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Cover Story THE NETWORK EFFECT – IP Production & Delivery Comes of Age

20 IP-based Production

32 IP-based Content Management

45 IP and Cloud-based Delivery

VOLUME 2 ISSUE 5 MAY/JUNE 2016

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

REGULARS

02 EDITOR’S WELCOME

03 NEWS VSTV’s K+ Vietnam Partners with Irdeto, TV 5 Thailand Takes Riedel, Indonesia Tests DVB-T2 with Rohde & Schwarz, Mediacorp’s Toggle Launches on Google Chromecast & Apple TV, FastFilmz India Taps V-Nova for Mobile OTT, Vietnam Holds Digital TV Workshop, Ernest Wong New Chairman for Mediacorp, Razali New CEO for Media Prima Digital

48 FEATURES AND DEADLINES

FEATURES

12 BROADCASTASIA2016 Show Preview

20 ACQUISITION The latest in cameras and more from NABShow2016

24 SPORTSCASTING Encompass Expands Sports Acquisition with Dejero and Ideal Systems, Wuxi TV China Selects SAM Switching for HD OB Van, NBC Gears Up for Rio Olympics

28 NEWS OPERATIONS Formosa TV Scores with Taiwan’s First 4G/Wireless Workflow

32 MEDIA IN THE CLOUD IP and Cloud-based Media Management from NABShow2016, Korean Broadcasters Comply with Mediaproxy

36 POST-PRODUCTION EditShare Makes Moving Media Bits Flow, Penta Post Invests in Quantel Rio

38 AUDIO Kai Media Pioneers MPEG-H Audio in 4K UHD Encoder for Korea, Dentsu Launches Programmatic Audio Advertising, Enabling Direct Monitoring of Audio-Over-IP Streams

42 RADIO Successful Launch for Indonesian DAB+, Media Prima Launches Kool FM & Partners with Spotify, Oz Radio Promotes LG Digital Radio Smartphone

44 CONTENT DELIVERY Deluxe Software-Defined Playout at SBS Australia, Etere Empowers TodayTV Vietnam, Starhub Enriches Content with NAGRA Netflix Solution, BEXIMCO and GS Group Launch Bangladesh DTH Service, IP-based Content delivery from NABShow2016, Peer-Assisted Streaming Video

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EDITOR’S WELCOME

THE RISE OF INTERNET TECHNOLOGY has touched almost every aspect

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

to retailing, banking and communications in that regard.

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

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

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

vendors and media companies are now, respectively, commercialising and

adopting IP-based technologies.

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

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

standards are evolving and coming together.

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

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

on promoting the adoption, standardisation, development and refinement of

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

TR-04, SMPTE 2022-6 and AES67.

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

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

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

production space.

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

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

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

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

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

over standard network infrastructures.

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

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

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

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

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

multicast streams.

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

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

enabling IP video workflows across standard GigE networks. NDI allows

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

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

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

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

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

lossless compression technology designed to be a standard for moving live

content efficiently over IP networks.

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

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

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

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

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

industry as a positive, not a negative.

Thanks for Reading

Phil Sandberg - Editor/Publisherpapers@broadcastpapers.com

T: +61-(0)414671811

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The Eruption of Disruption

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

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see the future of broadcast

new billing systemfor new platforms

new ad insertionsystem

redefiningstudio robotics

augmentedreality graphics

poweringOTT

IRDETO, THE PROVIDER OF SOLUTIONS for digital platform security, has been selected by K+, a premium pay TV service of Vietnam Satellite Digital Television (VSTV), to provide end-to-end multiscreen support for the launch of its first commercial over-the-top (OTT) service. VSTV is the largest satellite pay TV platform in Vietnam with approximately 800,000 subscribers. Irdeto’s suite of multiscreen products includes Irdeto Rights, Irdeto Media Manager and comprehensive implementation and managed services. By working with Irdeto and using enhanced user experiences and customised consumer facing applications supplied by Vodworks, K+ can offer their OTT content across multiple devices and browsers in a unique service for their market.

“We wanted to launch an OTT service as a value added service for our subscribers, who are increasingly viewing content through multiple connected devices,” said Jacques Aymar de Roquefeuil, Deputy General Director, Vietnam Satellite Digital Television Company, LTD. “Irdeto’s end-to-end multi-screen solution was important to the success of this new service, as it allows us to

deliver our customers premium OTT entertainment on their screen of choice regardless of DRM and streaming format. Through our partnership with Irdeto, we are confident in offering the best OTT service we can to our customers in a safe and secure manner.”

The multiscreen deployment has been tailored to meet the needs of K+ with a combination of solutions and services. This includes Irdeto Media Manager, an open and scalable video content management platform that enables pay TV operators to rapidly deliver TV everywhere; Irdeto Rights, which secures content and flexibly manages usage rules for any OTT platform, as well as comprehensive implementation and managed services. In partnership with Vodworks, K+ subscribers will also be able to access OTT content through customized apps which provide consumers with an optimal user experience to access content on their mobile devices.

Visit www.irdeto.com

VSTV’s K+ Vietnam Partners with Irdeto for OTT

RIEDEL COMMUNICATIONS HAS DEEPENED its presence in Southeast Asia with a new installation of the company’s equipment at Royal Thai Army Radio and Television (TV 5). Adoption of Riedel gear will enable the broadcaster to realise a simpler, more flexible, and more efficient workflow in bringing content to viewers.

“Riedel’s products are quickly gaining acceptance worldwide because they are simple, cost-effective, and efficient systems that deliver exceptional performance and new levels of flexibility and functionality,” said Cameron O’Neill, director, Asia-Pacific region, at Riedel Communications. “While the installations at industry-leading media facilities such as TV 5 are among our first in Southeast Asia, we anticipate that these companies’ successes with Riedel equipment will lead to

further adoption in the region.”

TV 5 is a terrestrial free-to-air-television channel located in Bangkok, and it broadcasts local dramas and entertainment. The company is deploying five MediorNet frames to support more versatile and sophisticated routing of audio, video, and data in support of broadcast operations. The MediorNet system presents TV 5 with a lower total cost of ownership than if the broadcaster had invested in multiple individual solutions needed to achieve the same capabilities. Because the Riedel media network is scalable, TV 5 can easily expand the network to accommodate its growth.

Visit www.riedel.net

TV 5 Thailand Takes Riedel’s MediorNet

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Mediacorp’s Toggle Launches on Google Chromecast, Apple TVSINGAPOREAN OTT (OVER-THE-TOP) provider Toggle has announced that its Toggle app is now available for Chromecast, as well as the Apple TV platform.

Chromecast, Google’s thumb-sized media streaming device that plugs into the HDMI port of TV sets uses Google Cast technology, allowing the viewer to use their phone or tablet as a personalised remote control to search, browse, play, pause and review content as well as other functions. While casting, the viewer is free to use the device for other applications.

With this latest addition, Toggle is now available on a wide range of devices including computers and laptops, Samsung and LG Smart TVs, Microsoft Xbox One and iOS and Android (selected models) smartphones and tablets.

Meanwhile, users of the Apple TV platform will also be able to enjoy locally-produced content from Toggle. Apple TV users can download the Toggle app and enjoy a big screen HD experience as they catch up on Mediacorp TV shows.

This latest foray marks the aggressive expansion of Toggle over the years to be available on different platforms and screen sizes – starting with an online entertainment portal to an app on smartphones and tablets that allow for live-streaming and catch-up TV services. Since its launch in 2013, the OTT service with bilingual entertainment and lifestyle content offering a wide variety of local content options such as catch-up TV, Toggle Originals, live coverage of key events, behind-the-scenes insights to viewers across multiple devices offering a strong library of original local programmes – free of charge.

Visit www.toggle.sg

Indonesia Tests DVB-T2 with Rohde & Schwarz and StreamSparkBALAI BESAR PENGUJIAN PERANGKAT Telekomunikasi (BBPPT) – the official test lab under the Ministry of Communication and Information Technology (MCIT) in Indonesia – recently installed a DVB-T2 receiver compliance test system in partnership with Rohde and Schwarz. The test system consists of a BTC Broadcast Test Centre, AVBrun automation software, StreamSpark PSI/SI and early warning system (EWS) test suite, as well as a test lab management system.

“With the latest commissioning of a Rohde and Schwarz BTC RF test automation system in BBPPT test labs, we have successfully deployed BTC systems at three key official test labs in the ASEAN within a short span of 12 months. To further enhance the test system, we have released the camera-based solution, which enables fully automatic tests on both STB and iDTV,” said Eric Li, Regional Manager for Rohde and Schwarz Broadcasting Solutions.

With the adoption of the DVB-T2 standard, the Indonesian MCIT plans to incorporate EWS as part of the DVB-T2 rollout. The Indonesian early warning system is designed to support up to 15 different types of disasters, three levels of warning and postcode based regional EWS. EWS is the unique mandate from the Indonesian government, thus all STB and iDTV must be compliant with the EWS standard.

Visit www.rohde-schwarz.com

Delegates from Indonesia’s BBPPT at Rohde & Schwarz in Singapore.

V-NOVA LTD., A PROVIDER OF video compression solutions, has announced that Indian OTT service FastFilmz, has deployed the company’s PERSEUS software to enable it to deliver quality streamed video to both 2G and 3G mobile phone users.

“V-Nova PERSEUS has enabled FastFilmz to launch the first subscription video service built for consumers who are mobile bandwidth-constrained. At the same time, we are able to halve the data costs of streaming and downloading movies, which is a huge deal for our target market,” says Dominic Charles, joint-CEO & Co-Founder of FastFilmz.

FastFilmz’s service launched on March 29, 2016 and focuses initially on the ca. 120 million Tamil speakers in India. By enabling SD quality video distribution at sub-audio bit-rates (i.e., < 128 kbps), V-Nova PERSEUS allows FastFilmz to provide quality video streaming over the 2G networks that 70% of the region’s consumers use for Internet access. PERSEUS video

compression has been deployed on the FastFilmz mobile OTT infrastructure and workflows using the PERSEUS Software Development Kit (SDK).

Karam Malhotra, joint-CEO & Co-Founder of FastFilmz added: “Without V-Nova PERSEUS, our streaming service could have only reached a maximum audience of the 30 million people having 3G access. With V-Nova PERSEUS advanced compression, we are able to reach both 2G and 3G users, increasing our potential customer base by 4x to over 120 million subscribers.”

V-Nova PERSEUS is a video processing technology that enables delivery of high quality video over constrained bandwidths; UHD at HD bitrates on large screen TVs, HD at SD bitrates on legacy set-top-boxes and mobile devices, and SD at sub-audio bitrates over bandwidth-constrained mobile networks.

Visit www.v-nova.com

FastFilmz India Taps V-Nova for Low-Bandwidth OTT Mobile Video

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AsiaSat Appoints Zhang Yan VP ChinaASIA SATELLITE TELECOMMUNICATIONS Company Limited (AsiaSat)

has announced the appointment of Ms. Zhang Yan as its new Vice President,

China. She takes over the responsibility of Mr. Zhang Hai Ming who retired

May 1st.

Zhang Yan started working with AsiaSat

in 2008 as the Chief Representative

of AsiaSat Beijing Office and General

Manager of CITICSat, AsiaSat’s partner in

China. She will assume all responsibilities

previously held by Zhang Hai Ming, and

lead a strong team to continue to serve

existing customers and develop new

business in the China market. She will also maintain the company’s close

working relationship with CITICSat, which holds the exclusive right to market

AsiaSat’s transponder capacity in China. Mr Zhang Hai Ming will take on a

consultancy role to continue to serve AsiaSat.

Zhang Yan has over 22 years of experience in the satellite industry with

various management positions, covering areas in engineering, sales and

marketing. Prior to joining AsiaSat, she worked for a satellite operator

for more than 15 years. She holds a Bachelor’s Degree in Engineering,

majoring in Image Transmission and Processing, and an Executive Master’s

Degree in Business Administration, both from Beijing University of Posts &

Telecommunications.

Visit www.asiasat.com

Vietnam Holds Digital TV WorkshopAT A “WORKSHOP ON MATTERS Related to Digital TV Broadcasting”, held late April in Da Nang city, Vietnamese broadcasters and Government agencies came together to discuss Viet Nam’s 2020 roadmap for migrating from analogue to digital television by the year 2020, as well as to hear the experiences of delegates from other Asia-Pacific countries

Opening the workshop, Deputy General Director of the Authority of Radio Frequency Management of Viet Nam, Le Van Tuan, said the transition from analogue to digital terrestrial television broadcasting is being seen as a necessary trend in the world and the region.

"The switchover from Analog to digital TV is somehow a complicated process with differences from country to country in the region, with reference to policies, regulations and technology," Tuan said.

Nguyen Hong Tuan, from Authority of Radio Frequency of Viet Nam, said Viet Nam has planned a fund of VND1.7 trillion to (US$76 million) for national analogue-to-digital migration plan.

He said the country has 21.3 million households with colour TVs, and 6.7 million families using pay TV and 33 cable TV service providers along with three satellite digital TV and five digital terrestrial TV providers.

Nguyen Viet Hung, a service provider of digital terrestrial TV, said locals can pay only VND700,000 (USD$31) for installation of a receiver with free subscription with old style TV sets, while new users could only pay for VND100,000 (US$4.50) for antenna installation.

"More people could enjoy better quality TV programmes with 40 channels. Viet Nam has built television stations in nearly 63 provinces and cities, and available infrastructure could help transit from analogue to digital TV soon," he said.

Visit http://english.mic.gov.vn

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ASIAPACIFIC NEWS

BLOOMBERG MEDIA HAS ANNOUNCED BloombergQuint, a partnership with Quintillion Media, India’s digital news venture founded by entrepreneur, Raghav Bahl. The partnership will cover broadcast, digital and live events across India, serving business and financial news. BloombergQuint will harness the global resources of Bloomberg with Quintillion Media’s market experience to create a business news channel and digital destination for India’s growing business audience.

INDIA

IMAX AND SHANGHAI BESTAR CINEMAS Management have announced an agreement at the Shanghai headquarters of Future Land Holdings for 10 new IMAX theatres to be located throughout the republic. The theatres will be added to multiplexes located within Injoy Plazas – Future Land’s commercial shopping centre brand, and are expected to be installed during 2016 and 2017.

CHINA

THAICOM PUBLIC COMPANY LIMITED has

announced that Forever Group, Myanmar’s

leading media company and DTH operator, has

signed a long-term contract for five additional

transponders to the existing three on the

Thaicom satellite platform. The additional

satellite capacity will support Forever Group’s

development of digital content delivery

services and high definition TV in Myanmar.

THAILAND

RUSSIAN-BASED COMPANY, the GS Group has sold its controlling stake of One TV, Cambodia´s first pay-DTT project, to its holding company partner, The Royal Group of Companies (Kingdom of Cambodia). With the sale, GS Group says it has successfully overseen the project’s investment cycle. One TV was launched in 2012 and offers 80 digital channels to viewers in 11 provinces, reaching 70 per cent of the country’s residents.

CAMBODIA

PCCW MEDIA’S OTT MOBILE VIDEO entertainment platform, Viu, has recorded over 1.2 million downloads in Hong Kong within a span of six months since its launch in October, 2015. Viu’s was recently recognised for Best Mobile App in this year’s HKICT Awards. Viu is a free app available for download at App Store for iOS devices, and Google Play Store for Android devices.

HONG KONG

See us at BroadcastAsia2016 Level 4, Booth No. 4D2-21

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AUSTRALIA’S CIVIL AVIATION SAFETY

AUTHORITY is easing regulations for

commercial operators of very small remotely

piloted aircraft. The changes, effective late

September 2016, apply to remotely piloted

aircraft used in commercial operations

weighing less than two kilograms maximum

take-off weight. Operators will no longer need

to obtain a number of regulatory approvals.

This includes an operator’s certificate and a

remote pilot licence.

AUSTRALIA

IMAX AND AEON ENTERTAINMENT have announced an agreement for an IMAX theatre to be located at the AEON Cinema multiplex at the AEON Mall Odaka in Nagoya, Japan. The deal marks IMAX’s first agreement with AEON Entertainment – one of Japan’s top exhibitors and subsidiary of AEON Group.

“IMAX not only delivers the world’s best cinematic experience, it is also a globally-recognised premium brand that will serve as an anchor attraction at the AEON Cinema Odaka,” said Mr. Kazuo Maki, President of AEON Entertainment.

JAPAN

BRIGHTCOVE HAS ANNOUNCED that

MediaWorks has selected Brightcove Once

to deliver ad-supported video experiences

for its on-demand television service, 3NOW,

on mobile and connected devices. Using

Once, MediaWorks can now publish video

while protecting content rights, as Brightcove

supports Apple FairPlay Streaming DRM with

ad insertion for Apple TV and iOS.

NEW ZEALAND

TV NEWS CHANNEL, CNN International, and

Cartoon Network have increased distribution

in Korea with an agreement with Pooq, an OTT

platform operated by the Content Alliance

Platform (CAPTV), a joint-venture between

Korea Broadcasting System (KBS), MBC and

SBS. Pooq provides TV broadcasting, movies,

animation, sports, and other content in both

linear and non-linear formats.

KOREA

INDONESIA’S TVONE, has upgraded to Etere MTX platform. The multi-format capabilities of MTX allows tvOne to eliminate previous transcoding from their operations, reduce manual operations and ensure a more efficient workflow. tvOne has had Etere Automation, Media Manager, Memory, Transcoding, NLE, Workflow, Ingest and Scheduling installed since 2010.

INDONESIA

THE DIRECTORS OF THE Solomon Islands’ National Broadcaster, SIBC, have appointed a New Zealand company, Telemedia Consultants, to develop a plan for a national public television service. SIBC expects that around 50 percent of the population will be served within the first five years of the TV service and other population centres will be provided access soon afterwards.

SOLOMON ISLANDS

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Innovid Names Carolyn Bollaci MD for APACINNOVID, A LEADING VIDEO MARKETING PLATFORM for advertisers

to create, deliver and measure video experiences across devices, has

announced that Carolyn Bollaci has been appointed managing director of

APAC to help support the company’s continued growth throughout Australia,

New Zealand, Hong Kong, Japan, Korea, Southeast Asia, India, and China.

Bollaci joins Innovid from the ad management company, Sizmek, where she

served as regional vice president, ANZ, for nearly seven years.

