NUGEN AUDIO’S AMB (Audio Management Batch) processor is a solution built on the company’s Loudness Management Batch (LMB) processor. Through new features such as threaded algorithm processing and multiple processing threads that are addressable for simultaneous parallel handling of files and queues, AMB enables facilities to hasten workflows and reduce delivery times.
and automated audio production, continues at IBC 2016 where the company will be demonstrating its ‘Smart Audio’ concept. Smart Audio means investing in simple, reliable and predictable equipment that can automatically deliver audio content while maintaining the high quality that consumers rightly expect. The concept has already been adopted by a number of broadcasters, including Input Media in London and the ARD Tagesschau television prime time news service in Germany. Alongside intelligent and adaptive processing algorithms, the introduction of Smart Audio allows broadcasters to choose devices that are interoperable in the broadcast environment and can integrate with playout automation systems and logging and monitoring processes. To highlight this concept, Jünger Audio will be showing its range of D*AP products that can deliver a Smart Audio experience because every device incorporates a collection of adaptive processing algorithms. They also employ the industry standard Ember+ remote protocol that allows integration with a wide range of compatible equipment.
With AMB, Nugen Audio adds several customer-driven enhancements and capabilities that bring greater flexibility, operational scalability, and enhanced processing speed. AMB includes customisation features and several optional extensions allowing customers to carry out a greater range of audio-processing tasks. These features include a new upmix/downmix capability, an extension for the company’s DynApt technology for loudnessrange targeting and content repurposing, and loudness management support for MXF and ProRes files.
Jünger Audio’s D*AP range includes natural sounding products for loudness control, audio monitoring, audio conditioning, metadata management and Dolby decoding, encoding and transcoding. Among them are the D*AP8 MAP EDITION surround monitoring audio processor, the D*AP8 Codec Edition processor that provides a viable replacement for any discontinued Dolby hardware processors, the D*AP4 VAP Edition two channel voice audio processor, and the flagship D*AP8 TAP Edition television audio processor.
At IBC2016, NUGEN Audio will introduce an upgrade of its Halo Upmix software for upmixing stereo audio to surround. Available in Avid AAX, VST, and AU formats, Halo Upmix automates the creation of a stereo-tosurround and downmix-compatible upmix, with centre-channel management and spatial density controls. Combining several technologies, including frequency and time-domain energy distribution and neural network artificial intelligence, Halo Upmix enables producers to target various upmix goals, including full stable surrounds, downmix matching, and/or full dialog isolation.
Visit www.junger-audio.com
Visit www.nugenaudio.com
Wisycom Showcasing New MPR50-IEM WISYCOM WILL SHOWCASE its newest true diversity IEM receiver, the
new IEM also protects the ears from an accidental volume increase by
MPR50-IEM, at IBC2016. This addition to Wisycom’s products is specially
allowing the user to set a maximum volume with its quick lock volume
designed for professional in-ear monitoring applications.
control. The unit’s LED lights can be set to the user’s preference and
Based on Wisycom’s MPR30-IEM, the new MPR50-IEM contains a
display independent brightness selections.
user-friendly interface that features popular components favoured by established Wisycom users. An addition to the MPR50-IEM is the ENS compander that caters to live and music shows/broadcasts by increasing the quality of audio transmission during the transfer of complex data, such as high dynamic audio inputs. Vocal transmission, the main purpose of the previous system, is also refined with the MPR50-IEM.