Bollaci comes to Innovid with more than 12 years of experience in the

digital industry, both in Australia and her native US. While at Sizmek, Bollaci

led strategic business development efforts for global clients, digital sales,

and ANZ operations. Prior to Sizmek, Bollaci served as country manager at

MediaMind (which later rebranded as Sizmek). She also held senior sales

positions at News Digital Media, one of Australia’s largest media companies,

and Australian news and entertainment website ninemsn.

Visit www.innovid.com

Rafiq Razali New CEO for Media Prima DigitalMEDIA PRIMA BERHAD, Malaysia’s largest integrated media group has announced the appointment of Rafiq Razali as the Chief Executive Officer of Media Prima Digital.

Rafiq-MPD Rafiq, aged 31, holds a Bachelor of Science (First Class Honours) in Actuarial Science from Pennsylvania State University, United States of America, and has a comprehensive experience in business development and strategic planning. His track record includes establishing start-up companies related to digital and information technology.

His career in information technology began with Maxis Berhad where he held various positions that included responsibilities in the International Data Wholesale division as well as the Corporate Strategy division. In 2011, Rafiq was part of the team which formed Groupon Malaysia. Groupon is an e-commerce company based in United States, connecting customers with local merchants in more than 28 countries including Malaysia. He was promoted to Country General Manager for Malaysia in 2013, following an impressive run of performance by the outfit.

In 2015, Rafiq and a group of investors established KFit, a Malaysian start-up company that provides a mobile application for users to plan their wellness activities such as gym membership, fitness studios and related activities. KFit today boasts 270,000 users in eight countries across Asia Pacific. He was the Vice President and a founding shareholder of KFit.

Visit www.mediaprima.com.my

SINGAPORE’S MEDIACORP HAS ANNOUNCED the appointment of Ernest Wong as a board director and Chairman-Designate. Mr Wong served as Mediacorp’s Group Chief Executive Officer and board director from October 2000 to September 2005. Prior to that, he was a non-executive director of its board from April 1994 to September 2000. Mr Wong will assume the position of Chairman at Mediacorp’s Annual General Meeting in July 2016, succeeding Teo Ming Kian.

A veteran banker since 1972, Mr Wong was United Overseas Bank Group President and Board Member from 1990 to 2000 when he left to join Mediacorp as its Group CEO. Before 1972, he worked for five years with Singapore’s Economic Development Board and the Ministry of Finance. Currently, Mr Wong chairs Temasek Holdings’ wholly owned subsidiary, Fullerton Financial Holdings, which invests in and operates financial institutions in emerging markets. He is a board member of Pavilion Capital Holdings and commissioner of PT Bank Danamon Indonesia. Outside of the financial sector, Mr Wong chairs A. Menarini Asia-Pacific and is a Trustee of the NTU Board of Trustees and Chairman of its Investment Committee.

Under outgoing Chairman Teo Ming Kian, Mediacorp broke down traditional silos and cultivated a Whole of Mediacorp (WOM) mindset to better engage and entertain its audiences. He instilled a culture of innovation across the company and nurtured intrapreneurship, encouraging risk-taking and innovation among its employees. With Mr Teo’s guidance, Mediacorp embarked on The Mediapreneur

incubator programme, nurturing 10 start-ups that potentially offer a strategic fit with Mediacorp’s businesses in the face of disruptive technologies and business models. The company also entered a new chapter of business expansion, investing in a majority equity stake in KapanLagi Network (KLN), one of Indonesia’s largest digital media companies. Over the last year, Mediacorp accelerated its digital transformation, quadrupling viewership of its over-the-top service, Toggle.

Mr Teo was responsible for creating a vision of a new home for Mediacorp and bringing that vision to reality. Mediacorp Campus, a purpose-built 12-storey facility officially opened by Singapore Prime Minister Lee Hsien Loong, will house nearly all of Mediacorp’s 2,800 staff in a single location. It will be equipped with state-of-the-art production and digital broadcast facilities which include a digital-first, integrated newsroom, four entertainment studios and a 1,500-seat performing arts theatre.

Mr Teo will have served as Mediacorp’s Chairman for three terms totalling six years when he steps down this July.

Visit www.mediacorp.sg

Ernest Wong Chairman-Designate for Mediacorp

PlayBox Appoints Stefanus Tandra Director of Indonesia Sales

PLAYBOX TECHNOLOGY, THE DEVELOPER of television playout and channel branding solutions, has promoted Stefanus Tandra to Director of Sales for Indonesia. Based in Jakarta, he will be working with colleagues Desmon Goh and Iulian Ionescu to provide pre-sales and post-sales support for new and existing customers.

Stefanus Tandra studied computer science at the Bina Nusantara University in Jakarta from 2005 to 2009 before gaining career experience in broadcasting at Nusantara Televisi. He joined PlayBox Technology in 2010 where he advanced to the position of Regional Sales Manager.

“Stefanus has been in charge of support and pre-sales throughout Indonesia and Papua for the past five years,” comments PlayBox Technology President Don Ash. “He has an excellent understanding of the broadcast business both from the perspective of a customer and as a provider of reliable and efficient solutions. He has contributed very successfully to the high level of awareness of the PlayBox Technology brand and to direct sales, combining good commercial acumen with a strong technical background. The Asia Pacific team has an excellent track record in organising technology demonstrations both on a customer-specific basis and at major trade shows such as the upcoming Broadcast Asia 2016 in Singapore (May 31 to June 3) where we will be exhibiting on stand 5D3-03.”

Visit www.playboxtechnology.com

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CENTRALIZEDDECENTRALIZEDMEDIORNET as a flexible real-time network supporting HD-SDI and 3G-SDI and 4k. The scalable network includes various processing capabilities and is IP compatible.

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Riedel Inks Distribution Deal for Vietnam

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IN A MOVE TO STRENGTHEN its presence in Southeast Asia, Riedel Communications has partnered with Hanoi-based Vietcoms, which will serve as a system integrator and distribution partner for Riedel in Vietnam. Through this new partnership, Vietcoms will introduce Riedel’s signal distribution and communications solutions to the Vietnamese market, and to the broadcast vertical in particular.

“Vietnam is a new and exciting market for Riedel, and we’re confident that our new partnership with Vietcoms will accelerate the implementation of our products across the region,” said Cameron O’Neill, director, Asia-Pacific, at Riedel Communications. “Our product portfolio can facilitate significant improvements in workflow efficiency and flexibility, and we’re pleased to be working with an experienced local integrator to bring these products — and their benefits — to Vietnam’s broadcast facilities.”

Founded in 2005, Vietcoms has worked with Vietnam’s premier media entities

to deliver technology solutions and expertise to most of Vietnam’s broadcast and pay-TV operators. Vietcoms is a long-term technology supplier for Vietnam’s leading media operations, including VTV, VTC, AVG, VASC, Viettel, Vinasat, and HTV.

“Riedel’s best-in-class products will aid us in providing customers with smart, versatile solutions that support more efficient and agile operations,” said Khang Do, president at Vietcoms. “We are pleased to be working closely with the company to increase awareness and adoption of its products here in Vietnam.”

Visit www.riedel.net

EXSET, THE DEVELOPER OF ENHANCED digital TV services, is partnering with Rentak Setia Sdn. Bhd. in Malaysia to drive deployment of its solutions. The partnership is designed to push the rollout of Exset’s DMS value-add ecosystem to increase ARPU and overall penetration of digital services.

DMS powers a range of services on very low-cost STBs, including fully integrated EPG ad-insertion as well as “Blue Button” advertising. It supports push VoD, allowing operators to pre-load their most popular content to the viewer’s set-top and USB-based PVR capabilities. ‘Red Button’ interactivity provides additional magazine services (weather, news, and sports) at the touch of a button.

Rentak Setia Sdn. Bhd. is an IT solutions provider in the broadcast graphics automation, newsroom and broadcast automation, interactive television and software development fields. It is also a licensed government contractor, specialising in IT, broadcasting and communication and is a registered Application

Services Provider with the Malaysian Communications and Multimedia Commission.

Paul Soosay, CEO with Rentak Setia, said, “Our skillsets and technologies are very well aligned with those of Exset. We see a real benefit for network operators and broadcasters with this value-add ecosystem, based on its DMS middleware, to drive up penetration and revenue while also increasing viewer value.”

Andrew Pons, Global Director of Sales and Marketing with Exset, said, “We are excited to be working with Rentak Setia. Our model is very much based on partnerships throughout the chain and bringing those together in a seamless whole for operators. We believe that this partnership will help to drive deployment across Malaysia.”

Visit www.exset.com

Exset Partners with Rentrak Setia in Malaysia

Khang Do, president at Vietcoms [left], and Cameron O´Neill, APAC director at Riedel, celebrate the new partnership.

TECHNICAL STANDARDSwww.content-technology.com/standards

www.asperasoft.commoving the world’s data at maximum speed

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PREVIEWwww.broadcast-asia.comThe 21st International Digital Multimedia & Entertainment Technology Conference

THIS YEAR’S BROADCASTASIA CONFERENCE features two streams – Broadcast Engineering and Technology, and Content Capitalisation Strategies.The Broadcast Engineering and Technology stream features topics such as:• IP Broadcasting & TV Everywhere Technologies• Broadcast standards & Video Encoding Technologies• Next Generation Workflow & Digital Assets Management• Cloud Distribution – Next Generation Media Delivery Systems• Radio Broadcasting• Cloud Distribution – Next Generation Media Delivery SystemsThe Content Capitalisation Strategies stream includes:• The Business of Connected Entertainment• Capturing Viewers with Immersive Experiences – At Home and On the Go• Big Data & Real-Time Analytics – New Commercial Opportunities

CREATIVE CONTENT PRODUCTION CONFERENCEHeld alongside the BroadcastAsia2016 International Conference, the Creative Content Production Conference will take place on the Wednesday and Thursday of the show. Topics covered will include:• Creative Content Strategy in the Digital Age

• Co–production Partnerships• Producing Contemporary

Transmedia Content• Film Distribution• Market Drivers and the Future Of

Creative Content• Monetising Transmedia Content• Funding and Pricing ContentFriday, June 3rd, will see the debut of two workshops at BroadcastAsia:• Workshop A - Speed, Accuracy and Quality – Producing News Content that is

Fast and Works on Mobile for the Overloaded Viewer• Workshop B - Short-Form Content Production and DistributionBroadcastAsia2016 is being held from Tuesday 31 May – Friday 3 June 2016 at Marina Bay Sands, Singapore, Level 4 & 5. Opening Hours are: • 31 May – 2 June 2016: 10:30am – 6:00pm• 3 June 2016: 10:30 am – 4:00 pmVisit www.broadcast-asia.com

BroadcastAsia2016 International ConferenceTV industry is on the cusp of change and in the age of disruption, be it IP-based broadcasting, OTT monetisation models or workflow management trends, the stakeholders are continually looking for practical and cost effective insights.

Confronting the Future at BroadcastAsiaTHE NEXT 20 YEARS ARE LIKELY to bring more changes to humanity than the past 300 years – these are the words of Gerd Leonhard, Futurist and Founder and CEO of The Futures Agency – a man The Wall Street Journal has dubbed as “one of the leading Media Futurists in the world.”

Leonhard predicts that in the next five years, globally increased connectivity, super-computing and vastly more powerful interfaces will bring about exponential changes in how we communicate, how we consume media and content, how we transact and do business and how we learn and design our future. Speaking at this year’s CommunicAsia2016 Summit and BroadcastAsia2016 International Conference, Leonhard will deliver the combined Visionary Address entitled “The Next 5 years in Global Digital Transformation” on 1 June 2016 at Marina Bay Sands, Singapore.

Leonhard’s take on what the future will bring includes:

Global Digital Transformation: the 10 ‘ations’ that will impact every business. According to Leonhard, global digital transformation is bringing about an age of digital “ations” that all beg the question: what will it mean to be human in a digitally transformed future? Gerd’s “ations” include: mobilisation, digitisation,

screenification, disintermediation, automation, virtualisation and robotisation.

Limitless and Ubiquitous: Connectivity will Flow Like Water. With the world becoming increasingly hyper-connected, technology will become omnipresent – it will become normalised and a part of the very fabric of our environment. This will change the nature of our interactions and fundamentals of our environment whereby everything that can become digital will indeed become digital. It will be the era of “smart-everything”.

Digital Captives in a Limitless World. Security will become a priority – with technology becoming part of our everyday lives, society will be even more susceptible to threats such as cyber warfare. The implications of data losses or breaches will reach new heights as cyber criminals become increasingly savvy and technology begins to play an even greater role in personal enterprise, business and government. The vast movement of data will be further catapulted by high speed, cheap devices and easier access to technology.

Visit www.broadcast-asia.com and www.communicasia.com

See BroadcastAsia with a Tour GuideSETTING OFF FROM the meeting-point on Level-4 at the Marina Bay Sands, BroadcastAsia2016 Technology Tours can help you learn more about the industry’s trending technologies. Embark on a free tour with a guide who will bring you around the exhibition halls with stops at selected exhibitors who will provide an exclusive 10-minute demonstration of their latest innovations / products pertaining to the technology theme which you have selected. The tours are divided into the following:• Tour 1: 4K/UHD – 4K TV has undoubtedly

achieved more consumer awareness; 46% of new TV buyers are planning to purchase their first 4K TV this year according to FatWallet’s annual TV Buyer Survey. Check out the latest innovations

relating to 4K / UHD in this technology tour. Wednesday, June 1st, 1.30pm – 3.30pm• Tour 2: TV Everywhere – Demand for non-linear

way of broadcasting is high as consumers’ consumption patterns changed. The TV Everywhere! Zone at BroadcastAsia has also expanded this year! Find out more of the latest non-linear broadcasting solutions innovations from leading exhibitors.

Tuesday, May 31st, 1.30pm – 3.30pm and Thursday, June 2nd, 1.30pm – 3.30pm.

• Tour 3: The operational flexibility that comes along with IP broadcasting provides much efficiency for broadcasters to play a bigger role in direct to consumer distribution. See how IP has also affected both Audio and Video as well.

Wednesday, June 1st, 11.00pm – 12.30pm and Friday, June 3rd, 11.00pm – 12.30pm.

• Tour 4: Digital Asset Management – Digital media asset management allows users across all platforms to monetise and access all content in real time. See how this technology has evolved at BroadcastAsia.

Friday, June 3rd, 1.30pm – 3.30pm.• Tour 5: Live Production - See how the different

tools available will enhance the workflow for live production when delivering creative contents to viewers across the multiple platforms.

Thursday, June 2nd, 11.00pm – 12.30pmVisit http://broadcast-asia.com/spotlights/technology-tours

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TMD to Present on Astro’s File-Based WorkflowTONY TAYLOR, CEO OF TMD, the provider of asset management systems for digital and physical assets, will present “Achieving a Quantum Leap in Operational Performance Through Software-Defined Workflows”, a case study of the deployment of TMD’s Mediaflex-Unified Media Services platform at the centre of the file-based workflow at Malaysian satellite broadcaster, Astro.

The presentation will take place on 1 June at 15.30 local time as part of Broadcast Asia’s Track 3 conference strand entitled “Next Generation Workflow & Digital Assets Management” at the Marina Bay Sands, Singapore.

From its two broadcast centres in Kuala Lumpur, Malaysia, Astro delivers more than 180 SD and HD channels, with related online and catch-up services, delivered via direct-to-home satellite, IPTV, and OTT platforms. Taylor will discuss the development and configuration of Astro workflows; how to easily repurpose content; and new techniques for managing the entire lifecycle of media assets from a single, intuitive interface.

Taylor said, “Managing the Astro technology platforms and associated media services along with delivering essential business metrics provides critical insights into system performance, which in turn enables confident business decisions to be made far more quickly.

“Software-defined, automated workflows for content preparation also dramatically increase staff productivity, which vastly accelerates the ability to scale up linear and non-linear services.”

Taylor will also touch on the ongoing deployment of TMD’s Mediaflex Guardian, a productised version of TMD’s Mediaflex media asset management solution, at Singapore’s Asian Film Archive. TMD has experienced considerable growth in the Asia-Pacific region, with installations of Mediaflex Guardian at the National Archives of Australia and the National Film and Sound Archive, Australia.

Visit www.tmd.tv

Exset Value Adds for Digital TVEXSET IS A PROVIDER OF value-add service (VAS) creation for digital TV networks using the latest smart technologies – ad Insertion, Smart Ad EPG, interactive advertising and services. At BroadcastAsia2016, the company is exhibiting with its partner Rentak on booth 4A1-03.

Exset will be launching the new version of its DMS technology, DMS 5.0, at the show. DMS is a business and technology model that allows operators to provide value-added services via broadcast networks – including cable – in emerging markets, creating monetisation paths over and above subscriber fees. Exset supplies DMS as part of an integrated ecosystem including set-top box integration and supply. DMS has been integrated across a range of set-top boxes, including those from Gospell and Newland Communication Science Technology. Demonstrations will be available on the Exset stand using these units.

DMS’ current capabilities include:

• Fully integrated EPG ad-insertion;

• Interactive blue button ad service – press the blue button when instructed on a banner ad and complete advert detail will be revealed;

• Push VoD – operators can pre-load their most popular content to the viewer’s set-top box;

• USB-based PVR capabilities – allow viewers to record content on a simple USB stick connected to the set-top; and

• ‘Red Button’ interactive services – provide additional magazine services (weather, news, and sports, for example) at the touch of a button on the remote, or open up additional video from a programme stream.

Visit www.exset.com

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EditShare Presents High-bandwidth Shared Storage and Workflow for 4K

EDITSHARE, THE DEVELOPER OF intelligent shared storage and media management solutions, is inviting BroadcastAsia2016 attendees to get hands-on with new EditShare EFS Shared Storage and Flow Media Asset Management (MAM) solutions at stand 4G1-02. EditShare media workflow experts will be on hand to give in-depth demonstrations and discuss best practice 4K/UHD infrastructure migration strategies and multi-team, multi-location collaborative workflows scenarios.

In addition to EditShare workflow experts providing demos and advice, attendees can hear from EditShare customer, award-winning director Jay Soo, who leads the production and editorial boutique Moving Bits, and is known for creating commercial hits for global brands like Universal Studios Singapore and Hilton Worldwide as well as documentaries (Chilean Mine Rescue) for the Smithsonian group. Soo will present how moving his production infrastructure to a collaborative workflow has transformed his operation and business. The presentation will take place at the BroadcastAsia2016 Post|Production Hub conference on 2 June at 15.00 hrs.

EditShare’s XStream EFS high availability shared storage solution has become the core storage platform of choice for many of the world’s most successful facilities and productions. Scalable (5PB+) and affordable, XStream EFS online media storage can cope with exploding media volumes, ultra-high data rates, and the complexities of today’s collaborative production workflows. With the latest Native Client support delivering improved performance for Windows, OS X and Linux users, EFS combines efficiency, high bandwidth and extensive fault-tolerance (metadata, media data and hardware redundancy).

Building on the performance of the proven EFS architecture and file system, EditShare has released XStream EFS SSD, a powerful, scalable shared storage solution engineered for the extreme bandwidth requirements of uncompressed 4K and HD post-production as well as Digital Intermediate (DI), VFX and finishing projects. The new product extends the award-winning

EditShare EFS platform by combining Solid State Drives (SSD) with a new architecture that scales from a budget-friendly 8TB all the way up to 5PB+.

Available for EditShare and third-party storage solutions, EditShare Flow MAM contains a range of applications, providing media ingest, key asset tracking, transcoding and automation capabilities. The latest release features updated codec support including Apple ProRes and 4K-centric codecs such as Sony XAVC and OpenEXR, further enhancing production workflow support. Now with the web-based application AirFlow, EditShare has also made it easy and secure for production teams to take that first step into a “cloud” environment for remote and collaborative workflows. AirFlow utilises on-premise storage already used for high bandwidth workflows to provide secure and cost-efficient access to media from anywhere in the world via a basic Internet connection and standard web browser.

Brand new to the Flow module lineup, Flow Story utilises the engine of the Lightworks editor to create a powerful and intuitive editorial application. Ideal for fast turnaround projects including editorial, reality TV, news and sports, Flow Story provides users the ability to package content for finishing, delivery and playout.

Contact EditShare at sales.asia@editshare.com

PIXEL POWER WILL SHOWCASE its developments in virtualised and cloud solutions for broadcasters that deliver real-time graphics, full master control and automation from the Amazon Web Services (AWS) cloud. Real-world demonstrations from StreamMaster, Pixel Factory and Clarity will be on the Pixel Power booth, 5E4-06.

At the recent NAB exhibition in Las Vegas, Pixel Power ran a complete channel in the AWS cloud using StreamMaster software, Gallium automation allied to the already well-established Pixel Power Clarity graphics. The result was the complete replication of a premium channel playout chain, emulating hardware and software control panels, but with all processing in the cloud. Presentations at Broadcast Asia will feature this cloud solution.

StreamMaster is part of Pixel Power’s new software-centric product portfolio, meaning it can run today on dedicated hardware, or as a virtual machine in a data centre, or in the cloud. With its optional SDI input and output functionality that means it can deliver uncompromised playout with live graphics in today’s world and make a seamless transition not only to IP infrastructures but from on-premise to cloud architectures.

Also being demonstrated at Broadcast Asia will be Clarity and Pixel Factory.

The Clarity platform has been an unrivalled leader in broadcast graphics for its creative freedom, as well as for its technical quality. Clarity is the solid graphics engine that underpins several other innovative solutions from Pixel Power and recognises that real-world broadcasters need to balance creative freedom with operational efficiencies, automating repetitive tasks and freeing the creative experts for tasks that really need their skills.

Pixel Factory draws on the Clarity 3D graphics engine. Its automation layer allows it to generate large numbers of sophisticated clips, such as promos, trailers and marketing content. It uses templates, information entered by the commissioning producer, and direct access to the asset management system. Pixel Factory automatically generates all versions of a clip – “coming soon”, “tomorrow”, “later” and “next” for example, as well as multiple resolutions for broadcast and online services – thereby completely eliminating much unproductive manual work.

Visit www.pixelpower.com

Cloud Graphics, Master Control and Automation from Pixel Power

FRESH FROM WINNING a Best of Show award at the 2016 NAB Show, Tieline’s new ViA codec will debut at Broadcast Asia 2016. According to the company, ViA sets a new standard in wireless broadcasting and fundamentally changes the way you perform live remote outside broadcasts.

Leveraging Tieline’s approach to mobile reporting using the Report-IT Enterprise smartphone app, ViA delivers a simple and intuitive codec user interface. Going live is literally, power up, tap “Connect” and go live.

Connect using dual Ethernet ports, or two USB modems, or use the on-board Wi-Fi module to connect over Wi-Fi. Insert an optional POTS or ISDN module and the codec is instantly transformed to connect over alternative network transports.

With Tieline’s proprietary Fuse-IP data aggregation technology users can

bond any IP interfaces they choose. For example, bond two USB modems, or a USB modem with a Wi-Fi connection, or bond two Ethernet connections. Then Tieline’s Fuse-IP technology will automatically manage the data capability of each link.

Tieline’s SmartStream PLUS dual redundant streaming software for redundant IP streaming over the public internet is also included as standard.

ViA seamlessly integrates with Tieline’s Merlin and Merlin PLUS audio codecs to transmit high fidelity, full duplex stereo program audio with a separate bidirectional IFB circuit.

Tieline’s Charlie Gawley will demonstrate ViA and other codecs at Broadcast Asia on the Wheatstone Corporation booth 5G4-01.

Visit www.tieline.com/via

Tieline Incites OB Revolution with ViA

EditShare’s Flow Story and intuitive editorial application.

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The Ultra XR is Omnitek’s new UHD Video Waveform Rasterizer that addresses the demanding requirements of extended resolution production QC and 4K post production grading.

Neat, powerful and sophisticated, Ultra XR has been designed specifically for content creativesccolourists, post-production editors, and digital intermediates working with Ultra high resolution UHD images in all SDI and HDMI formats.

Ultra XR not only provides all of the traditional tools that are expected in these operating areas but also supports the emerging standards for High Dynamic Range and Wide Colour Gamut.

○ ○ True 4K, flat frequency response Waveform Analysis, Vectorscope and Histograms○ HDR inputs: ST2084 / PQ & Hybrid Log Gamma○ Wide Colour Gamut including ITU-R BT.2020○ CIE colour gamut chart○ Selectable Region of Interest○ 12-bit 4:4:4 SDI in Digital Levels & NITs scales, YCbCr, RGB and XYZ○ Up to quad 3G, dual 6G and 12G-SDI, 2SI & Square Division

True 4K/UHD Waveform Analysis from Omnitek12-bit true 4K/UHD solution for content creatives, colourists & post production editors

31 May - 3 June - SingaporeVisit Omnitek on Stand 5J3-03

www.omnitek.tv

ENENSYS Optimises DTT NetworksENENSYS WILL BE HIGHLIGHTING its DTT network optimisation and regionalisation solutions at BroadcastAsia2016 on the Magna Systems’ booth (C2-01).

Solutions on show will include:

• AdsEdge – ENENSYS’ AdsEdge addresses the problem of regional content insertion. 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 – within a single frequency network. AdsEdge is based on industry standard SCTE signalling enabling integration with existing systems.

• rEWS – Regional Early Warning System. This is a technologically elegant and cost-effective system for DVB-T2 SFN networks, avoiding the need for special receiver software by using a standard TV channel to deliver

the warning message. Alerts are triggered by signalling in the broadcast transport stream, T2Edge processors at transmitter sites replace all the video and audio services on all channels with the EWS alert service. This means all receivers will display the warning immediately. Alerts can be broadcast from selected transmitters only for regional coverage.

• OneBeam – ENENSYS’ OneBeam system provides the ability to use a standard satellite DTH network to also distribute services to DVB-T/T2 or ISDB-T transmitter sites. Before OneBeam, two separate satellite networks have been required to deliver services to DTH (DVB-S/S2) and DTT (DVB-T/T2) transmitters because of incompatible signal formats and signalling. OneBeam enables a single satellite feed to be used to deliver services to both platforms, enabling significant OPEX savings of satellite capacity costs.

Visit www.enensys.com

Cinegy’s First BroadcastAsia AppearanceIN ITS FIRST EVER APPEARANCE at Broadcast Asia, Cinegy (Stand 4G2-04), the developer of digital video processing, asset management, and playout software, will feature its new products, led by Cinegy Air PRO 11, the latest version of its real-time playout server and multi-channel broadcast automation software.

In addition to support for high frame rate Ultra HD formats (50/60p), Cinegy Air PRO Version 11 has integrated HEVC stream encoding with specific NVidia graphics cards, plus the ability to offload HEVC and H.264 stream encoding to the NVidia GPU.

Users can use commodity hardware to stream UHD; and because Version 11 includes a loudness limiter and Dolby E encoding and decoding, external devices or internal software used for compliance, decoding, or subtitling can be eliminated. It also supports Australia’s OP42/47 subtitling requirements.

Air PRO Version 11 also includes Cinegy’s in-built channel branding, which makes it easy to control multiple channels that air identical content but require regionalised commercials and branding.

Meanwhile, Cinegy Archive is a media asset management solution which takes advantage of the power of Cinegy Archive databases to drive new features for news production workflows, including improved newsroom management with newswire import services.

Cinegy media management software applications that run on top of Cinegy Archive include Cinegy Capture, Cinegy Desktop, Cinegy Convert, and Cinegy Air.

Cinegy will also detail two initiatives, “Cinegy as a Service” and “Cinegy Open Tools”. All of Cinegy’s software technology, starting with Cinegy Air, is being ported to run via cloud-based services such as Amazon Web Services (AWS), thereby enabling users to test drive Cinegy technology in an HD or 4K cloud.

Cinegy Open Tools is a free suite of tools and utilities such as high quality codec analysis and stream analyser tools for broadcasters making the move to IP, or with plans to make other common workflow and/or playout transitions.

Visit www.cinegy.com

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Imagine Communications Spotlights UHD, Virtualisation and Software-Defined Operations

[pic - Imagine Communications EPIC Multiviewer.jpg]

IMAGINE COMMUNICATIONS WILL PRESENT a range of solutions to demonstrate the benefits of moving operations to software-defined architectures and virtualised environments during Broadcast Asia 2016. Alongside virtualised and cloud playout, multiplatform distribution and integrated advertising management, Imagine Communications (Stand # 5B3 – 03, Level 5) will be showing key new solutions, including Ultra High Definition (UHD) production tools and an operational management platform.

The EPIC next-generation operational management and orchestration platform, unveiled by Imagine Communications at NAB Show 2016, is powered by the company’s Zenium technology and provides a seamless integration of IT and traditional broadcast operational monitoring and orchestration technologies. The first product to be built on the platform is the EPIC Multiviewer (EPIC MV), which is IP-based and compatible with UHD/4K formats.

“While many vendors are now scrambling to develop software-defined technologies, we identified the importance of this technology shift and started down a development path nearly three years ago,” said Joe Khodeir, senior vice president Asia Pacific at Imagine Communications. “We can deliver comprehensive, field-proven and highly scalable solutions for broadcast and multi-platform delivery which are flexible, take maximum advantage of standard IT hardware and virtualization, and are designed for hybrid environments that ease the transition to an all-IP world.

The ongoing fusion of the media and entertainment and IT industries will be a prominent topic at Broadcast Asia 2016. At the beginning of 2016, Imagine Communications expanded its alliance with Hewlett Packard Enterprise (HPE) and announced a comprehensive go-to-market strategy that blends HPE’s datacenter expertise with Imagine Communications’ unrivalled knowledge of broadcast technology to accelerate the transition to IP-based, virtualized facilities that are the future of the media and entertainment industry. The EPIC platform, and the new EPIC MV, are designed to run on HPE servers and other industry standard compute and networking platforms.

The software only version of the Versio family of integrated playout devices will also be demonstrated. This solution can be deployed on premises-

based equipment, private datacenters or in the public cloud.

Also featured at Broadcast Asia will be the latest in Imagine’s UHD technology, including high dynamic range (HDR), hybrid log gamma (HLR) and extended colour gamut video, allowing content creators, distributors and broadcasters to choose the solution that best suits their needs. Support for UHD is available across Imagine Communications’ production, playout, distribution and monitoring products and will be featured at Broadcast Asia in conjunction with its Selenio MCP and SelenioFlex Live solutions. The company’s ability to manage UHD signals using the Sony IP Live and IntoPIX TICO mezzanine compression formats will also be demonstrated at Broadcast Asia.

Imagine Communications is also a founding member of the Alliance for IP Media Solutions (AIMS), a broad alliance of vendors committed to the promotion of standards-based, open IP interconnectivity. The AIMS work is particularly important in moving towards the use of IP in live production and delivery.

In addition to content management and processing solutions, Imagine Communications will showcase a broad range of ad management systems, including the new xG Schedule. The cloud-ready xG Schedule provides comprehensive scheduling and planning for linear channels and OTT services. It will be shown at Broadcast Asia alongside the latest developments in advertising planning and sales, including cross-platform media sales in Landmark Sales, consolidating linear, OTT, VOD, Web and non-airtime campaigns into a single, unified deal and invoice, with unified revenue reporting.

Visit www.imaginecommunications.com

THE LINEAR ACOUSTIC SDI xNode is a bridge between SDI and Audio over IP (AoIP) systems. For the first time, TV facilities can take advantage of fully distributed I/O and Audio over IP for HD/SD-SDI signals, enabling flexibility in audio routing and distribution (BroadcastAsia Booths 5C4-01, GBS Alliance Booth, and the German Pavilion booth 5C7-06 with Minnetonka Audio).

One SDI xNode is capable of de-embedding multiple channels of audio from its dual SDI inputs, taking audio from standard-definition and HD SDI streams, and translating them to real-time Livewire+/AES67 audio streams — which can then be routed to an AERO.soft Processing Engine or to destinations throughout the plant. Livewire, the broadcast AoIP technology introduced by Telos in 2003, now powers more than 6,500 broadcast studios worldwide. Livewire+ is completely AES67-compliant, ensuring interoperation with the growing number of broadcast devices that support the AES67 standard.

The SDI xNode is both compact and powerful; two may be racked side-

by- side in just one RU. Each SDI xNode manages dual, independent HD/SD-SDI paths, and can de-embed, shuffle, and re-embed up to 16 channels of audio on each SDI path, while translating up to 16-channels of audio, bi-directionally, between the SDI and AoIP domains. Compensating video delay for each SDI input maintains audio/video synchronization. Each SDI xNode features a built-in, auto-sensing power supply suitable for use worldwide; an optional external redundant power supply is also available to ensure uptime.

The Linear Acoustic SDI xNode is part of the Telos Alliance xNode family, which includes Analog, AES/EBU, Microphone, GPIO and Mixed-Signal versions from sister brand Axia Audio. All xNodes are all equipped with dual-redundant Ethernet ports, and a redundant power plan including automatic failover.

Visit www.telosalliance.com/Linear

Linear Acoustic Bridges SDI to Audio Over IP

TEDIAL IS A PROVIDER OF SOFTWARE-BASED content and content management business solutions that maximise operational efficiency and profitability to broadcast and other media organisations.

Tedial will be demonstrating its solutions at Broadcast Asia 2016 on the Magna booth (5C2-01). These include:

Tedial Version Factory, a single efficient and cost-effective workflow which supports millions of file input-to-output configurations and can be managed from 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 proof “N-input to N-output” operations and provides the maximum flexibility and scalability for OTT/VOD platforms, network operations and media companies.

Evolution BPM – Recognizing the need for a media-centric truly scalable workflow engine, Tedial’s Evolution BPM is a flexible Business Process Management (BPMN 2.0 compliant) Workflow engine. Evolution BPM provides a solution for media companies that are struggling to manage an ever-growing number of workflows per day, hour or sec ond. Real world statistics prove Evolution BPM can process 50,000 workflows in only 2.9 minutes on an average sized platform.

Visit www.tedial.com

Workflow and Business Management from Tedial

Imagine Communications’ EPIC Multiviewer.

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Miller Camera Support Scores Bullseye with Arrow XMILLER CAMERA SUPPORT EQUIPMENT, the developer of camera support solutions, will be unveiling two new product ranges, the Arrow X Series and Combo Live Pedestal Series, to the Asian market at BroadcastAsia 2016 (Booth 5L6-05).

An evolution of the company’s Arrow Series, the new range of fluid heads will include the Arrow X 3, Arrow X 5 and Arrow X 7. A new key feature of the Arrow X Series is Miller’s 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. This new feature makes the Arrow X Series perfect 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 that provide the “right feel” that has become Miller’s trademark, 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 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.

Miller will also be showcasing the new Combo Live Pedestal Series at BroadcastAsia 2016, which offers users a sturdy design for maximum stability, with reliable and simple to use features, making it suitable for live studio applications. With a carry handle for the column and dolly, this compact and portable pedestal range offers an easy setup with column tension control and a safety lock. Its air adjustable column system also allows for quick payload balancing. The Combo Live Pedestal series features precise-smooth low noise in the shot column with a 450mm (17.7 inch) stroke, an independent dolly wheel axle brake system, multiple wheel positions for linear or radius dolly tracking, 125mm dual ball bearing wheels for quick swivel-turn action and a central hub locking column with adjustable spider arm supports.

Finally, the series was built with a steering wheel diameter of 294mm (11.6 inch) and 400mm (15.7 inch), a dolly tracking width of 964mm (38 inch), sturdy adjustable cable guards and a portable hand pump with pressure gauge. The pedestals will be available as a system paired with several of Miller’s fluid heads.

Visit www.millertripods.com

SNELL ADVANCED MEDIA WILL BE IN FORCE at BroadcastAsia2016 (stand 5D3-01) with a host of technologies that explore the company’s position in software/virtualization, solutions for monitoring and workflow, IP and 4K.

Software/Virtualization – SAM offers sophisticated software-driven platforms and going forward, it will transition further to a datacenter model for many additional product offerings. SAM’s CiaB solutions – ICE, ICE IP, and ICE SDC – coupled with Morpheus, Momentum and SAM’s xFile framework form a pathway to the future. In response to the growing market demand for adjusting content duration, SAM is demonstrating Alchemist Kronos, which brings Alchemist’s unmatched image quality to the application of duration adjustment within the software based xFile series.

Monitoring and Workflow – monitoring and workflow, IP and 4K. SAM’s Media Biometrics will be on show, bringing unique capabilities to monitoring. For the first time, automated monitoring can not only understand the quality of media, but that it’s the right media. It’s now shipping in products across SAM’s portfolio including the new Sirius 800 integrated multiviewer, enabling monitoring by exception and reducing cost of operations.

Enabling the IP Transition – SAM will be demonstrating its full range of IP solutions, highlighting how it can help customers make a risk-free transition to IP whilst still addressing their current business needs. SAM’s new IP-Edge

technology takes complexity away from hybrid and pure IP rollouts. Products that are IP-Edge enabled include routers, switchers, IQ processing, servers and playout systems, and customers can buy with confidence knowing that IP-Edge systems closely follow the interoperability goals of AIMS. One of the first products launched in the IP Edge family is the IQ Edge processing solution, developed to bridge the gap to IP environments by offering a range of image and audio processing capabilities in an integrated package.