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The MPR50-IEM possesses channel switching capabilities, giving the user
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freedom to switch from IEM to IFB mode with a click on the menu. This
Matching the previous receiver, the MPR50-IEM features a true diversity configuration with two whip antennas, along with Wisycom’s wideband tuning range up to 232 MHz and an audio peak-dynamic of 200mW. This receiver also offers function buttons, including a dedicated frequency scan option. Battery management is flexible and allows the use of standard battery packs. Visit www.wisycom.com
RADIO The original broadcast media
www.content-technology.com/radio
In with the New for ARN Artarmon AGILE BROADCAST RECENTLY COMPLETED the technology upgrade project for ARN’s main transmission facility (Kiis and WSFM) at Artarmon, Sydney, Australia. The project involved removing four ageing 20kW transmitters and associated programme racks, completely re-cabling the site and installation of a new state of the art transmission suite. New programme racks were pre-built in Agile’s factory utilising Wheatstone iP88AD Blades for reliable audio routing, monitoring and automatic failover. Also supplied by Agile were Wheatstone FM55 processors, DB4004 modulation monitoring and DB8008 emergency players by Deva Broadcast. Adam RTUs with custom software were supplied, configured and integrated into ARN’s Axess remote monitoring system by Agile. New Nautel GV20 transmitters, Altronic test loads and Sonifex audio monitoring were supplied by Sonifex Australia. The project involved keeping the site ‘alive’, while the entire area was effectively cleared and electrical works completed to accommodate the new equipment. Trevor Harwood from TJH Systems supplied and installed all high power RF plumbing, coax switching and associated interfaces. Once everything was in place, Agile relocated microwave links, programme fibre circuits and provided commissioning to air. The project went smoothly, to schedule and the ARN engineers are pleased with the result. Visit www.agilebroadcast.com.au
Canberra FM Appoints Craig Wagstaff General Manager
SBS Settlement Guide Empowers New Migrants
CANBERRA FM HAS ANNOUNCED the appointment of Craig Wagstaff
SBS RADIO PROVIDES an invaluable service to migrant communities by
to the position of General Manager. A Canberra native, Craig has more than
delivering balanced and impartial multilingual news and information. To meet the needs of new migrants and emerging communities, SBS has launched a weekly ‘how to’ guide on setting up life in Australia.
working overseas. Craig started his radio career as an Account Manager at Canberra FM before progressing into a senior management role. He then moved to Malaysia to work on a number of roles with the Astro Group before taking up his most recent position at Motivate Publishing in the United Arab Emirates. Craig said he was excited about returning to Canberra with his family and looked forward to being back at Canberra FM. “Through its leadership and people, Canberra FM Radio and both station brands across Hit104.7 and MIX 106.3 carry a significant, well-earned and special place in the minds and hearts of the loyal listeners, a wide range of commercial partners, and the Canberra community at large.” “I am extremely enthusiastic and excited to again join the wonderfully diverse team that continue to make this happen,” he said. ARN Chief Operating Officer and CFO Michael Harvey said, “Craig brings a wealth of experience to this role, which he’s gained in Australia and overseas, along with a sound understanding of the Canberra market. I am pleased to
Available in 30 languages, SBS Radio’s Settlement Guide is a weekly series of audio and digital packages designed to assist multicultural communities to learn about life in Australia. Drawing on expert advice and tips from service providers, each week the Guide focuses on a facet of daily Australian life that new migrants and emerging communities might find unfamiliar – from how to vote or lodge a tax return to guides on water and fire safety, healthcare and housing. More than a quarter of the Australian population (26%) were born overseas with nearly one in five speaking a language other than English at home. Since the first National Census in 1911, migrants have made up a large component of the Australian population. The Guide aims to contribute to meeting the communications needs of migrants. SBS Director of Audio and Language Content, Mandi Wicks said, “SBS Radio’s focus is to help migrants feel at home in Australia. We give them a voice, share their stories and celebrate their culture. “Our role is becoming increasingly complex – more languages, more cultures at different life stages and stages of migration. The Settlement Guide speaks to our purpose to inform, educate and inspire all Australians and by doing so, encourage social cohesion.”
University of Canberra.
The Settlement Guide is available online, on radio and on mobile in Bangla, Filipino, Gujarati, Hindi, Indonesian, Korean, Malayalam, Nepali, Punjabi, Sinhalese, Tamil, Urdu, Arabic, Cantonese, Mandarin, Vietnamese, Kurdish, Spanish, Amharic, Dari, Dinka, Persian, Khmer, Pashto, Swahili, Thai, Tigrinya, Turkish, Hmong and Somali.
Visit www.arn.com.au
Visit www.sbs.com.au/radio/settlement-guide
welcome him to Canberra FM as the new GM as we continue to build on the strength and success of the business.” Craig replaces former General Manager Eoghan O’Byrne who moved to the
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15 years’ media experience in Australia and has spent the past nine years
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RADIO
Delivery Solutions for FM AT IBC2016 IN AMSTERDAM, GatesAir, will unveil its latest FM range of transmitters and intelligent networking solutions. The GatesAir Flexiva LX solid-state FM radio transmitter is claimed to set the latest standard for green, energy-efficient RF operations. The GatesAir Flexiva LX integrates GatesAir’s latest-generation software-defined exciter and several components previous available only as separate units, including a digital multiband audio processor and a stereo encoder with composite clipper. This design ensures a single streamlined analogue FM platform that is easy to maintain both separately or within larger transmission headends. The Flexiva LX is available for power levels ranging from 10 to 1050 Watts (1kW), making it suited for gap filler applications in national FM radio networks. The Flexiva LX will be demonstrated alongside higher power Flexiva FLX liquidcooled and FAX air-cooled transmitters. These high-efficiency transmitters leverage GatesAir’s PowerSmart 3D transmission architecture for best-in-class power efficiency and single-engineer maintenance. With their modular design, Flexiva
FLX and FAX transmitters utilise the latest 50-volt LDMOS amplifier devices, compact high-efficiency power supplies, variable speed cooling and the Flexiva FAX exciter with real-time adaptive correction (RTAC) to optimise signal quality and compliance. GatesAir will also demonstrate the Intraplex IP Link MPX, the newest member of the GatesAir IP Link audio codec family. The Intraplex IP Link MPX is a full-duplex product built specifically for the FM studio-to-transmitter link, and designed to solve universal bandwidth challenges of transporting digital FM composite signals over IP networks. The Intraplex IP Link MPX offers an extensive feature set, including multiple input and output ports for signal redundancy, decoding of audio and RDS content from either the input or output MPX signal, and the option to incorporate external SCA subcarrier signals into the output MPX signal. It also offers features common to all IP Link codecs, including stream splicing, forward error correction (FEC), and a trio of network interfaces for optimal stream reliability. Visit www.gatesair.com
AM Audio Processor THE TELOS ALLIANCE, parent company to Telos, Omnia, Axia, 25-Seven, Linear Acoustic, and Minnetonka, has announced that it is now shipping the Omnia.7AM audio processor, the new, AM sibling to the company’s Omnia.7FM processor. The Omnia.7AM employs some of the same features of the Omnia.7FM. All aspects of the processing infrastructure, bandwidth, and their output signals, however, have been especially engineered for maximum efficiency and performance within the AM spectrum. Omnia's Psychoacoustic Controlled Distortion Masking Clipper analyses and masks distortion perceptible to the human ear. Dry Voice Detector applies processing for clearer voices on talk content, suitable for AM talk radio. Additionally, proprietary Undo technology removes distortion and re-creates the peaks sliced from compressed digital music and content, restoring life, brilliance, and dynamic range.
Finalists Announced for 2016 Oz Radio Awards THE FINALISTS IN THE 28TH annual Australian Commercial Radio Awards (ACRAs) have been announced with hotly contested categories such as Best On Air Team FM, Best Entertainment/Music Presenter, Best Talk Presenter, Best Sports Presenter, and Best Marketing Campaign. Entries were received from 260 metropolitan and regional radio stations across Australia. Stations outside the metropolitan areas are well represented at the ACRAs with more than 200 finalists from country and provincial stations. However, as readers of C+T well know, the real competition is in the category of Engineering Excellence, and this year the competition is as follows: • Mt Stuart Redevelopment; Matt Paton, 4TO & Hot FM, Townsville QLD, Southern Cross Austereo; • Embedded devices in a broadcasting environment; Daniel Jackson & Ryland Sandison, Southern Cross Austereo;
NETIA Media Assist
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The 7AM is easy to adjust from anywhere in the world thanks to full remote control and metering tools accessible from networked Windows-based PCs and tablets. Visit www.telosalliance.com • Mt Buller – Streaming; Rorie Ryan, Fox FM, Melbourne VIC, Southern Cross Austereo; and • Fitzy & Wippa - I'm A Celebrity, Get Me Out Of Here; John Pearce, Nova 96.9, Sydney NSW, NOVA Entertainment. Chief executive officer of Commercial Radio Australia, Joan Warner said, “Congratulations to all the finalists on the recognition of their work. Live radio is one of the most demanding mediums to work in and takes high level commitment to creating programs that are compelling, revealing and entertaining, day in, day out. The Radio Awards are a night for everyone to come together to celebrate the best in the industry.” This year the gala black-tie event will be held at the Melbourne Convention and Exhibition Centre on Saturday, 8 October and will start at 6.00 pm (red carpet 5.00 pm). The ACRAs differ from television’s Logie Awards in that they are peer judged by industry members. The ACRAs follow the National Radio Conference, which will be held at the Melbourne Convention and Exhibition Centre on Friday 7 October. Visit www.commercialradio.com.au
In a news environment, the NETIA Media Assist software suite acts as a multimedia hub for content in any format, including audio, video, text, or images. The cloud-ready system enables radio stations to deploy their back-office applications in a dedicated SAN or host them securely outside the station’s premises. By offering safe and managed access to outside entities, the station can foster cooperation and exchange with its affiliates and partner organisations.