4K Solutions – SAM’s new Kula switcher range will be shown in Asia for the first time during BroadcastAsia 2016. Kula has already created a huge amount of interest in the market as the most powerful production switcher in its class. It breaks new ground with its price point and performance combination. Easy installation and set-up means operators can work quickly and efficiently, focusing on high value creative tasks. It’s capable of 4K/1080p/HD and SD in 1M/E and 2M/E versions, and can handle multiple formats making it both future-proof and adaptable for today’s production environment.

SAM will also be demonstrating its LiveTouch sports highlights solution, built on the company’s latest generation of 4K production servers, offering replay, slow-motion and powerful editing with no media movements.

Visit www.s-a-m.com

SAM Tackles Monitoring, Workflow, IP and 4K

New name. Same reliable products.Stand 5B1-06 31 May - 3 Junewww.broadcast-asia.com

Domo Broadcast

+44 (0)1489 566 750 solent.broadcast@domotactical.com domotactical.com@DomoBroadcast

Formerly Cobham Broadcast

Come and see our technology in action

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NETIA AirPlayList 2.0 and Media Assist On ShowAT BROADCASTASIA 2016, NETIA will showcase its AirPlayList 2.0 module, integrated into the NETIA Media Assist software suite. The module streamlines the playout workflow to enable launch and maintenance of web radio services.

The AirPlayList 2.0 module provides targeted encoding of audio streams for CDNs such as Shoutcast and Icecast. In addition to enabling web radio playout, it also leverages datacasting functionality from the Media Assist AirPush module to deliver associated metadata, including information about streamed content.

Because the module is audio-over-IP-compliant, users can broadcast either from a traditional physical sound card or using IP-based virtual drivers. The new module’s web-based interface allows users to check the status of media and enables monitoring of playout on each channel. The integration of VST audio processing plugins gives users control over sound consistency and loudness.

The NETIA Media Assist software suite unites NETIA’s audio automation and video management products with a search engine to provide a multimedia asset management system with a full complement of production tools. The NETIA solution enables agencies to capture, record, monitor, index, and then search sensitive audio or video assets, and a new logging feature adds further

utility in applications requiring close review of recorded events.

Working with Media Assist, users can manage virtually any type of content, in any format. To enable use across an organisation, Media Assist provides both a rich-client platform and a web-based interface.

Media Assist is based on a service-oriented architecture that offers advantages over a client-server computing model. Key benefits include increased modularity, optimal scalability, and high availability through the improvement or addition of services, as well as third-party connectivity through web services, with a guaranteed high level of security.

The new on-demand media logging feature within Media Assist targets users who need a simple solution for simultaneous capture and review of numerous audio and video feeds. This feature makes it possible to perform high-volume real-time recording and monitoring locally through the rich-client platform or from anywhere via the software’s web-based interface. Because it is fully IP-based, this feature requires no additional infrastructure or hardware.

Visit www.netia.com

AS ONE OF THE MOST MODERN tri-medial complexes in the entire South-East Asian region, the MediaCorp broadcasting centre is a landmark project to everyone involved. At this year’s BroadcastAsia, Qvest Media brings together many of these companies to speak about their engagement in the MediaCorp project.

When MediaCorp appointed Qvest Media as consultant and master systems integrator to implement its new broadcasting centre Mediapolis – One North, Qvest Media and the project partners faced the challenge and supported the broadcaster with an entirely new technical design.

At this year’s BroadcastAsia, Qvest Media will bring together these partners on one live stage. Aspera, Avid, Dalet, Skyline Communications and Vizrt will show their part of the project and latest technology trends on the ‘Qvest Media Live Stage’.

Aspera will be talking about Aspera orchestrator used for the workflow automation across the entire system’s infrastructure. Dalet will discuss enterprise Media Asset Management (MAM) installations and the challenges and opportunities when implementing these. The automated orchestration for large scale cross-department broadcast post production workflows will be presented by Avid. The graphics specialist Vizrt will demonstrate how Viz Mosart can optimise production efficiency and quality. The compact production system, Viz Opus, will be presented as well as the new Viz Story. Viz Story allows broadcasters to publish content to social media in multiple formats with a streamlined workflow and simple user interface.

From Skyline Communications visitors can learn how to run operations more efficiently using the multi-vendor solution, DataMiner. make.tv will bring the full potential of user-generated content to the audience using a cloud-based production platform.

The presentation will include a demonstration on how producers can acquire, arrange and manage live videos from smartphones, tablets and professional cameras and transfer the content to enterprise production environments such as newsrooms.

Besides handling stage moderation, Qvest Media will present their role as consultant and master systems integrator during the MediaCorp project. The systems architect will give insights to current industry topics like global support services, OTT and the future of media enterprises.

Visit Qvest Media at BroadcastAsia, from May the 31st to June the 3rd, 2016, at stand 5L4-01.

Visit www.qvestmedia.com

Qvest Presents the Future of Media Enterprises

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

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

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

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

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

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

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

The expanded offering now includes:

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

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

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

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

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

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

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

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

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

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

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

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

Visit www.sony.com/iplive

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

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

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

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

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

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

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1Setting the standard in live video solutions

10-Year AnniversarySee us at BroadcastAsia2016, Stand 5H2-04

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

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

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

Visit www.panasonic.com

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

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

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

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

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

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

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

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

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

NDI Connect Pro Highlights:

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

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

• Support for Key + Fill pairing on input and output

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

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

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

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

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Ultra-Small Camera-Back Transmitter from Domo BroadcastDTC, DOMO BROADCAST (formally Cobham TCS) will introduce the SOLO7-OBTx, a modular, feature packed camera-back transmitter, to the Asia Pacific market at Broadcast Asia 2016 (Stand 5B1-06).

The SOLO7-OBTx is a new, ultra-small camera-back transmitter that features 1080p60 and 4:2:2 with integrated camera control. It includes swappable RF modules (340MHz – 8.6GHz) and H.264/MPEG-4 AVC video encoding. The transmitter’s latency can reach an ultra-low 10ms. Moreover, the unit’s low power consumption provides plenty of scope for extended field performance.

Also being featured at Broadcast Asia is the SOLO8 SDR (“software-defined radio”), a dual-input HD-SDI COFDM and IP mesh transmitter that includes integral video analytics, recording, and IP streaming. Because IP Mesh is

self-forming, and self-healing, it constantly readjusts to find the best route to send high quality data between nodes in environments typically too difficult for other RF solutions.

The transmitter includes 128Gb of internal video storage; USB and Ethernet I/O interfaces; an integrated ISM band telemetry modem; and an integral, battery backed, real time clock for time and date stamp.

The underlying platform of the SOLO8 SDR is the cornerstone of Domo’s next generation of wireless broadcast products. Its ultra-small form factor, coupled with an ability to change functionality almost instantly to suit a variety of requirements, significantly reduces the amount of equipment needed to be carried into the field.

Visit www.domotactical.com

Shotoku Free-d2 Tracking SystemORIGINALLY DEVELOPED by engineers at BBC Research and Development, Shotoku Broadcast Systems’ Free-d2 tracking system does not require physical encoder devices attached to the camera support’s moving axes.

Aimed at VR/AR news, sports and current affairs live studio productions, the Free-d2 system uses video processing algorithms and simple ceiling markers to determine the exact position and orientation of the studio camera. No concept of a home or reference point exists for Free-d2 – wherever the camera is positioned is immediately known. The tracking data never drifts regardless of the number of moves or hours of operation.

The system’s small Free-d2 camera is attached to the broadcast camera in such a way that it does not interfere with normal operations, and constantly views the lighting grid area where markers are positioned. Being attached directly means that any type of camera support can be used, including Steadicam or even handhelds.

The low-cost markers are made of simple reflective material and can be placed anywhere within the studio lighting grid or ceiling area. Once an initial studio map is created, the system will typically never require calibration again. In use, the Free-d2 camera only needs to see a small number of markers to calculate the position of the camera.

Visit www.shotoku.tv

Sony Brings 4K Within ReachAT BCA 2016, Sony will highlight its most advanced technologies and solutions for multiple applications in broadcast and production industries such as HD/4K/HDR cinematography Production, News Production, Studio, and Live Sports Production, including IP transmission, and Archive Digitization.

Visitors to booth 5B4-01 at Level 5, Marina Bay Sands, Singapore, during BCA2016 will experience Sony’s latest professional A/V system products and workflow for HD and 4K content production at all levels, ranging from camcorders, system cameras, vision switchers, storage recorders and display monitors that target at multiple market segments including education, corporate, house of worship and high-end sports.

Visit https://pro.sony-asia.com

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

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

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

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

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

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

Visit www.bird-dog.tv

• 8-channel audio, with per-channel level control and headphone monitoring• Integration between hundreds of software solutions, including those from

NewTek, VizRT, Chyron, BrainStorm, Broadcast Pix, and hundreds more• High-quality still image grab from any source, with motion adaptive

deinterlacing• NDI Connect Webserver for remote viewing of NDI sources from the web

browser of any networked device, including iOS and Android devices• Fully configurable color correction settings, including white balance, proc

amp controls and automatic color correction• Integrated Waveform and Vectorscope for real-time signal monitoring and

adjustment• Full field-rate multi-view monitoring, with supplemental NDI program

return monitor, selectable layouts, support for dual-monitor workspaces, and configurable graticule overlays, including VU meters, title safe, 4:3 safe, alpha channel checkerboard and center cross

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

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

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

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

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

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

Visit http://pro.jvc.com

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Encompass Expands Sports Acquisition with Dejero and Ideal SystemsTHE IDEAL GROUP HAS ANNOUNCED that Encompass Digital Media has selected Dejero LIVE+ EnGo compact mobile transmitters to expand its services offering for the acquisition of live sports in the Asia region. The LIVE+ EnGo units can be attached to ENG and Sports Cameras in the field and encodes live video into H.264 then transmits over multiple IP networks including 3G and 4G mobile networks to the to the Dejero Live+ Control cloud server. From here the live signal can be routed to an Encompass facility and uplinked through their comprehensive satellite and fibre networks to the required destination and or to a CDN for OTT distribution.

The cloud based Dejero LIVE+ Control also provides Encompass operators with a digital dashboard to view and manage all of the EnGo transmitters in the field. With a map based Geolocator Encompass can see where all the units are in real time and have full remote control of the units in the field allowing Encompass technicians to adjust settings and troubleshoot issues so the camera crew can focus on capturing the best content. The dashboard also provides a customisable grid of low latency video thumbnails from the units for confidence monitoring as well as a variety of analytics including data rates important when using data over bonded cellular phone networks.

Deepakjit Singh, Chief Innovation Officer for Encompass, said, “We did some rigorous product testing before moving forward with Dejero. We had used bonded solutions from other manufacturers in the past with mixed results so we wanted to be sure we were making the right decision.Testing in Singapore

would not have yielded useful results due to the nearly ubiquitous 4G coverage here, so we decided to test the product in India with live cricket in tier-2 and tier-3 cities. This was a really tough task for the Dejero units as we tested at multiple locations using numerous cell operators and the extended duration of the matches added to the complexity. In multiple tests at various cricket grounds across India we received full HD signal back to the Dejero Broadcast Server at our Playout facility in Singapore.”

Fintan Mc Kiernan, CEO at Ideal Systems S.E.A. stated, “We are delighted with the results of the field trials at the cricket in India and were confident that we would be successful as we have a number of customers successfully using Dejero across Asia already for both Sports and News. It’s also a great example of Ideal’s pan Asia reach being a great fit for pan Asia media companies as we were able to support the Live+ EnGo transmitter field trails in India with engineers for our various offices in India.”

Visit www.idealsys.com and www.dejero.com

Photo L to R: Aaron Shaw GM, Singapore Operations at Encompass; Fintan Mc Kiernan, CEO, Ideal Systems (S.E.A.); Deepakjit Chatrath, Chief Innovation Officer, Encompass Global

Gearhouse Broadcast Serves Australian Tennis Open with Clear-Com

THE 2016 AUSTRALIAN OPEN Tennis tournament saw more than 720,000 visitors take in the iconic Grand Slam from January 18 to 31 in Melbourne, with local host broadcaster the Seven Network sending the major matches live Australia-wide. International broadcasters including ESPN, beIN Sports, SuperSport, Eurosport, CCTV, NHK and Sky transmitted the action to hundreds of millions more.

Backing up all the broadcasters with the infrastructure they needed to cover the international sporting event was Gearhouse Broadcast Australia, whose relatively new Event Communications division was on-site and using Clear-Com’s FreeSpeak II full-duplex wireless communications system, supplied by local distributors, Jands.

“We used three FreeSpeak II systems for three broadcasters including EPSN,” explained Jason Owen, Manager of Event Communications at Gearhouse. “The main driver behind choosing FreeSpeak II was the limitations we face with regards to spectrum. Whilst we work very closely with [Government regulator] ACMA for our broadcast and event communications licensing, there are undoubtedly situations where there is simply not enough usable spectrum available to deliver what our clients need. Systems like FreeSpeak II, which operate in the DECT class-licensed band, give us more flexibility. It’s a tool for us to use to save traditional LMR spectrum. It offers higher quality audio than a two-way radio, and because it’s a multi-channel device, it means users that users that currently wear two radios and two headsets can wear just one FreeSpeak II beltpack instead.”

The Australian Open is a long-term client of Gearhouse Broadcast, whose

footprint at the Tennis Centre had been expanding gradually over the years. Gearhouse’s Event Communications division, which started in mid-2015, represents a significant part of the increase in their responsibilities. “We’ve invested in Clear-Com because of our growth,” elaborated Jason. “We have been contracted as the comms provider for broadcast productions such as ‘Survivor’, ‘The Bachelor’, and ‘I’m a Celebrity … Get Me Out of Here!’, as well as live productions like the Victorian and New South Wales Schools Spectaculars.”

The Australian Open sees Gearhouse building and kitting out several small studio spaces for guest broadcasters.

“They rent their own studio space, which we facilitate in terms of broadcast equipment,” Jason continued. “They have all the normal staff a broadcast studio would have, but they’re all on wireless comms. It forms an essential part of their workflow. So, instead of wasting a two-way radio on such a small environment, we can use FreeSpeak II and free up UHF channels.”

Jason and the Gearhouse team ran 26 FreeSpeak II 1.9GHz beltpacks and three FreeSpeak II-Base basestations in the globally license-free 1.897 to 1.933GHz range through the course of the two-week competition.

“The FreeSpeak II systems worked flawlessly,” Jason reported. “We put FreeSpeak II into shows that other product can’t handle, and we plan to deploy double the amount of units on The Australian Open next year.”

Visit www.clearcom.com

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Augmented Reality Graphics for Sports Broadcasting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit www.ericsson.com/broadcastandmedia

Sports Venue IPTV from VitecVITEC USED THE RECENT NAB SHOW to demonstrate its IPTV sports venue solution with digital signage capabilities. The streaming technology allows stadiums and arenas to stream high quality, live on-demand or recorded video over IP. With its integrated EZ TV platform, it optimises displays and IP infrastructures, boosts fan engagement and generates revenue opportunities. The IPTV sports venue solution features low latency across all displays, synchronised playback, efficient scalability, and web-based admin capabilities.

Vitec also highlighted its MGW Ace appliance, a completely hardware-

based HEVC (H.265) portable device for encoding and streaming video. It features HEVC bandwidth-efficient compression, legacy H.264 capabilities, and Zixi stream protection.

The company also showed MGW Pico Tough, a MIL-STD certified MPEG-4 H.264 HD/SD video encoder that encodes and streams real-time video with frame-accurate metadata from any video source. Its fan-less, pocket-size enclosure can be used on unmanned and manned vehicles, in fly-packs and on-person in extreme conditions.

Visit www.vitec.com

Wuxi TV China Selects SAM Switching for HD OB VanSAM HAS ANNOUNCED THAT WUXI TV, a leading Chinese broadcaster based in Jiangsu Province, has purchased the Kahuna 4800, KudosPro and IQ Modular from SAM for its new HD OB van that went live earlier this year. Wuxi TV serves the southeast region of China and with its new Kahuna in place, the broadcaster is now generating high-quality, HD programming to millions of viewers across the region. The deal, which builds upon SAM’s existing relationship with Wuxi TV, also included the purchase of the KudosPro image processing platform.

Mr Zhenzhao Liu, Director of Sales of the Shanghai Branch at Century Sage Scientific System said that power, functionality, and familiarity were the key reasons in choosing the Kahuna.

“We recommended Kahuna 4800, KudosPro and IQ Modular to our end user, Wuxi TV, to outfit its OB truck earlier this year. Wuxi TV had purchased Kahuna previously and were immediately impressed with its power and functionality,” he said. “Kahuna is easy to use, expandable for the end user’s future needs, and excellent value for money. Since we were already familiar

with it and knew it was reliable, it was the most logical choice for their new HD OB van.”

The Kahuna 4800 is a compact production switcher that offers 2 to 4 M/Es and a feature set including 2.5 DVE and up to 24 key layers on a fully populated system. SAM’s FormatFusion technology means it can handle simultaneous multi-format productions in SD, HD, 1080p, 4K, and IP. With KudosPro, Wuxi TV gets cost-effective single, dual and quad channel integrated audio and video processing as well as format and framerate conversion all in a 1RU box. The OB van is also equipped with SAM’s comprehensive IQ Modular infrastructure.

Stephen Wong, SVP of Sales, Asia Pacific, at SAM commented, “The Kahuna 4800 is a robust and powerful production switcher that comes in at a low price point. This makes it perfect for smaller or regional broadcasters like Wuxi TV who still want to produce high calibre productions without exceeding their budget.”

Visit www.s-a-m.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

XXXI Olympiad.

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

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

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

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

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

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

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

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

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

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Autocue Delivers Teleprompting for Apple iPadAUTOCUE HAS ANNOUNCED a complete range of prompting solutions for the Apple iPad Pro including options for the 9.7” and the 12.9” versions. The existing Starter Series iPad Teleprompter is suited for the 9.7” iPad Pro while the latest advance to the popular Starter Series is designed specifically for Apple’s 12.9” version.