giving radio staff a single interface for managing and optimising multisite workflows. Staff can now monitor priority levels on all launched processes to help minimise their impact on bandwidth, while facilitating content delivery within the group and increasing time-to-air ratios. The API within Media Assist enables interoperability and integration of multiple businessand public-facing systems. In addition, broadcasters can set up several instances of the NETIA Workflow Engine to handle parallel tasks such as transcoding in order to process even more content during peak news periods. NETIA’s special focus on virtualisation means that demanding computational tasks, together with server components, can run in a virtualised infrastructure with minimal configuration stored on clients and minimum effect on users.
At IBC2016, NETIA will showcase a new monitoring tool for Media Assist,
Visit www.netia.com
AT IBC2016, NETIA will showcase the full NETIA Media Assist digital software suite, which includes radio automation (production, newsroom, scheduling, and playout modules), media asset management, and workflow management solutions.
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The 7AM also allows broadcasters to refine their 'signature sound' with sonic tools like real-time analysers, built-in oscilloscopes, and FFTs. Three-stage wideband AGC with adjustable sidechain equalisation, program-dependent two-to-five multiband AGCs and limiters, dual independent power supplies, and relay bypass for backup processor all combine to create a powerhouse AM processor.
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AoIP and Satellite Integration from 2wcom AT 2016, 2WCOM is highlighting new features for the MM01 which
The MM01 is a 19-inch 1HE unit prepared for a rack installation with display, jog-wheel and remote control audio inputs and outputs, serial inputs and outputs, GPIOs, redundant IP interfaces and dual redundant power supplies. 2wcom’s FlexDSR STL technology allows operators to receive audio streams via satellite or IP, depending on their requirements and the best quality source available. Suited to dual-stream applications, FlexDSR is a satellite receiver that also serves as a complete AoIP system. The system automatically detects and switches to the best quality source – satellite or IP and facilitates the reception of transport streams or elementary audio streams via IP with Pro-MPEG FEC and DualStreaming protection against IP packet losses. It is capable of transporting streams via satellite (DVB-S/S2), ASI input and IP, while it can also manage elementary audio streams and Icecast streams via IP. Able to support audio codecs such as MPEG 1 Layer 2, MP3, AAC LC, HE-AACv1 and HE-AACv2 and Enhanced aptX, FlexDSR also offers quality uncompressed audio PCM at 48kHz/24bits. 2wcom has also released the A30 FM monitoring device. The system is equipped with two professional FM tuners able to be used independently. Operators can, for example, use the two tuners to simultaneously monitor two FM stations day and night, but can also let the second tuner monitor up to 30 broadcasting stations using its scan mode in round-robin fashion. When in scan mode, the system lets operators configure station order and measurement time via the new user-friendly Web interface. The A30 features an audio input (which can be monitored), one MPX input (which can be monitored in parallel to the two tuner signals), two audio and MPX outputs and two MP3 streams, allowing to monitor the audio from the distance. In addition, the A30 can also work as a backup Rebroadcast receiver, monitoring the external input signal and in the case of signal degradation, switch the output source to one of the internal FM tuners. If the signal
degradation is no longer existent, the A30 automatically shifts back to the external input source. Also new is the MM08 MPEG Encoder, an eight-stereo channel AoIP encoder designed for broadcast, contribution, distribution, in-house streaming, studio-to-transmitter links and studio-to-studio links. Compatible with AES67, Ravenna, Livewire and EBU Tech 3326 supporting all standard AoIP protocols like Session Description Protocol (SDP), Session Initiation Protocol (SIP), Session Announcement Protocol (SAP), Real-Time Streaming Protocol (RTSP), Real-Time Transport Protocol (RTP), RealTime Control Protocol (RTCP) and Precision Time Protocol (PTPv2), the system works with various audio coding algorithms (Eapt-X, AAC and derivate, MPEG I/II Layer 2/3, PCM). The support of multiple network interfaces covers a wide range of applications. Multiple audio streams can be generated independently within one 19-inch 1HE unit ready for rack installation with display, jog wheel, remote control, audio inputs, serial inputs, GPIOs, redundant IP interfaces and dual redundant power supplies. The FMC01 is a compact codec, encoder and decoder for high-quality FM MPX distribution via IP or E1 (G.703). It combines encoder and decoder functions in the same chassis. The FMC01 offers significant operational advantages and infrastructure savings is an all-in-one Solution for FM MPX Distribution. The FMC01 allows the broadcaster to achieve substantial savings by simplifying the delivery infrastructure. It is no longer necessary to generate the MPX signal at the transmitter site, or to use a RDS encoder and stereo generator at each station. The FMC01 also ensures very low installation, service and maintenance costs with nearly no configuration of the device required. Crucially, the FMC01 allows broadcasters to create a signal distribution system that delivers the same high quality signal from each transmitter site. Visit www.2wcom.com
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is suitable for studio-to-transmitter link applications, studio-to-studio transmissions, as well as broadcast and post production purposes. Now supporting Ravenna, Livewire and AES-67 and Stream4Sure, it is compatible with Session Description Protocol (SDP), Session Initiation Protocol (SIP), Session Announcement Protocol (SAP), Real Time Streaming Protocol (RTSP) and Precision Time Protocol (PTPv2). The MM01, which is able to handle a sampling rate up to 192 kHz and provides a delayed firmware update so users can upload a firmware file and activate it later on demand, includes GPIO forwarding, AAC and Enhanced aptX compatibility, an FM tuner option for FM transmission monitoring and back up, advanced VLAN configuration and an Icecast server.
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CONTENT DELIVERY Terrestrial, Mobile, Broadband
www.content-technology.com/delivery
Paul Suters, Engineering and Service Management for Telstra Broadcast Services (right) in the new TBS Broadcast Operations Centre.
Telstra Broadcast Services – BOC on TOP
CONTENT DELIVERY
By Phil Sandberg
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FORMED AFTER THE 2015 ACQUISITION of Globecast Australia, Telstra
Hong Kong, and via a partnership with Pacific Television (PacTV) to MCRs in
Broadcast Services has become a full-service media distribution operator.
London, New York and Los Angeles. TBS also has a non-exclusive relationship
Whether employing in-house capabilities, those from the wider Telstra
with the remainder of Globecast’s operations internationally with the two
family, or overseas partners, TBS’ range of activities covers everything from
working around mutual opportunities across different parts of the world.
production, including SNG, to delivery to the viewer.
“We have about 400 permanent services running through this operation
Housed in the former Pitt Street Telephone Exchange Building in Sydney,
and delivering content to multiple takers both inside Australia and outside
the central hub of these services is the Telstra Broadcast Operations Centre
Australia,” says Paul Suters, GM Engineering and Service Management for
(BOC), a facility that delivers 24/7 audio, data and video services globally
Telstra Broadcast Services. “We also do about 20,000 ad hoc events every
via satellite, fibre and IP networks. The facility has been fully operational
year through this facility.”
since June 2016 and hosts a new Master Control Room (MCR) and Central
According to Suters, the design of the operation looks very much like a
Apparatus Room (CAR), as well as operational and engineering staff, and a
traditional master control with a variety of screens and monitoring, but unlike
bookings team.
a traditional broadcast MCR, the TBS BOC revolves around “monitoring by
In Australia, the BOC connects to Telstra’s Digital Video Network (DVN),
exception” under which services going into fault mode or a hazard mode will
Telstra-owned subsidiary Chief Entertainment, Studio-T in the George Street
appear on one of a number of, usually black, centrally-positioned monitors
Telstra Customer Insight Centre, and teleports at Oxford Falls in northern
or “penalty boxes”.
Sydney and Gnangara, Perth, Western Australia.
“We then have a network monitoring and control system that sits underneath
Globally, the BOC offers connectivity to Telstra’s Stanley teleport and MCR in
it for setting up paths for monitoring, for checking services to make sure continues p58 >>
CONTENT DELIVERY
Video Clarity, Macnica, PacketStorm Demo IP Delivery VIDEO CLARITY WILL DEMONSTRATE 4K-over-IP contribution-
Communications will provide the IP network emulation for both WAN and PTP
level delivery with a full video and audio testing system at IBC2016, in conjunction with Macnica Technology and PacketStorm Communications. Together the companies will give two demonstrations: one showing how manufacturers and program service providers can deliver 4K video inside networks built for HD with TICO, and another that shows new standards for IP network transport, emulation, and quality testing for uncompressed video. The demonstrations will take place on Video Clarity’s stand; 2.C57.
to simulate actual network conditions and standards-based stress conditions.