The Autocue iPad Pro Prompter is a professional hardware solution which transforms the 12.9” Pro tablet into one of the industry’s first through-the- lens mobile prompting solutions with readability up to 15 feet. Additionally, the Autocue iPad Pro 12.9” Teleprompter allows the user to control the speed and direction of the prompter using an optional wired control as well as your iPhone or iTouch device.

This prompting solution also includes both Mac and PC QStart software so the iPad Pro 12.9” Teleprompter can be used in a traditional teleprompter workflow. For example, extending the desktop to the iPad allows the option to have a dedicated teleprompter operator, enables quick editing and provides an even wider selection of teleprompter controllers.

The iPad Pro 12.9” Prompter offers support for full-sized ENG broadcast and digital cinema cameras with lenses up to a 4.2 mm focal length diameters of up to Ø300 mm. Designed with fully adjustable and collapsible architecture, this unit can be transported along with a mobile production quickly and easily. The optional carry case and controller accessories round out the workflow.Visit www.autocue.com

MOBILE TECHNOLOGY IS FAST CHANGING the face of broadcasting. With people increasingly expecting content wherever and whenever, the pressure is on broadcasters to find an efficient way to deliver content to viewers without delays and buffering. One way to overcome the bane of network congestion is the use of 4G.

Formosa TV combined the Sony PWS-100RX1 Network RX Station with its existing fleet of PXW-X500 and X200 XDCAM camcorders to enhance its news workflow during the recent Taiwan general elections.

Formosa TV (FTV) was the first private terrestrial station in Taiwan and also the first to move from Analogue to Digital TV in 2004. It has always embraced new technology. Recognising the need of its viewers, it became Taiwan’s first station to use 4G/wireless transmission in its production workflow to deliver up-to-the-minute results of the country’s January 2016 general elections.

With a population of 23 million people, Taiwan is ranked as the seventh most advanced country in digital technology, and has the highest 4G monthly data transmissions in the world.

Thanks to Taiwan’s excellent 4G infrastructure, FTV was able to deliver almost instant coverage of the elections results. And as any newsman will tell you, powerful content and speed in delivery make a potent combination. Needless to say, Formosa TV scored exceptionally well in the coverage of the landmark elections, recording the highest viewership numbers.

Accoridng to Bryan Lee, News Department, News Gathering Centre, Formosa Television, “Formosa Television is delighted to be Taiwan’s first TV station to use 4G/wireless transmission in its workflow. I am sure other channels will be adopting this application very soon.”

To increase the speed of its news feeds, FTV deployed two units of Sony’s PWS-100RX1 Network Station for XDCAM.

The PWS-100RX1 offers high-quality live streaming from XDCAM camcorders on a single 4G/LTE cellular channel or Wi-Fi network. It also uses Sony’s QoS (quality of service) technology or MPEG2-TS to maintain video and audio integrity during transmission. Each unit can receive up to 30 live streams simultaneously and output up to two through SDI.

“The PWS-100RX1 provides a very simple way of 4G network transmission. It improves a lot of our news workflow. As long as a camcorder is at field, we could receive live images or files anytime. And most important of all, we did not have to invest in additional SNG vans or 4G backpacks. If we had used our usual six SNG vans and six 4G backpacks, we could achieve only 12 live signals. With the PWS-100RX1, we achieved over 60 live signals, reaching places other stations could not. The PWS-100RX1 makes a big difference,” explains Bryan.

FTV teamed up the PWS-100RX1 with its existing fleet of PXW-X500 and X200 camcorders.

According to Bryan, “When combined with the X500 and X200 camcorders, our crew did not need any extra adaptors for the PWS-100RX1. This translates into a cost-effective way to stream video content.”

To ensure a seamless workflow for the general elections, FTV worked closely with Sony Taiwan to train the cameramen and journalists on how to set up the network function on the camcorders, content browser mobile and mobile phone.

“The PWS-100RX1 has really improved our workflow,” adds Bryan. “Cameramen can use the 4G dongle or mobile phone wireless sharing function to transfer the streaming video back to the station with the X500 and X200. The GUI of the PWS- 100RX1 is controlled at sub-control rooms, where our producers have full control to decide which streaming video is going to use for the live news feed.”

Besides the PWS-100RX1 and XDCAM camcorders, Formosa TV also has an extensive suite of other Sony products like the HDC-1700/1400R and HXC-100 series as well as the MVS-6000 and 8000G Multi-format switchers, which are used both in the studio as well as OB vans.

“We put the PWS-100RX1 through intensive trials but the real test of its capabilities was in the general elections,” says Bryan. “The PWS-100RX1 was extremely stable and proved to be a very cost-effective way to improve workflow. The PWS-100RX1 has transformed our workflow process, and we are now using it in our daily news feeds.”

Visit https://pro.sony-asia.com

Formosa TV Scores with Taiwan’s First 4G/Wireless Workflow

One of Formosa TV’s 4G-equipped XDCAM camcorders

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THE MOST ADVANCEDVIRTUAL SET SOLUTION

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3DPresenter

HandsTracking

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CHYRONHEGO HAS INTRODUCED the CAMIO Universe, a comprehensive

software-based newsroom production ecosystem designed to empower

producers and journalists to create compelling news stories and deliver

them rapidly to air. The CAMIO Universe is driven by CAMIO 4.3, a significant

new release of ChyronHego’s CAMIO graphic management server.

With release 4.3, CAMIO not only controls ChyronHego’s Lyric graphics

creation environment but also offers powerful template-based tools within

a significantly expanded production ecosystem, including the company’s

Hybrid virtual graphics solution, the Metacast weather graphics solution,

the PowerClips multiformat production clip server, and GS2 Multi-Touch

touchscreen-generation platform, as well as the VidiGo Live Compositor

video switching solution.

CAMIO’s LUCI user interface gives producers, journalists, and video editors

instant desktop access to all of these tools. Users can generate news and

weather graphics for live playout or editing using nonlinear editors (NLEs),

control compelling and visually stunning broadcast touchscreens, set up

camera shots and control robotic cameras, and even generate replaceable

virtual graphics to accompany the station’s virtual studio design. The entire

ecosystem is automated by the VidiGo automation and multicamera TV

production solution.

"Many of our broadcast customers are migrating away from proprietary

hardware-based workflows and towards all-IT software-based production

environments, and the resultant efficiencies and cost savings mean they

can focus more on storytelling." said Johan Apel, president and CEO,

ChyronHego. "With the CAMIO Universe, we've placed content creation at

the heart of a comprehensive and integrated software suite that producers

can use to address every aspect of news production. News organizations are

able to invest in storytelling by making content generation quick and easy,

and they can preserve their capital budgets by moving to an OPEX business

model that enables them to run more efficiently and cost-effectively."

As the engine for the CAMIO Universe, CAMIO 4.3 manages and distributes

all content and assets and interfaces with any MOS-compliant newsroom

computer system — all in a single cost-effective server. Sharing of both

ground- and cloud-based content enables unprecedented collaboration

between users at one or several locations, as well as with field producers

and editors who are able to access cloud-based content storage anytime and

from anywhere through lightweight remote client software.

With LUCI’s simple and clear workflow connecting the newsroom, the art

department, and the control room, users can focus on writing the news and

breaking it first. Enhancing the story with virtual studio elements is no more

difficult than generating a simple “lower third.” Through Axis World Graphics,

the cloud-facing part of the CAMIO Universe, users can access third-party

image libraries, create and access still or animated maps, and create data-

driven financial quotes. In addition, they can easily bind graphics to data

feeds, supplied through ChyronHego’s NewsTicker solution, for stories such

as election and sports results.

CAMIO’s new image compositor tool gives producers a simple but powerful

content editing capability with seamless access to cloud- and ground-

based assets. The CAMIO Universe further ties in the art department though

a seamlessly integrated order management component that enables

producers to order content without leaving their familiar production

environment. Producers can work continuously while orders are delivered in

the background, and the LUCI user interface provides notifications and status

indicators that help them stay on top of their shows from a single screen.

Visit www.chyronhego.com

Newsroom Production Ecosystem from ChyronHego

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Aviwest Cloud-based Hybrid Video Contribution and DistributionAT BROADCASTASIA 2016, Aviwest (booth 4B4-07) will demonstrate the latest enhancements to its Digital Mobile News Gathering (DMNG) system, with a focus on hybrid video contribution and distribution via the cloud.

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.

Offering seamless integration into existing workflows and headends, extremely low power consumption, high reliability, and unparalleled mobility, the DMNG system offers broadcasters a fully integrated and cloud-based solution for breaking news and live events coverage.

Among key product updates are availability of Aviwest’s DMNG Laptop. The DMNG Laptop is a newsgathering tool that 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 wide 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, providing support for a variety of broadcast applications, including live streaming, file transfer via various networks, and storage. By detecting and bonding together multiple IP network interfaces (e.g. 4G, 3G, Wi-Fi, ethernet, satellite), the DMNG Laptop enables broadcasters to take advantage of every IP network in their immediate area as they become available.

Aviwest will also showcase two evolutions of its DMNG Manager: video grid and statistics capabilities. Aviwest’s DMNG Manager is an innovative application that enables broadcasters and video professionals to monitor and manage an entire fleet of DMNG equipment.

The DMNG Manager provides broadcasters with a video thumbnail of each feed coming from the field units or from any standard IP video sources. 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, with simple drag and drop.

Additionally, a new statistics feature for the DMNG Manager supplies broadcasters with information such as SIM card consumption and bandwidth statistics.

At BroadcastAsia 2016, Aviwest will also demonstrate new features for its DMNG StreamHub receiver, decoder, and distribution platform, including a

playback functionality and dynamic latency designed to improve the quality of live video. 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.

Multiple input and output streaming protocols (e.g., RTMP, RTSP/RTP, HLS, TS/IP, Aviwest SafeStreams) are supported on the DMNG StreamHub, allowing video content to be freely distributed over any IP network. Up to 16 IP outputs can be used to enable re-streaming of video content over LAN or WAN to CDNs, media servers, streaming platforms, IRDs, and interconnect with other DMNG StreamHubs.

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.

Aviwest will also demonstrate v2.6 of its DMNG PRO video uplink system at BroadcastAsia 2016. The software upgrade provides broadcasters with a range of benefits, including the ability to deliver higher bit-rate, lower latency, webcast-resolution video. A new ‘Gateway’ mode will also be introduced to the DMNG PRO system, allowing operators to use the unit as a high-speed Internet access point by aggregating together cellular connections.

The DMNG PRO series is designed for newsgathering applications. Using the pocket-sized systems, broadcasters can stream live HD video down to the receiver with minimal delay. The DMNG PRO systems include multiple cellular connections, a built-in Wi-Fi modem, and H.264 video encoders.

Visit www.aviwest.com

TEN YEARS AGO, LIVEU caused industry disruption by helping to usher in the IP revolution in broadcasting with cellular bonding. Since then, the adoption of IP-based workflows in broadcasting has grown tremendously with LiveU remaining at the forefront of this tech evolution. With new, innovative hardware and software solutions, strategic partnerships, and advances in 4K, LiveU is transforming the way broadcasters and online video content creators produce, integrate, and share high-quality streaming content.

At BroadcastAsia2016 (Stand 5H2-04), LiveU will present its full range of live video acquisition, management and distribution solutions over IP and latest additions to its portfolio.

LiveU will showcase its next-generation LU710 4K/p60 rack-mountable 1U encoder. Combined with the Xtender transmission device (LiveU’s external antenna with six modems, delivering video rates of up to 40 Mbps) 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. The LU710 is fully integrated in the LiveU ecosystem via the LiveU Central browser-based management platform.

BroadcastAsia2016 will also see the APAC debut of LiveU Solo, a new plug-and-play live streaming bonded solution for the online media market.

LiveU Solo allows users to live-stream seamlessly into any web streaming workflow by connecting automatically to popular content delivery networks such as Facebook, YouTube Live and Wowza Streaming Cloud. Solo is simple to manage and control remotely via a web interface or smart device.

Also on show will be:

• LiveU’s LU500 portable transmission unit. Weighing around 1 kg (2.2 lbs), LiveU’s LU500 offers a combination of high performance and portability;

• The LU200 ultra-small portable transmission unit and LU200e, a most cost-effective video encoder, enabling streaming for web distribution, point to point, and point to multi-point;

• LiveU Central, a cloud-based management and video distribution system, enabling fleets of units to be centrally controlled using geo-location capabilities;

• LiveU’s new, enhanced version of MultiPoint, internal and cross-organizational professional video distribution service, enabling the sharing of high-quality live video between multiple broadcast facilities over the public Internet; and

• LU-Smart mobile app, bringing bonded transmission to mobile phones and tablets.

Visit www.liveu.tv

LiveU the Big News in Streaming at BroadcastAsia

LiveU's LU710 4K Encoder.

Aviwest’s DMNG Laptop.

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Find out more at: www.emergingtechsolutions.com/media-entertainment

THE STOR AGE CHRONICLE S

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

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

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

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

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

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

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

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

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

Visit http://www.avid.com

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

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

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

Visit www.newtek.com

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

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

KONA IP Features:

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

• HDMI output for local monitoring.

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

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

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

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

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

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

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

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

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

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

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

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

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

Visit www.grassvalley.com and www.tripwire.com

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Korean Broadcasters Comply with MediaproxyMEDIAPROXY PTY. LTD., the developer of solutions for broadcast compliance logging, content monitoring and transport stream analysis, has announced that KT Sky TV South Korea has chosen the company’s LogServer as its main platform for regulatory loudness compliance. KT Sky TV takes advantage of the 2RU multi-channel HD-SDI platform to cover their initial requirement for 16 channels in a single unit.

KT SKYLIFE is a digital satellite TV servicing company that covers the entire Korean peninsula, servicing a variety of channels including one UHD (4K) service (SkyUHD). It is mainly owned by KT, the biggest telecommunications company in Korea.

Simon Choi, Technical Director at Mediaproxy’s local partner BS Solutions, states, “The operators at KT SKY TV feel confident with the features and respective quality provided by LogServer. Having all user interfaces fully localised in Korean offers operators a very intuitive and easy to use workflow. Mediaproxy’s reliable solutions have become the industry standard for compliance. LogServer is a trusted platform that provides our customers with unprecedented versatility across various broadcast applications.”

The LogServer platform provides continuous HD multi-channel recording and

live monitoring of video, audio and real-time data sources from baseband and IP sources. Mediaproxy’s Monwall multi-viewer allows for extensive data monitoring options including comprehensive Loudness analysis.

Meanwhile, the LogServer platform has also been chosen by Korea’s SBS for regulatory loudness compliance of live broadcast transmission at its Seoul based facility.

The system will be installed and supported by Mediaproxy’s local partner, BS Solutions. Seoul Broadcasting System (SBS) is a national South Korean television and radio network. It is the only private commercial broadcaster with a wide regional network of affiliates to operate in the country. It has provided terrestrial digital TV service in the ATSC format since 2001, and T-DMB (Digital Multimedia Broadcasting) service since 2005. Its flagship terrestrial television station is Channel 6 for digital and cable.

Mediaproxyy CEO, Erik Otto, CEO, said, “Like our customers, we continue to strive for engineering excellence to provide the most advanced systems possible. We are very proud to be chosen by SBS Korea and look forward to working with their engineering team.”

Visit www.mediaproxy.com

Software-Defined Broadcast by Deluxe at BCA2016AT BROADCASTASIA, Deluxe Entertainment Services Group, Inc. (Deluxe) is showcasing Deluxe MediaCloud, the industry’s first commercially deployed software-defined broadcast platform. At April’s NAB show in Las Vegas, Deluxe announced that SBS in Australia used MediaCloud to deploy three channels, and at Broadcast Asia, Deluxe will share developments on initiatives that expand the company’s ability to provide in-region media and broadcast services in Asia, new deployments of Deluxe MediaCloud in the region, and the latest innovations and developments in MediaCloud’s capabilities.

Deluxe MediaCloud provides media asset management, orchestration,

multi-channel playout and delivery through its transformative IP delivery and software-defined broadcast platform. With proven deployments, MediaCloud redefines how linear channels are launched and non-linear content is delivered around the world. In contrast to the complex, expensive and inflexible traditional infrastructures, the Deluxe MediaCloud platform is a revolutionary, software defined solution that eliminates the need for large capital investment and refresh, considerably reduces operating cost, and future-proofs the broadcast supply chain – all of which drives flexibility and control back to the broadcaster.

Visit www.bydeluxe.com

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DURING THE RECENT NAB SHOW, EMC Corporation announced new media workflow enhancements for content creators, television and sports broadcasters and content delivery providers.

EMC and its ecosystem of collaborators enable customers with options to help achieve success in a fast-changing environment. 4K production formats, leveraging IP and cloud technologies, deploying on-demand video services, and collaborative editing are all driving the demand for storage capacity, simplicity, bandwidth, and faster file access. Recognising these shifts, EMC announced the following at NAB 2016:

• Advances in uncompressed 4K workflows with Pixspan, Aspera and NVIDIA – EMC, Pixspan, Aspera and NVIDIA are bringing uncompressed 4K workflows to IT infrastructures, advancing digital media workflows with full resolution content over standard 10GbE networks. Artists and facilities using creative applications for compositing, visual effects, and DI can now work faster than ever before with camera raw, DPX, EXR, TIFF and Cineon files. Content can be stored on EMC’s Isilon scale-out NAS for shared collaborative access to project data in the data centre, around the world, or to the cloud.

• Channel playout with Imagine Communications – EMC and Imagine

Communications bring live channel playout with the Versio solution in an

offering with EMC’s converged VCE Vblock system, and EMC’s Isilon NAS

storage.

• Remote and collaborative editing with MXFserver – Utilising MXFserver

software and EMC’s Isilon scale-out NAS to deliver storage as well as a

platform for editing applications, creative professionals can edit in high-

resolution from remote locations while media resides in a central site.

• Cloud-based multi-platform content delivery with Anevia – Anevia and

EMC enable telco and media organisations to offer a CloudDVR service to

access and view recorded content on any device. This allows organisations

to scale up to petabytes of content and millions of users. The NAB demo

also exhibited Anevia’s ViaMotion Plus software delivering live content to a

tablet using EMC Isilon scale-out NAS.

Visit www.emc.com

Telestream Live Streaming, Transcoding and AutomationTELESTREAM WILL USE BROADCAST ASIA 2016 to provide APAC regional

debuts for new functionality within its enterprise-class software products.

Forming the centrepiece of its technology showcase, Telestream’s Vantage

media processing platform is a foundation for a range of enterprise-class

transcoding and workflow automation software products. These allow

content owners, producers, and distributors to efficiently ingest, edit,

transform, package, monetise and distribute media.