The demonstrations will centre specifically on video and audio quality in the uncompressed domain, and on the mezzanine-level, visually lossless compression solutions being deployed for live-contribution video today. In the demonstrations, IP transmission will come courtesy of Macnica Technology, which will show how such a system could replace today’s SDI-based architectures
Video Clarity’s ClearView 4K Player will provide the video source feed, and Video Clarity’s RTM 4K real-time monitor will test the source against the network output. The RTM system measures audio and video quality continuously and applies a user-set threshold for error events that are captured automatically for playback in a side-by-side comparison of the source and downstream network output. Video Clarity says the IP transport solution shown in the demonstration can be deployed today to transmit high-quality video and audio – both uncompressed and 4K compressed – that must be tested for quality under potentially impaired network conditions. The technology and products to be used in the demonstration are available now.
for delivering multiple types of high-quality, contribution-level content. The
Visit http://videoclarity.com and www.macnicatech.com
4K portion of the demo will rely on TICO compression. Meanwhile PacketStorm
and http://packetstorm.com
Smart Distribution from Ross Video ROSS VIDEO’S 8900-SERIES of 12G-SDI distribution solutions for the
The Ultrix, 12G UHD Video, Audio Router/MultiViewer will be back at IBC this year
openGear modular platform supports fully SMPTE compliant single link
with several major global events under its belt (like the Rio Olympics) and the
interfaces for UHD video in a hot-swappable card with a uniquely pioneered
latest version of software adding even more functionality to an already feature
12G HD BNC connection. The openGear SPG-8260 Sync Pulse Generator is
packed system.
available with a true AES Word Clock output (not always found on SPGs) with a new version, the SPG-8260-W. It’s ideal for synchronising both video and audio devices. The openGear GPI-8941 permits general purpose interfaces to be integrated via Serial, TCP/IP and DashBoard CustomPanel interfaces. The latest software version of the MC1 Master Control Switcher adds support for Ultrix Routing systems with multiviewers and audio processing, and an array of third-party routers through industry-standard control protocols.
Meanwhile, the latest version of DashBoard, Ross’ Facility Control System features Visual Logic. Users are able to create feature rich, intelligent DashBoard CustomPanels using Visual Logic instead of writing Java Script. Ross openGear partner and DashBoard Connect partner products can be added to the list of devices that populate a set of API commands. These commands can be dropped into the Visual Logic interface and then augmented.
Visit www.rossvideo.com
BMM-810 Audio & Video Quality Monitoring Platform I I I I I I I I I I I
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<< continued from p56 that they’re all okay, and driving those services into the penalty box where
sit here, they feel very much a part of the operation, but they’re separated
required,” says Suters. “We have built the facility very much on a hybrid
from the day-to-day running of the master control.”
model, so it’s designed in terms of new technology but it’s built around an IP
The facility is backed up with a number of contingencies for disaster
infrastructure, very much a core IP infrastructure. “The broadcast industry’s not quite completely in the IP space yet so we have a hybrid where we can come in and out of the facility in baseband or compressed format or in IP. And, then, we sit on normal, common off-theshelf type, enterprise standard IP equipment but we have definitely given ourselves the ability to migrate services and migrate with the broadcasters. So, we operate in the traditional broadcast environment but we also have probably one of the most advanced IP facilities in the world at this point in time.”
some services. Even if this operation were to become unavailable, services would still be delivered by a diverse path to some of our customers. That’s not true in all cases, but in terms of the resilience of this operation itself, it’s a very resilient operation, it’s a Tier IV data centre so we have multiple power, multiple entry points for feeds. In terms of paths, we have paths that go through Paddington, paths that go through Oxford Falls as well, and we branch out to some of our customers from there.“One of the advantages of what we’ve tried to do here, and this is the first stage of what we’re
resolution video formats.
trying to do, this control room is actually abstracted from the equipment
While he thinks it will be a while until full-scale adoption of 4K by the
quite deliberately. So, we could actually pick up or create this control room
resolutions and formats in mind and our architectural design allows much higher bandwidths to be managed through the facility. So, yeah, we’re ready for it. We do think this is one of the most future-proofed facilities in the
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“Firstly,” says Suters, “there are multiple paths in and out of the operation for
The TBS BOC is also advanced in being ready for 4K and other higher
Australian market, Suters says, “We’ve built the facility with the advanced
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recovery.
anywhere in the world where required. Now, this is the first step in what we’re trying to do, which is to create a facility that allows us to control from anywhere across the world or anywhere across the continent. So, we’ve actually taken into account the ability to be able to control from multiple
world.
places.”
“In terms of the operation, we’re staffed 24 by seven. There are two layers
THE DATA CENTRE
of desks here. The front desks are our traditional master control operational
The former Pitt Street Telephone Exchange Building features several data
team. There are generally two guys here at any one time. On weekends, we often staff up with an extra person because it’s busy for sport. We’ve also given ourselves scope to grow that if required.”
centre floors with one devoted entirely to Telstra Broadcast Services. The Tier IV data centre features multiple active power and cooling distribution paths, has redundant components, and is fault tolerant, providing 99.995%
An adjacent meeting room is also home to a smaller monitoring station.
availability.
“Often, we do special events with customers who’d like to be part of the
According to Paul Suters, “We’ve made it very much into our broadcast-
facility, part of the operation,” says Suters. “So, we can bring them in, they can
centric data centre, the logic being that broadcast operates in a different
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seven-days-a-week. So, while we retain the benefits of being in a data centre, a Tier IV data centre, we also have the flexibility to do what we’re required to do as a broadcaster. “There is a lot of space. All our equipment’s at the very back of the room. You can see the scope for growth through the front. There’s space for about 320 racks in this facility, on this floor, of which we’re using about 70 at the moment. It gives us scope for a lot of future opportunities, large recovery for broadcast, streams with our own facilities, co-location operations.” Two of the racks comprise main and redundant enterprise level IP Cisco switches. These branch out to each bank of racks, into aggregation switches that sit at the top of those racks and then branch out into the edge adaption devices that allow TBS to adapt base-band broadcasts, compressed broadcast or IP technology into the switches and then to switch in and out. “They’re the real core parts,” says Suters. “We are a hybrid operation, certainly as the broadcasters are starting to migrate to IP. In this rack here sits our traditional base-band ASI router or traditional television switcher. All services are simulcast or simultaneously on both sets of equipment and, as required, we can migrate services from the traditional broadcast to the IP broadcast over a period of time.”
FUTURE GROWTH According to David Keenan, Telstra’s Head of Global Industries, Telstra Broadcast Services falls under what the company refers to as “disrupt verticals” where there is substantial ICT spend, and there is digital disruption either going on or potentially occurring in the future. He says the company is looking to use its capabilities and/or any out-of-Australia advantages to generate market differentiation. The first of these verticals to be tackled by the company are the mining industry (Telstra Mining Services) and broadcast. “From a TBS standpoint,” he says, “we really see this as leveraging the core assets that we have in Telstra both domestically and our desires and
investments that we’ve got into international markets. Really, what we see is a transformation in regards to moving from where we’ve been a traditional infrastructure player in the communications portfolio to move more up/down the value chain for the customers. “We want to provide more value-added services, so that we actually start moving into more of the operational technology side. So, how we can add more value supporting operational technology and, in some ways, moving into the work flows of the operational technology side of these businesses, whether it be broadcast media or mining, etc.” “And it’s well documented that this industry, the media industry, has its challenges and is a challenging revenue environment,” adds Trevor Boal, Head of Telstra Broadcast Services, “particularly with regard to television advertising. There’s pressure on the cost base for many of these businesses. And, so, our customers from this industry are asking us to work with them around innovating more to try and help drive productivity. Let’s look at how, as an industry, we can drive scale and then remove some of the duplication in this concept of the media value chain from the point of content creation with a camera through to the distribution to the viewer. “If you looked through that media value chain, there’s clearly market opportunities