Exhibiting at Broadcast Asia together with its Singapore channel partner,

Techtel, Telestream will showcase Lightspeed Live Stream, and Lightspeed

Live Capture, two new applications that deliver real-time, enterprise-

class streaming and capture. Lightspeed Live Stream solves the problem

of preparing real time content for adaptive bitrate live streaming while

Lightspeed Live Capture can independently record multiple channels of SD,

HD, or a single channel of UHD.

Telestream developed Lightspeed Live Stream in response to increased

demand among news, sports, and special event broadcasters to

simultaneously push live programs OTT. Lightspeed Live Stream encodes a

live program at highest quality and simultaneously streams the output via an

origin server or CDN.

The Lightspeed Live Capture application can also be installed on the same

server to simultaneously capture the source video into Vantage for further

processing. Until now, file-based and siloed systems demanded a more serial

workflow. By closely integrating the latest parallel file-based open workflows

in Telestream’s Vantage platform together with the combined CPU/GPU

power of the Lightspeed Live server and applications, the fastest possible

delivery of all assets is realised.

Another addition to the Vantage platform taking its APAC regional bow at

Broadcast Asia is an Adaptive Bitrate (ABR) Optimisation feature that can

significantly reduce delivery bandwidth needs and costs within multiscreen

distribution applications. This advanced feature can achieve real-world

bandwidth reductions of 25-40 per cent.

Another APAC debut from Telestream at Broadcast Asia is Timed Text Flip

within Vantage: a new closed caption and subtitling service that meets

even the strictest internet and TV broadcast mandates for captioning and

subtitling delivery. Advanced automation capabilities enable content to be

processed faster before being integrated into existing Vantage workflows. An

integral part of the Vantage Media Processing Platform, Timed Text Flip can

provide captioning and subtitling capabilities in the cloud with Telestream

Cloud.

Visit www.telestream.net

SGL Takes FlashNet to Infinity – and BeyondSGL’S FLASHNET CONTENT MANAGEMENT solution is designed to integrate with MAM or automation control systems to provide improvements to workflow without intruding on the user's familiar desktop. SGL’s Open System Architecture provides broadcasters, post production facilities, and news/sport organisations with scalable solutions with substantial cost and workflow benefits.

At Broadcast Asia 2016, SGL will demonstrate new FlashNet features, including a preview of its FlashNet Infinity user interface. FlashNet Infinity will be incrementally rolled out over the next 12 months. SGL will highlight features including: automated workflows to offload or backup media content from online storage to low-cost storage and deep archive, and support for inline partial file restore and new archive analytics.

SGL will showcase a full Avid Archive Manager workflow in conjunction with an Avid Interplay demo, as well as the FlashNet IPWS workflow.

Also new is support for AXF, with SGL now supporting reading and

restoring from SMPTE’s Archive exchange Format (AXF). FlashNet can now

read and process AXF objects for customers working with both LTFS and

AXF archived objects. SGL will also highlight archive content transfers to

the cloud or remote locations using Expedat Gateway. SGL’s integration

with Expedat allows media professionals to create workflows from their

MAM. It utilises the flexible nature of AWS cloud storage services to ‘park’

project content or to create off-site archive backups for disaster recovery.

The new version of FlashNet allows customers to allocate a pre-defined

number of drives within their library for a specific role, such as archiving

Avid jobs only, or restoring/archiving material at a certain time of day.

Visit www.sglbroadcast.com

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DIRECTOR JAY SOO, WHO LEADS the production and editorial boutique, Moving Bits, creates commercial hits for global brands like Universal Studios Singapore, Hilton Worldwide and landmark documentaries (Chilean Mine Rescue) for the Smithsonian group.

“I actually received my diploma in electronics and communications engineering. However, I am a tech kind of guy … whose first love has always been music.”

After college, Jay travelled to Los Angeles and studied music at the Musicians’ Institute, graduating with Honours in Studio Guitar. With his creative and technical foundation well honed, Jay switched gears and started channelling his energy and skills into scoring commercials. He went back to Singapore, and thanks to his technical experience and musicianship, he was able to align himself with some of the best creative directors in the country.

But, he didn’t just sit in the sound room creating tracks. He became friends with many of the directors, and more often than not he attended commercial shoots. Seeing the production first-hand, he knew that this was where he wanted to be. It was then that Jay made his move to create more than just audio bits.

After a second round of education, this time in video production, Jay established the Moving Bits production company in 1998. Although digital video was still fledgling technology in the late 90s, Jay kept the editorial house on the cutting edge, employing only the latest in digital non-linear editing solutions and infrastructure.

After a few years and several successful campaigns, Moving Bits started to take off. Jay had a lot of work coming in from companies like Universal Studios Singapore, and a number of these projects were cross-Atlantic. The Moving Bits production staff was shooting in both Los Angeles and Orlando and sending the footage back to Singapore for dailies production. With no cloud-based technology, it was difficult to share and turn dailies quickly or inexpensively.

“It was at this point we needed to evolve our infrastructure to better manage the dynamic production schedule,” Jay says. “However, in 2009 and 2010, Internet connections were not nearly as evolved and we did not have fibre installed. But, in the end that didn’t matter because in EditShare we found the answer to all of our problems.”

Thanks to EditShare’s support for gigabit ethernet and NLE project sharing, the Moving Bits team was able to roll out the new storage platform within days and benefitted from the media sharing capabilities instantly.

“We do both commercial and some long-form program work which requires the whole gambit of post capabilities,” Jay says. “We have 3D, motion graphics, visual effects and of course a stable of editors who do the cutting. Because of my music background, we often score projects. The EditShare setup is brilliant because we have the motion graphics suite, the 3D Suite, the VFX suite, the audio suite and all of the editors hooked up. Everyone is able to search and access media, and there is no looking for a drive or copying footage from one drive to another because it’s at their fingertips. For larger projects where multiple editors are working on a story line, the project sharing is just phenomenal.”

Before EditShare, the team had a sneaker net setup with drives everywhere and a lot of time spent logging and categorising which one had which content. “We don’t sneaker net anymore,” Jay says. “The whole building is rigged, and everyone who needs to be is hooked up to the EditShare. If the producers need to pull a rush or a daily for a client to have a look or to transcribe something that someone may have said, they can do that. If I need to check on something, I don’t need to ask someone to send it to me. I’ll just pull up my Final Cut Pro and there it is. The only reason we can do that is because EditShare centralises and perfectly tracks our content.”

The set-up also helped Moving Bits meet some very tight deadlines for high-profile projects like the Smithsonian’s Chilean mine documentary, which they had three months to shoot, edit and deliver.

“It wasn’t enough time unless we edited the piece around the clock,” says Jay. “To work around this, we shot the Chilean mine crisis re-enactments in Colorado, replicating the footage from the small storage platform on-location to the EditShare located in the Singapore office. Because each location had a 12-hour time difference, we had a US-based editor who would start editing and then at the end of his day he would send the Singapore office the Final Cut sequence file. Because the footage had been replicated on both ends, all our editors here in Singapore needed to do was open the sequence and go. It was very efficient.”

Since the Chilean documentary, Moving Bits not only continues to use Final Cut Pro but has added Premiere Pro into the editing tools. Next for Moving Bits is Flow, EditShare’s Media Asset Management solution offering ingest, automation and remote collaboration capabilities. With AirFlow ‘Private Cloud’, collaborators anywhere in the world can use a standard web browser to play, log, search and organise media content, and also upload and download content directly to and from central storage systems.

“The EditShare Flow toolset is definitely very interesting and will help us with some of the complex remote productions, especially the AirFlow module,” says Jay. “This will really accelerate the efficiency and revolutionise how we work on projects all around the world.”

Visit www.editshare.com

EditShare Makes Moving Media Bits Flow

Moving Bits’ Director Jay Soo.

Penta Post Invests in Quantel RioSAM RECENTLY ANNOUNCED post-production house, Penta Post in Hong Kong, has purchased a turnkey Quantel Rio in a 2K configuration to complete post and editing work on TV commercials and documentaries. The sale also included the Neo Nano control panel, which interacts with Quantel Rio’s extensive toolset.

Penta Post is a multimedia post-production company that focuses on TV commercials, special effects, documentaries, and image presentations for the greater Hong Kong market. It was launched in 2014 by a group of creative professionals who had long experience of working with Quantel

systems.

Cheuky Wong, Co-founder/Senior Online Editor/Colourist said, “I’m a veteran Quantel user from the days of the retro Paintbox workstation, so I know the name is synonymous with high quality and excellence. Quantel Rio lets us work in a true nonlinear fashion. We manage color grading, compositing, and audio effortlessly during any time within our production. This type of flexibility is a huge advantage for us given the tight deadlines we’re often under.”

Visit www.s-a-m.com

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RED GIANT RECENTLY ANNOUNCED the release of Shooter Suite v13.0, which features the new PluralEyes v4.0, compatible with any non-linear editor. Topping the list of new features is the ability to sync with PluralEyes directly in Premiere Pro without having to leave the host application, Smart Start capabilities, automatic drift correction, vertical track scaling, and integration with Red Giant Offload.

Syncing audio and video clips in PluralEyes is now easier thanks to enhancements allowing PluralEyes to analyse footage and automatically choose the best possible options.

Sync in PluralEyes without leaving Adobe Premiere Pro – just hit the sync button. PluralEyes in Premiere Pro offers the same colour coding capabilities as it does in the standalone version, so editors will know which clips require attention.

Smart Start – Importing media is easier with PluralEyes’ Smart Start feature. You can drag and drop an entire folder of media into PluralEyes, and during a sync it will automatically detect which device the media came from. Your files will be sorted so media from the same device is on the same track.

Automatic Drift Correction – When syncing long clips, sound and video can

stop matching up perfectly. PluralEyes can account for this and export a perfect sync with Automatic Drift Correction. Now when drift is detected, PluralEyes will automatically fix it, then offer editors the option to toggle between the drift-corrected sync and the original audio for comparison

Colour Coding for Unsynced Clips – Colour coded visuals show editors the progress of the sync, making it easy to make adjustments. Now export from PluralEyes to Premiere Pro features a colour coding option for clips that don’t sync properly.

Red Giant Offload Integration – Red Giant Offload performs a checksum during media transfer from camera card to hard drive, giving filmmakers the peace of mind that footage was backed up.

Shooter Suite 13.0 – The Red Giant Shooter Suite is a set of purpose-built applications that give DOPs, videographers, shooters and filmmakers the ability to bring footage from set to post. With powerful automation and workflow capabilities, creatives can offload, analyse, touch up and synchronise digital media destined for post with confidence.

Visit www.redgiant.com

Fabric Software Launches Fabric Engine 2.1FABRIC ENGINE 2.1 arrives with a raft of presets, samples and UI improvements aimed at making the development framework easier to use.

Highlights of the release include:

• DFGBindings for treating Canvas graphs as objects.

• Attribute Presets – Geometry attributes are a critical part of most geometry pipelines and are used to handle distribution of instances, deformations, and UV mapping.

• Controlling geometry attributes in an efficient and simple way can

improve workflow and significantly improve productivity.

• Fabric Engine 2.1 ships with a series of new Canvas presets that focus

on geometry attributes.

• High Level Alembic Presets – Fabric Engine has supported Alembic for

a long time but developers had to be pretty comfortable with coding in

Fabric’s ‘Kernel Language’ to take advantage of it. Now, developers can

access this functionality through presets in Canvas.

Visit www.fabricengine.com

Short-Term Licenses for Cinema 4D StudioMAXON RECENTLY ANNOUNCED the availability of short-term licenses for its Cinema 4D Studio application. Licenses are valid for three or six months and are available as single workstation or floating multi-licenses. Plugins that require the use of serial numbers can also be used with the short-term licenses. Perpetual licenses for Cinema 4D Studio and all other packages, such as Visualize, Broadcast, and Prime, as well as BodyPaint 3D will continue to be available.

As Maxon CFO and Co-Founder Uwe Bärtels reported in the company blog in January, “Maxon continues to believe strongly that perpetual licenses offer owners of these licenses a high degree of security and peace of

mind. However, we also understand that offering subscription models for

software make it easier for both individual users and large companies to

quickly adapt their license requirements to their individual production

needs.”

Short-term licenses for Cinema 4D Studio are available as download only

and can be purchased at any authorised reseller, or directly from Maxon

and its branch offices. The licenses can also be extended for three or six

months.

Visit www.maxon.net

SOFTWARE DEVELOPER, SGO, and video hardware developer, AJA Video Systems, recently announced an integration partnership. SGO’s colour grading and finishing post-production system, Mistika, is now compatible with AJA’s line of KONA and Corvid video capture and playback cards. The combination of the new Mistika version with the AJA hardware boosts support for new extreme video formats including 4K Stereo 3D dual-link – even at HFR frame-rates up to 60p.

AJA’s KONA capture, display and mastering products for SD, HD, 3G, Dual Link HD, 2K and 4K are a perfect match with Mistika, which provides a complete post-production feature-set for projects of any practical resolution and frame-rate, even beyond 8K. Stereo 3D output in 4K using the Corvid 88 I/O card is already available, along with viable future 8K capabilities for Mistika Ultima 8K systems.

CEO of SGO, Miguel Angel Doncel, stated, “There is positive synergy between SGO and AJA. Our combined expertise will achieve even greater results that our customers have come to expect. We both have teams of proficient staff that are passionately focused on providing unique and dependable high-quality technology for creative professionals. We look forward to working with AJA for many years to come.”

President Nick Rashby at AJA Video Systems confirmed, “Our KONA and Corvid families of professional video and audio capture and playback cards have long been the solutions of choice for top filmmakers and broadcasters because of their reliability and scalability. SGO delivers on that same promise to customers with their advanced Mistika software that supports future-proof workflows. We’re pleased to be working together to offer a best-of-breed post-production solution.”

Visit www.sgo.es and www.aja.com

Red Giant Announces PluralEyes Update

SGO Announces Partnership with AJA

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

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

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

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

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

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

Visit www.dft-film.com

Edit Bridge to Interface with Multi-Vendor SystemsMARQUIS BROADCAST HAS RECENTLY announced Edit Bridge, its integration application for Adobe Premiere Pro CC and Avid Interplay, has been developed to interface with multi-vendor systems such as Apple Final Cut Pro X or Grass Valley’s Edius. The application will be shown at NAB for the first time, on booth SL8730.“Edit Bridge was awarded the IABM’s Design and Innovation Award in the Post Production category at the prestigious IABM awards ceremony held at IBC last year,” confirmed Chris Steele, Managing Director, Marquis Broadcast.Edit Bridge offers a solution to enable competing manufacturers’ products to work together, allowing users to search Avid Interplay from within the Premiere Pro or After Effects interface, view thumbnails, find media and select it for editing. Content is either streamed directly, or copied and re-wrapped to Premiere Pro or After Effects for immediate editing. Delivery of the completed story and associated metadata back to Avid ISIS is achieved with Avid interplay check-in.“The new Edit Bridge Client now provides the same connection into Avid Interplay for non-Adobe specific workflows.” confirmed Steele. “Users can now source content from Interplay by browsing and searching within the panel before triggering a drag and drop import into the chosen application. The Edit Bridge Client has been designed to support both Windows and Mac platforms.Visit http://www.marquisbroadcast.com

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

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

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

Visit www.imagineproducts.com

DFT’s Scanity HDR Upgraded

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JAPANESE INTERNATIONAL ADVERTISING and public relations company Dentsu Inc. has announced the launch of programmatic audio ad services.

President & CEO, Tadashi Ishii, described the move as one of the company’s innovative measures to promote programmatic digital ads in Japan. The "Premium Audio Series" will be provided as one of the products in the Dentsu Private Marketplace.

Although demand for digital audio content such as Internet radio and music streaming services is growing with increasing mobile use and better Internet connectivity, the Japanese market remains nascent with no single established or widely accepted method to serve digital audio ads.

Dentsu says aims to address this issue by leveraging a2x, the leading programmatic audio advertising exchange by Triton Digital2, a prominent technology provider for the audio industry. a2x enables advertisers to deliver targeted, contextual and behavioral audio ads in real-time.

Launched in 2006 and currently operating in 36 countries, Triton Digital is a leading technology company providing digital audio advertising technology to the global audio industry.

Dentsu will be partnering with premium audio content providers, such as radio broadcasters, to create the "Premium Audio Ad Series," which is a part of the Dentsu Private Marketplace's offerings, to deliver meaningful results for publishing and advertising partners alike.

The Dentsu Private Marketplace is a large-scale, invitation-only marketplace where publishers make their inventory and audience available to select buyers, and where transactions are automated. As of April 2016, around 230 publishers were participating, with a variety of premium advertising space on offer. In addition to display advertising, a "Premium Video Series" has already been launched in the marketplace.

Visit http://www.dentsu.com

Dentsu Launches Premium Programmatic Audio Advertising in Japan

Clear-Com Names RGB Broadcasting as Distributor for IndiaCLEAR-COM, THE DEVELOPER of real-time communication solutions, has announced that RGB Broadcasting, one of the leading broadcast solution providers in India, signed an agreement to be a Clear-Com distributor to manage channel activities for the country.

As a Clear-Com distributor, RGB Broadcasting will provide dealer support for customer-related issues and inventory management for Clear-Com’s dealer

network. It will also provide clients with the full range of Clear-Com’s professional intercom and connectivity solutions, which include the Encore Analog Partyline and HelixNet Digital Partyline Systems, Eclipse HX matrix family, Agent-IC mobile app, FreeSpeak II and DX Series wireless solutions, as well as the LQ IP Interfaces and ProGrid and MUX-22-CC Signal Transport Solutions.

Visit www.clearcom.com

Kai Media Pioneers MPEG-H Audio in 4K UHD Encoder for KoreaKOREAN MANUFACTURER Kai Media has become among the first manufacturers of professional broadcast encoders to integrate Fraunhofer IIS’ MPEG-H Audio software for the Korean market. The company’s KME-U4K broadcast encoder will support MPEG-H Audio encoding of immersive and interactive sound.

The interactive functionality of MPEG-H Audio will give consumers the ability to adjust the sound mix to their preferences. For example, choosing between different commentators in a sporting event.

The immersive sound function, meanwhile, has been ompared to moving from stereo to surround sound with MPEG-H adding 3D audio components to deliver an immersive experience.

The KME-U4K is a high-performance 4K UHD live encoder. Developed with dedicated hardware on a server, the KME-U4K features MPEG-H Audio encoder software from Fraunhofer IIS in addition to real-time encoding up to 4K UHD and four FHD channels.