to address duplication and scale. What is very clear, though, is that our customers are saying whilst they want to innovate more, they want to then take some of those savings and drive that investment into more content, either enhancing the quality of the content that they offer or spending more on rights, and the like. “Many of the broadcasters do have impending requirements for substantial investment in technology and so they’re all looking at what is the most effective way to deliver those technology outcomes in that business. And, with talk of industry consolidation and sharing, I’d call it a more mature approach to sharing of infrastructure, that the executives of the broadcasters are publicly stating. Obviously, this facility offers a great opportunity.” Visit https://www.telstra.com.au/business-enterprise/solutions/digitalmedia/telstra-broadcast-services
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environment to a normal data centre. There’s activity here 24-hours-a-day,
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CLASSIFIEDS + EVENTS what's on SEPTEMBER IBC 2016 9-13 September, 2016 Amsterdam RAI www.ibc.org
OCTOBER AES Los Angeles Convention 29 September - 1 October 2016 Los Angeles Convention Center www.aes.org/events/141
IEEE Broadcast Symposium 12-14 October, 2016 Hartford Marriot Downtown Hartford, CT, USA http://bts.ieee.org/ broadcastsymposium
SMPTE Annual Technical Conference 2016 24-27 October, 2016 Loews Hollywood Hotel Los Angeles, USA www.smpte.org/ATC
Broadcast India 2016 20-22 October, 2016 Bombay Exhibition Centre www.broadcastindiashow.com
NOVEMBER
Sportscasting, News & Live Production Expo 26-27 October, 2016 Etihad Stadium, Docklands Melbourne, Australia www.sportscasting.com.au
2016 National Radio Conference Friday 7 October, 2016 Melbourne Convention & Exhibition Centre www.commercialradio.com.au Marina Go General Manager, Hearst Bauer Media Group
Beverley McGarvey Chief Programming Officer, Programming Network Ten
2nd annual
CASBAA Convention 2016 7-10 November, 2016 Studio City Macau www.casbaa.com/event/cc16 NAB Show New York 2016 9 November-10 November, 2016 Javits Convention Center New York, USA www.ccwexpo.com Jane Huxley Managing Director, ANZ Pandora Internet Radio
| Navigating the new media landscape | Promoting the rise of women in media | Inspiring leadership
2016 CBAA Conference 10-13 November, 2016 Pullman Hotel, Albert Park Melbourne, Australia www.cbaa.org.au/conference Screen Forever Conference 15-17 November, 2016 Crown Conference Centre Melbourne, Australia https://screenproducers.org.au Inter BEE 2016 16-18 November, 2016 Makuhari Messe Tokyo, Japan www.inter-bee.com/en/ Women in Media 2016 22-24 November 2016 Aerial UTS Function Centre Sydney, Australia www.questevents.com.au/ women-media-2016 Michelle Williams Group Director HR Fairfax Media
Leisa Sadler General Manager, Disney Channels AU and NZ The Walt Disney Company
22-24 November 2016 I Aerial UTS Function Centre Sydney I Australia
Register today! Go online at www.questevents.com.au or call +61 (0)2 9977 0565 Sophie Blachford Head of Brand Development Instagram
Karina Carvalho News Presenter ABC TV
Jihee Nam Vice President and General Manager Nickelodeon Networks Australia
WiMedia2_halfPgAd.indd 1
23/8/16 9:32 AM
Advertiser Index
CLASSIFIEDS + EVENTS
AJA…………………………………………..……..
64
Mary Ann Azer Executive Director Magazine Publishers Australia
3
Fujinon Fijifilm ………………..…..….. 60-63
Miller Camera Support…………….…… 25
Rohde & Schwarz………………………… 57
Amber Technology………………….…… 41
IHSE GmbH Asia Pacific…..…..…..…..….. 8
Netia………………………………………..……… 19
Ross Video……………………………………… 15
ARRI……………………………………....……….. 23
IRT Communications…..…..…..…..…..…..12
On Air Solutions………………………. 10,59
Blackmagic Design……………………….. 5
Jands …………………………………….…..…..…..49
Pacific Live Media……………….…… 37,55
Calrec…………………………………….……..…. 51
Lawo..………………………………………..…..… 29
Professional Audio & Television…OBC
CASBAA………………………………………..…. IBC
Lumina Broadcast Systems ………… 13
Quantum………………………………………… IFC
Dejero……………………………………….…….. 27
Magna Systems & Engineering……… 9
Redwood’s Technology Solutions….39
Techtel……………………………….….………… 7
EMC………………………………………..…..….. 47
Media Proxy…………………………….….…. 45
Riedel………………………………………………. 33
Women in Media…………………….……… 64
Studiotech Australia……………….. 17,21 Snell Advanced Media..…………..….. 35 Sportscasting Expo…………………..….. 31
Studio City, Macau Nov 7-11 2016
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