“Kai Media’s adoption of MPEG-H Audio software for the KME-U4K encoder represents another milestone in Fraunhofer’s continued efforts to deliver high quality applications of advanced audio technologies to the evolving media world, particularly in South Korea,” said Robert Bleidt, Division General Manager at Fraunhofer USA. “MPEG-H Audio enables professional broadcasters to deliver premium content to viewers with the next-generation quality of audio.”

MPEG-H Audio allows broadcasters and streaming services to deliver the future of streaming and TV audio at comparably low bit rates and in a cost-effective manner. MPEG-H Audio is under consideration for next-generation UHDTV broadcast standards and for the ATSC 3.0 audio standard.

“As a developer of a variety of functional solutions for broadcasters that utilise international video and audio standard techniques, the added benefits and features of MPEG-H Audio will be an industry game changer,” said Jin Suk Kwak, Director of Kai Media. ”We are pleased to announce our early adoption of the MPEG-H Audio software for our 4K UHD live encoder, which offers professional broadcast customers features such as interactive audio and immersive sound.”

Visit www.iis.fraunhofer.de/audio and www.kai-media.comm

The KME-U4K broadcast encoder with MPEG-H Audio from Kai Media.

Compact and Remote Solutions from Calrec at BroadcastAsia2016THE SMALLEST IN CALREC’S Bluefin2 family, Brio’s control surface is only 892 mm wide, yet houses 36 dual-layer faders across the surface provides more faders. Brio’s configurable surface gives 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 gives 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.

Meanwhile, Calrec Audio’s RP1 remote production unit is making its Asian debut at BroadcastAsia2016 following its successful reception at the 2016 NAB Show. The

RP1 is a live-broadcast product that addresses the requirements for high-quality content from remote locations.

Calrec’s new RP1 remote production engine is a 2RU core that contains integrated, FPGA-based DSP which enables a console surface at another facility to control all mixing functionality. The RP1 core manages all of the processing for IFB routing and remote monitor mixes, and it does so locally with no latency.

The RP1 core embeds audio into existing video-transport mechanisms, while its modular I/O backbone accepts any of Calrec’s I/O cards. This means the RP1 can connect via analogue, AES, MADI, SDI, and the latest AoIP solutions from AES67, Ravenna, Dante, and SMPTE 2022.

Visit http://calrec.com

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Slogan created by:Name: Mark Boyle

Job title: Audio SupervisorCompany: SuperSport OBs

C+T 297x210_BRIO.indd 1 12/05/2016 12:18

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AUDIO-OVER-IP TECHNOLOGY OPENS NEW POSSIBILITIES for building audio infrastructure. Standard ethernet infrastructure is becoming the medium for audio that will be able to support any resolution, sample rate, or format of professional audio data. The Genelec 8430 two-way smart active monitor enables direct monitoring of the AES67 formatted digital audio stream directly.

Using Internet Protocol (IP) networks to pass the highest quality audio (and video) signals with low latency carries a great potential allowing flexible connectivity from any source device to any destination device, and the ability to pass any audio format, sample rate, and word length. This implies a change in the way professional quality level audio (and video) systems have been built up until today.

Audio-over-IP technology divides the samples of digital audio into packets and transports these packets to the destination devices over CAT5 or CAT6 cables, using IP networking protocols. Several protocols are needed, each responsible of particular details of the process. As these protocols handle data, they become capable of passing any format of audio sample data, irrespective of the sample rate, audio bandwidth, format of encoding, or any other such aspect of presentation that usually has been of great significance in terms of enabling system connectivity.

While the network itself does not limit the presentation of audio data, the significant topic in professional audio is audio-over-IP interoperability. This refers to the ability of devices from different manufacturers to confer with each other. This is where the AES67 standard comes in.

Traditionally audio interconnections accomplish interoperability with standards like the balanced XLR output and input for conventional analogue audio, and the AES/EBU interface for the conventional digital audio.

As IP networking systems must utilise a large collection of protocols and settings for each protocol in their communication, interoperability has not been a self-evident result of using IP audio networking. In fact, the numerous audio-over-IP systems on the market have contained enough small differences to render interoperability difficult to achieve.

A standard for audio-over-IP interoperability has been developed by the Audio Engineering Society and was published first in September 2013. This AES67 standard has been designed to allow interoperability between IP-based systems designed for audio transport with high dynamic range, low end-to-end latency, very high clock accuracy, and without a technical limit to the maximum number of audio channels the system can support. Examples of such systems include RAVENNA, Livewire, Q-LAN and Dante.

The AES67 is an Internet Protocol based solution and it uses protocols at or above layer three in the sever-layer Open System Interconnect (OSI) reference model. This makes AES67 fully compatible with existing cable-based IP networking hardware environments (ethernet). Audio-over-IP can transport on virtually any local area network (LAN) and benefits from the continuous increase in the speed of these networks. Today, the device connections operate at 1 Gbit/s while the faster switch-to-switch connections can exceed 10 Gbit/s.

Although ethernet is usually the underlying data link layer, the Internet Protocol is infrastructure-agnostic and can be used on virtually any network technology. To achieve interoperability, AES67 addresses the following tasks in audio networking:

• Device clock synchronisation pulls all audio devices in synch across the network.

• Media clock management defines the audio clocks and how they relate a common clock reference.

• Transport moves audio data across the network with sufficient priority.

• Encoding and streaming describes the formats of audio in the packets of a stream.

• Stream description communicates the data needed to establish a connection, specifying network addressing, encoding and origination.

• Connection management communicates the data needed to establish and maintain an audio stream connection.

INDUSTRY-FIRST IN AUDIO-OVER-IP MONITORINGSix years ago, Genelec publicly demonstrated its first audio-over-IP loudspeaker system at the Integrated Systems Europe exhibition. This system was selected as ‘Pick of ISE 2010’, one of the best innovations presented at the show.

In February 2016 Genelec launched the 8430 Smart Active Monitor, the first audio monitor to allow direct monitoring of audio-over-IP signals.

PROFESSIONAL INPUTSThe 8430 combines various connectivity options. The AES67 signal input is housed in an XLR-integrated RJ45 connector, enabling audio-over-IP signal connection. The AES67 input supports 44.1 kHz to 96 kHz sample rates, as well as 16-, 24- and 32-bit word lengths.With accurate clock synchronisation from a network-attached Precision Time Protocol grandmaster clock source, accurate monitoring of high resolution audio signals is enabled.

The 8430 also supports monitoring of professional analogue signals using a balanced XLR connector. The full 25dBu professional audio signal level range is supported.

EASY CONNECTIVITYThe digital audio in an audio-over-IP stream may contain any number of channels. On an IP network, all audio streams are visible to all monitors. The physical cabling has absolutely no significance in determining what audio channel goes where in the system. The cabling in an IP network system always follows the same principle; the monitor connects to an IP switch device using one IP network cable. All devices connect via IP switches. There is nothing further to know about the cabling for audio-over-IP speakers, except that the maximum length of the cable is 100 meters from the switch device to the monitor. Often this is ample, but can be extended using another switch device. After pulling these physical cables, the connectivity resides entirely in the software configuration (see Figure 2).

The routing of audio in the network is no longer dependent on cable routing. Connecting audio-over-IP devices is simple. You attach one cable to the network and you are done. All devices are accessible and visible through the network and when access to several configuration user interfaces is needed, all of these are available at the same computer display.

Audio-over-IP is attractive to audio infrastructure designers, because:

• More flexibility in cabling, system design and building.

• One network supports any audio format.

• Efficiency of maintenance.

• Lower overall facility level cost.

• Flexibility of connectivity.

• Easier setup and operation.

• Less limitations to improve product features and performance.

• Long term availability of technology with improving speed of networking.

PROVEN ACOUSTICAL ACCURACYAs part of Genelec Smart Active Monitoring (SAM) Series, the 8430 shares the same electro-acoustic design features such as Genelec MDE and DCW technologies, a flow optimised reflex port, very low distortion of the acoustic output across audible frequencies, high SPL capacity, and a wide bandwidth, uncoloured output on the acoustical axis as well into off-axis directions, delivered in a compact enclosure.

Being a member of the Smart Active Monitoring series, the 8430 uses the Genelec Loudspeaker Manager (GLM 2.0) control network and software which allows adjustments of all aspects of monitor settings.

UNICAST AND MULTICASTThe typical method of defining a connection between two IP devices is called unicast. This method transports the data packets across the network so there is only one transmitter and one receiver for the packets.

IP networking also supports multicasting. Multicasting implies one transmission is addressed to several receivers while the data packets are only sent once. Audio presentations are typically collections of several channels. While it is up to the system configurator, a convenient method of using an IP based audio sample transport is to pack samples from all the channels of one presentation into one data packet. Then, multicasting a stream of these data packets across the network allows all monitors and subwoofers to listen to this transmission and pick applicable audio channels from the data stream. Because only one audio stream is sent on the network, multicast can reduce the data processing load in the network IP switch devices, enabling higher throughput. Both multicast and unicast are defined in AES67.

Enabling Direct Monitoring of Audio-Over-IP StreamsBy Aki Mäkivirta, R&D Director, Genelec

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Clear-Com Unveils New Base Station and Intercom at BCA2016AT BROADCAST ASIA 2016, Clear-Com (Booth 5D3-02), the leader in wired, wireless and IP voice communication solutions, announces its launch of the new FreeSpeak II Base Station known as the FreeSpeak II-Base2. It is versatile, easy-to- use and supports multiple frequencies on the same base station. This introduction follows the timely releases of the complementary 1.9GHz and 2.4GHz band wireless intercom beltpacks and transceiver antenna modules that are in use today in many productions around the world.

The new FreeSpeak II-Base2 offers three different modes: Base Station for digital signal transmission; a headset master station for operators to communicate with anyone wired or wireless on the system; and an intuitive menu user interface for configuring setup and making real-time system changes. The new FreeSpeak II-Base2 is expanded to support up to 25 full-duplex wireless beltpacks and cover a large production area with 10 distributed-antenna transceivers and two transceiver splitters spanning up to 3200 feet (975 metres) away from the base station.

Similar to its predecessor, the new FreeSpeak II-Base2 can provide wireless communication coverage in the 1.9GHz and 2.4GHz frequency bands. This is advantageous in productions where the RF space may be crowded with 2.4GHz or Wi-Fi devices, and the 1.9GHz could be used for production.

In addition to serving as a base station for signal transmission, it can also operate as a headset master station for any user operator to make and receive calls and talk with anyone on the system using the four OLED displays with individual call and talk keys. Multiple 2-wire and 4-wire ports are also available to connect with any industry-standard analog partyline and 4-wire audio devices, respectively.

The Base Station’s intuitive cascade menu structure makes it easy to program the entire system, including the beltpack assignments. Configuration and monitoring is also available through the real-time Core Configuration Manager (CCM) browser-based tool, which is also used for setting up HelixNet Version 3.0.

Clear-Com will also present the all-new DX410 two-channel 2.4 GHz digital wireless intercom system. Featuring 7kHz wideband audio for exceptional audio clarity, it is the first DX Series wireless intercom system to offer this level of audio frequency range. Highly durable and light-weight, the DX410 beltpack and All-in- One wireless headset are designed to withstand long periods of usage and tough production environments.

Each BS410 base station can support up to 15 registered BP410 wireless beltpacks and/or WH410 All-in- One wireless headsets. In a single-channel operation, any four beltpack users can engage in simultaneous, full-duplex (talk-listen) communication, while three users may be in full-duplex mode in a dual-channel operation. DX410 also features 2-wire and 4-wire bridging and 2-wire auto-nulling. The bridging capability allows the option for combining the 2-wire and 4-wire ports together on either channel A or B, allowing operators to use a 4-wire out to send all the audio to a mixer, matrix intercom or other audio source. 2-wire auto-nulling enables fast and accurate integration with Clear-Com or TW wired partyline systems.

The high quality 7 kHz wideband audio expands audio range and increases intelligibility in high RF environments so that even soft whispers can be heard clearly.

With an upgraded radio and a lost packet concealment capability, the DX410 delivers an improved experience in performance, range and sound.

The BP410 and WH410 have rugged, reinforced casings and long-lasting keypads with no mechanical switch, proven to withstand harsh production environments. The same fast-charging Li-Ion battery for the BP410 and WH410 only takes 2.5 hours to provide up to 12 hours of battery life.

The DX410 uses a frequency hopping system (FHSS), and offers spectrum-friendly and Adaptive Frequency Hopping (AFH) modes, to avoid interference with Wi-Fi, while operating in the 2.4GHz band means that DX410 does not require radio licensing for use.

Visit www.clearcom.com

ACOUSTIC CALIBRATION8430 monitors are calibrated individually at the factory to eliminate and any unit to unit differences.

The 8430 supports the smart SAM system calibration using the automated system measurement and calibration feature built into the Genelec Loudspeaker Manager software (GLM AutoCal) and is supported by room response measurement hardware. Genelec manufactures a room measurement microphone with calibrated frequency response and omnidirectional characteristics, enabling measurements for all professional reproduction configurations – including 3D systems. The automated measurement and calibration supports more than 30 monitors and subwoofers in one room and runs in a few minutes.

Supporting spot and wide area corrections at unlimited positions in a room, the GLM AutoCal system aligns at the listening position, the times of flight for all monitors, setting monitors at equal acoustic distance and aligns the reproduction levels enabling all devices to play at the same sound level – irrespective of their distance or other acoustic influences, and finally, equalises the frequency responses compensating for acoustic influences of the room.

ECO FRIENDLY DESIGN

The 8430 materials are recyclable, and the enclosures are manufactured of

already recycled aluminum. The die cast aluminum enclosure offers driver

protection against mechanical damage and electronic abuse, and versatile fixing

features integrated in the enclosure structure offer ease of installation and long

term reliability.

SUMMARY

The Genelec 8430 supports the interoperability standard AES67. It is also a fully

developed Smart Active Monitor, enabling fast and accurate multichannel or

immersive audio system calibration with detailed and individual compensation

of the acoustic influences of the listening room. Genelec 8430 is an industry-

first solution for monitoring audio-over-IP streams and integrates with facilities

offering modern IP networks.

Visit www.genelec.com

Figure 2. The ethernet connector for audio-over-IP input is visible in the middle; the standard analogue connector is to the right.

AUDIO WORKSTATION

AUDIO WORKSTATIONAUDIO WORKSTATION

IP SWITCH IP SWITCH IP SWITCH IP SWITCH

8430 MONITORS

MIXER 

CONFIGURATION

Figure 3. Audio-over-IP devices physically connect to their nearest IP switch device while the system connectivity is determined by software configuration.

Figure 4. Genelec 8430 includes the standard GLM network connection for acoustic system calibration, two audio inputs, and a power input supporting universal mains voltage range.

Figure 1. Genelec 8430 offer direct monitoring of AES67 formatted audio-over-IP streams.

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MALAYSIA’S MEDIA PRIMA RADIO NETWORK (MPRN) has launched its newest radio station, Kool FM which is being broadcast via 101.3FM within the Klang Valley and 90.2FM in Penang. Launched on 3rd of March 2016, the new station brings the total number of stations under MPRN to four.

Targeting the 25-44 years old Malay segment, Kool FM offers both local and foreign hit songs from the 80s, 90s as well the latest hits. The targeted demographic is observed to be active in social media, and Kool FM, together with other radio stations under the MPRN umbrella, will maximise its use to attract more listeners. Kool FM’s radio application will also be introduced to allow listeners to listen to the station at anytime and anywhere.

Programmes featured prominently on Kool FM include those focusing on lifestyles based on the profession and social status of listeners.

The launch of Kool FM is expected to strengthen MPRN’s position in the highly competitive local radio broadcasting industry. All existing MPRN radio stations target the Gen Y demographics beginning with Fly FM fulfilling the urban English-speaking market in 2005, as well as Hot FM and One FM, launched in 2006 and 2009 respectively for the Malay and Chinese-speaking markets.

Kool FM will provide an alternative value proposition not only to listeners but also to existing business partners and record companies.

According to MPRN’s Chief Executive Officer, Mr Seelan Paul, “The launch of Kool FM is expected to complement our existing radio stations as it attracts a different target audience, whereas Hot FM, Fly FM and One FM are more targeted towards Gen Y market. With Kool FM, we are confident of exploring even more creative ideas and have several campaigns and synergistic collaboration between Hot FM and Kool FM in the pipeline, which we expect will bring positive impact to listeners and also to our business partners.”

In a related development, MPRN has partnered with the world’s largest music streaming service, Spotify. A first of its kind radio partnership in Asia, MPRN will use Spotify’s insights on local and global listening habits and trends. The collaboration will provide a hub for MPRN’s radio stations that fans can follow on Spotify, while bringing new music lists, charts and special content to key radio shows, making programming more insightful and fan-driven.

Visit www.mediaprima.com.my

Media Prima Launches Kool FM, Partners with Spotify

Successful Launch for Indonesian DAB+ Digital RadioMARCH 28 SAW THE SUCCESSFUL LAUNCH BY RADIO REPUBLIK INDONESIA (RRI) OF DAB+ DIGITAL RADIO IN JAKARTA.The Director General of Communications and Public Information of the Ministry of Communications and Information Technology, Ms Niken Widiastuti launched the service and new RRI DAB + studios located at Medan Merdeka Barat in the Indonesian capital.

The Indonesian radio industry and regulator have worked together to move Indonesian radio onto the digital platform. With a population of more than 250 million people the adoption of DAB+ in Indonesia makes it one of the largest DAB+ markets in the world.

Ms Niken Widiastuti said the new service forms part of an integrated, converged cross media platform reflecting the way in which consumers access information via new channels. She described RRI DAB + as “a stepping stone” to becoming a global media provider in the manner of BBC English.

“It will enrich the service RRI,” she said. “I think, the position of RRI is now even more than that of broadcasters abroad, such as RTM, RTB.”

Indonesian radio broadcasters have previously travelled to Australia to hold technical and policy meetings with key digital radio stakeholders and visited the DAB+ Darwin trial to understand how the technology functioned under similar climatic conditions to Indonesia.

Commercial Radio Australia chief executive officer and WorldDAB Asia Pacific Chair, Ms Joan Warner congratulated RRI on the launch.

“Congratulations to Indonesia on being the first major market in the Asia Pacific to launch its permanent DAB+ services. The adoption of the digital radio platform will allow broadcasters to multi-channel and provide more content and interaction for listeners in a cost effective and environmentally efficient way. We hope to see other countries in the region making similar announcements soon.

“Indonesia has a strong manufacturing industry in the Asia Pacific in electronics and vehicles and we look forward to working with RRI to showcase the advanced DAB+ features on connected receivers and smartphones,” said Ms Warner.

Visit www.rri.co.id

AUSTRALIAN COMMERCIAL RADIO has hit the airwaves with an AUD$5 million integrated marketing campaign to promote the LG Stylus DAB+, the world’s first smartphone with built-in broadcast digital radio. The six-week campaign includes radio, out of home, online and paid social media, with a series of four radio ads to run across all metropolitan commercial and selected SBS Australia radio stations.The chief executive officer of Commercial Radio Australia, Joan Warner, said the Australian campaign was part of a USD$40 million international marketing effort by radio broadcasters to partner with LG to launch the phone in a number of countries, including the UK, Germany, Italy and Norway.Unlike music streaming and other apps that can use hefty amounts of data, the LG Stylus DAB+ lets users listen to digital quality radio broadcasts for free through a tuner in the smartphone. Not only will this provide quality digital broadcast, but it also allows the user to access broadcasts pictures and text information on the screen.Joan Warner, Chief Executive Officer, Commercial Radio Australia, said, “Now with the LG Stylus DAB+, radio stations will be able to deliver an even richer radio experience for listeners through the broadcast of visual content such as pictures and text about the track now playing, breaking news and web links.”Commercial Radio Australia has developed a tailored interface for the smartphone, which allows listeners to enjoy digital radio alongside related

internet content. Users will be able to see station logos and branded landing pages, and click on links to more information, events, offers and radio social media channels,” added Warner.

• LG Stylus Key Specifications:

• Display: 5.7-inch HD In-Cell Touch (1280x720)

• Chipset: 1.2GHz Quad-Core

• Camera: Rear 13MP / Front 8MP

• Memory: 2GB LPDDR3 RAM / 16GB ROM / MicroSD

• Battery: 3,000mAh (removable)

• Operating System: Android 6.0 Marshmallow

• Size: 155 x 79.6 x 7.4mm

• Weight: 145g

• Network: LTE / HSPA+ / GSM

• Connectivity: Wi-Fi 802.11 b, g, n / Bluetooth 4.1 / USB 2.0

• Colours: Titan

Visit http://www.lg.com/au and www.commercialradio.com.au

Australian Radio Promotes LG Digital Radio Smartphone

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UK Extends DAB Trial

UK REGULATOR OFCOM is proposing to extend a trial of small-scale digital radio multiplexes for two years. The move follows the success of the trial, which has enabled 85 smaller radio stations, such as community radio stations, to broadcast on digital radio.

Small-scale DAB is an innovative technology that makes use of software freely available from the website www.opendigitalradio.org, rather than relying on expensive hardware equipment.

Ofcom says it wishes to continue to monitor the longer-term performance of small-scale DAB while it develops a new licensing framework. There are 10 small-scale digital radio multiplexes around the UK on the trial. Each had a licence awarded in June 2015 for a nine-month period.

Ofcom says it would like to extend these for a further two years, and will now begin the licence variation process with the individual multiplexes. It will keep the trial under review, given its longer-term programme of work around licensing.

Visit www.ofcom.org.uk

WinMedia Reinvents Voice-Tracking

WINMEDIA HAS ANNOUNCED a new multi voice-tracking feature in

its flagship WinMedia Radio suite. The production technology specialist

has developed an integrated module offering the possibility to localise

voice-tracks in case of regional broadcasts.

Many radio stations providing local programming face the challenge of

having to produce several playlists. The new WinMedia multi voice-track

feature means the broadcaster only needs to prepare one playlist and

have its On-Air talent add their voice-tracks on one of the 32 recording

tracks available. Embedded in WinMedia Mixing module, this feature

allows the broadcaster to edit mixing points once, control all voice-

tracks at once and have On-Air talent record voice-tracks of the exact

same duration. Boasting advanced multi-zone capabilities, the On-Air

module triggers the right voice-track for each broadcasting zone from a

single playlist.

Visit www.winmedia.org

Barix Partners with Wowza for Audio-over-IPAUDIO-OVER-IP PIONEER BARIX has become a Wowza Media Systems Tech Alliance partner, giving customers of both companies an interoperable solution for live and on-demand audio streaming. The non-exclusive partnership sees the vendors working together to simplify the audio-over-IP ecosystem in support of online content delivery.

The interoperable platform brings together the Barix Instreamer IP audio encoder with Wowza Streaming Engine media server software. Wowza Streaming Engine transports the real-time input stream from the Instreamer in support of live radio streams, on-demand podcasts and other audio content. Although the main focus is to support online and mobile delivery to consumers, the integrated Barix and Wowza solution can support many networked audio transport requirements in broadcast.

The Barix and Wowza Media Systems partnership was initially explored through a customer request, according to both companies. That customer, SportsLabs, is using the Barix and Wowza solution to power its Advanced Media Platform, which today manages more than 15,000 live video and audio events, and ingests more than 950 unique content feeds associated with online and mobile streaming of sports content.

During the recent 2016 NAB Show, representatives from Barix and Wowza Media Systems discussed the partnership and demonstrated the integration. LineQ is Barix’s premier US distributor and a specialist in IP audio streaming and end-point systems.

Visit www.barix.com

Remote Audio Encoding from ComrexCOMREX HAS ANNOUNCED it will be releasing CrossLock for ACCESS (soon to be available for BRICLink II). The new upgrade will enable users to utilise multiple networks at once for improved broadcast reliability.

CrossLock, a new feature included with ACCESS firmware 4.0, provides an added capability for bonding, which will allow multiple networks to be

utilised at once. In addition to network bonding, the user can configure multiple networks for redundancy mode, a better choice for reliability on higher bandwidth links. Additionally, forward error correction (FEC) and other ACCESS reliability tools are included with the firmware.

Visit www.comrex.com

GatesAir Expands Intraplex IP Link FamilyAT THE 2016 NAB SHOW, GatesAir showcased its IP Link family of audio codecs, including a new model built specifically for transporting analog FM

composite multiplex signals over IP networks.

The IP Link MPX is a full duplex product built for studio-to-transmitter link

(STL) applications for FM radio broadcasters. It is aimed at broadcasters

that lack the network bandwidth to distribute a full AES192 digital FM

composite signal, which typically requires 5MB/s of bandwidth, from studio

to transmitter, and/or lack AES192 signal receiving capability in their legacy

exciters. It is also configurable, allowing broadcasters to adjust bit rates for

optimal bandwidth usage across a wide area network, using less than half of

the bandwidth required for AES192.

The new codec also provides an efficiency boost for engineers by

enabling installation of all signal generating equipment at a central studio.

Broadcasters can send audio and data, including RDS information, in a single

bandwidth-efficient stream to multiple transmitter and booster locations.

That capability is fortified through IP Link MPX’s integration of Intraplex

SynchroCast simulcast technology, and built-in GPS capability for reliable

timing recovery in multipoint distribution. The IP Link MPX can also be used

with the Intraplex HD Link microwave STL system to provide composite

signals over a 950MHz link.

The IP Link MPX offers 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 across all IP Link codecs,

including stream splicing, forward error correction and a trio of network

interfaces for stream reliability.

Also on show was the IP Link 100P, a single-channel, full-duplex codec

which adds advanced signal monitoring capabilities and integration with

SynchroCast systems that are absent from base IP Link codecs, providing

another audio contribution and distribution option for simulcasting across

transmitter networks. All IP Link codecs also include new software for audio

loudness levelling and metering based on EBU R128 and ITU-R BS 1770-3

standards for legal compliance.

Visit www.gatesair.com

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Deluxe Software-Defined Playout at SBS AustraliaONE YEAR AFTER ANNOUNCING THEIR PARTNERSHIP, Deluxe Entertainment Services Group and Special Broadcasting Service (SBS) have successfully delivered the first software-defined TV channel in Asia Pacific.

With the success of the World Movies and NITV channel launches, and SBS’s recently launched free-to-air Food Network channel onto the MediaCloud system, SBS plans to transition across its remaining channels, SBS and SBS 2, to the Deluxe MediaCloud platform this year.

Noel Leslie, SBS Chief Technology Officer, said, “SBS is the first Australian media company to evolve to digital software-defined playout of its television channels, harnessing new technology to transform and enhance the business.”

The goal of the initiative, part of an ongoing Deluxe contract to manage SBS’s playout operations, is to deliver an agile, resilient, and future-proof workflow to

give SBS visibility and control over all its media content. The move from a capex-based legacy hardware infrastructure to a flexible opex-based software-defined playout system was key.

Deluxe MediaCloud CTO Alec Stichbury said, “We’re thrilled to extend our partnership with SBS on this transformational project that represents the future of broadcast television. Hosted from highly secure data centres, MediaCloud was designed to bring enhanced functionality at an affordable cost, whilst at the same time improving quality and reliability. This, together with increased flexibility, also means pop-up channels can easily be accommodated without long term commitments and high cost.”

Visit www.bydeluxe.com and www.sbs.com.au

Starhub Enriches Content with NAGRA Netflix SolutionNAGRA RECENTLY ANNOUNCED it has successfully partnered with StarHub, Singapore’s pay TV operator, to launch the Netflix subscription-on-demand (SVOD) service on its fibre TV platform. The launch was facilitated by NAGRA’s MediaLive Suite’s set-top box reference platform and anyCAST CONNECT.

“We are excited to expand our on-demand content catalogue with one of the

world’s most popular SVOD services,” said Ms Wang Li-Na, Head of Product and

Marketing for StarHub. “NAGRA’s platform allows us to seamlessly integrate our

existing fibre TV content offering with internet TV services such as Netflix to create a

compelling new proposition for our customers.”

“The StarHub Netflix launch is an excellent example of how service providers can

offer the best of two worlds by elegantly blending internet TV services into a pay-TV offering,” said Jean-Luc Jezouin, Senior Vice President of NAGRA, Asia. “Consumers ultimately care about how conveniently they find the content they like and this is all about keeping the experience simple and smooth with intuitive use cases like Netflix as a channel, Netflix as an app and Netflix as a search result.”

The NAGRA MediaLive Suite’s set-top box reference solution for Netflix, powered by OpenTV 5, allows service providers to offer the SVOD services as a channel in their existing content line-up through a single user interface and TV input. NAGRA’s Netflix reference implementation also benefits from the NAGRA anyCAST CONNECT security solution, featuring a Netflix-approved DRM that avoids additional DRM integrations.

Visit https://dtv.nagra.com

BEXIMCO and GS Group Launch Bangladesh DTH ServiceAPRIL 2016, SAW THE GS GROUP international investment and industry holding company, and Bengali multi-sector conglomerate, BEXIMCO, launch RealVU – the first DTH operator in Bangladesh. This satellite Pay-TV operator is a joint project by the GS Group holding company and BEXIMCO conglomerate.

Bangladesh’s first national-level DTH platform, RealVU, will provide high-quality digital broadcasting across the country’s 165 million population. Previously, viewers only had access to services of Bengali analogue terrestrial and cable TV, as well as the ability to illegally hook up to Indian DTH operators.

RealVU’s launch offering includes more than 100 TV channels in SD and HD quality. Packages available to viewers include well-known international channels

in English, popular Indian channels, and channels with local Bangladeshi content. An extensive sales and service dealer network has also been created throughout the country.

The digital TV set-top boxes used to receive the service were developed by GS Group with features including PVR and TimeShift, along with an electronic program guide.

RealVU is the second international broadcast project launched with direct involvement of GS Group. From 2012 to 2016, the holding company successfully implemented the project of creating One TV, Cambodia’s first national-level DTT operator.

Visit http://en.gs-group.com

Etere Empowers TodayTV VietnamVIETNAM’S TODAYTV RECENTLY chose Etere’s broadcast solutions to manage and automate the TV station’s tapeless production and digital delivery workflows. Using Etere’s MERP concept, it’s a total software solution able to connect and manage the complete lifecycle of media for the company.

Etere worked with its distributor, SV TECH, for the roll-out of the TodayTV installation. TodayTV’s installation of Etere Automation with a master and backup automation based on MTX2, features a master-clone mode, as well as a disaster recovery mode. Its approach combines real-time device control and media asset management in a single solution.

The eco-system includes Etere Ingest, which has the capability to capture media

from a selection of feeds including real-time SD/HD media from video source,

broadcast stream, FTP and IP stream, into a cloud storage and apply it to any part

of the workflow.

TodayTV is also equipped with Etere Memory (two channels). Etere Memory

is designed to provide broadcasters with a media logger capable of recording

and storing all transmitted content in a low resolution format such as Mpeg4/

WMV, allowing tracking of everything that was aired within a configurable time

slot, thus fulfilling broadcast recording laws. In addition, Etere Memory allows

recording and viewing of clips at the same time with minimal delay.

Visit www.etere.com

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IP/Cloud Playout on the Rise at NAB2016

JUST AS IP-BASED DELIVERY HAS been an enabler for the competitors of traditional media, it is now reaching a new level of stability and maturity to enable established operators to streamline their own broadcast operations.

This trend was in evidence at this year’s NAB show in Las Vegas with a number of vendors showcasing options for IP/cloud-based content delivery.

Imagine Communications, a pioneer in transitioning to the IP-based world, announced that its playout, live encoding and dynamic ad insertion solutions are now available on the Microsoft Azure cloud platform.

Now Microsoft Azure Certified and available through the Azure Marketplace, the Imagine Communications solutions include:

Versio: The 100%-software, cloud-enabled solution offers integrated channel playout capabilities, including graphics, automation and master control. Versio enables channels to be developed and deployed in the cloud, with options for OTT distribution through the cloud and for traditional distribution, including OTA, cable, satellite, and IPTV.

SelenioFlex Live provides high-quality live encoding for high-value applications, from cloud DVR to live-event streaming to over-the-top (OTT) delivery of linear channels, and includes multiformat output flexibility and rich adaptive bitrate (ABR) streaming support.

xG Ad Insertion for Multiscreen supports advanced ABR streaming to deliver targeted ads to smartphones, PCs, tablets, connected TVs and virtually any other device that receives live or on-demand video programming. The software-based xG AIM provides relevant ads in real time across various stream types — including live, VOD and cDVR — and on subscribers’ preferred viewing devices.

As part of the Azure Marketplace, Imagine Communications’ software solutions are now available in 20 Azure datacenters, which serve businesses in 140 countries, including China.

Imagine Communications also introduced the Selenio Video Delivery Edge (VDE), an HTTP-to-User Datagram Protocol (UDP) gateway that bridges next-generation and legacy video delivery infrastructures. Selenio VDE is designed to enable cable operators and other content distributors to improve the efficiency, performance and revenue-generating potential of video delivery and ad insertion infrastructures, while paving the way for the transition of operations to a fully virtualised environment based on generic computing and networking resources.

Visit www.imaginecommunications.com

Snell Advanced Media (SAM) announced the next evolution of its channel-in-a-box strategy in the form of ICE IP. This incarnation of ICE provides customers with a path to IP playout, without sacrificing any of the functionality or performance of the ICE CiaB platform.

The announcement follows the launch of the software-only version of SAM’s ICE CiaB product ICE SDC (Software Defined Channel), designed for customers who want to move to a virtualised playout operation.

According to Neil Maycock, EVP of SAM, “We live in a rapidly evolving world

when it comes to both monetization patterns for our customers and also across backend playout technologies. We are already involved in trials with customers with ICE SDC and we expect these to grow in number and scale across 2016. In many ways it’s the same with ICE IP as we work with existing and potential customers, exploring IP playout strategies. With the announcement of AIMS and our involvement with that, we expect to back this up with multiple IP developments across the next year.”

Visit www.s-a-m.com

Evertz, another pioneer in bridging the SDI to IP gap, showcased the EQX10, a 10RU 180x180 10GE Hybrid UHD/3G/HD/SD-SDI router. The EQX10 platform unifies the traditional SDI router with Evertz high capacity IP switch fabrics (such as EXE-VSR and 3080IPX) by utilizing IP Media Gateway modules into the router frame. The EQX10 supports IP media gateways for SMPTE 2022-6, ASPEN, RFC 4175, and AES67 on both input and output modules. This enables customers to seamless integrate to Evertz’ Software Defined Video Networking (SDVN) 10GE infrastructure for all available sources and destinations of the EQX.

Features include: newly integrated audio (ADMX) and video routing crosspoint, audio embedding on either input or output modules (with access to the entire audio core), audio de-embedding on input modules (with DSP), direct routable MADI I/O connections - without reducing the routers total video I/O count. The audio core consists of embedded audio, AES, AA, MADI, Studer A-LINK and Calrec Hydra2 interfaces, AES67 and SMPTE ST 302 - all in a non-blocking and seamlessly expandable architecture.

Evertz also revealed new features of its MAGNUM SDVN, the software orchestration and control layer of Evertz’s IP-Based solutions. MAGNUM’s SDVN orchestration and control has been specifically developed to bridge all the major components in a hybrid SDI/IP or all IP based facility including Evertz 10/100GE high capacity switch fabrics, media IP gateways, evEDGE, and Evertz traditional SDI products. MAGNUM provides full end-to-end control of the video, audio, and data flows throughout the facility from production to playout. This includes uncompressed (ASPEN, SMPTE 2022-6, Sony NMI, NewTek NDI, RFC 4175 and AES67) and compressed (MPEG-2, H.264, HEVC, and JPEG2000) video flows.

Using VUE-WEB, MAGNUM SDVN enables broadcast engineers to create customisable dashboards to control and manage their hybrid SD/IP or all-IP facility. These dashboards provide intuitive configuration and monitoring views that include system topology, link status and device monitoring, source path views, and advanced logging.

Visit www.evertz.com

Meanwhile, on the monitoring front, TSL Products announced what it says are the world's first uncompressed video over IP (S2022-6) audio monitors. The new PAM-IP range is designed to smooth the transition to an IP based workflow and is suited to meet the needs of any facility involved in the production and transmission of live productions (such as sports, news, and live events).

The PAM-IP range can monitor video, audio and its associated metadata from either a traditional 3G-SDI connection or a S2022-6 IP stream. It is designed to work seamlessly in a hybrid environment where an SDI, AES and analogue based infrastructure can be monitored alongside an IP-based infrastructure.

"At TSL we recognise that the transition to an all IP environment will not be immediate. For the foreseeable future at least, infrastructures will be hybrids where existing standards and technologies co-exist and interoperate with the new. When developing the PAM-IP we were very aware the IP format wars are far from over and as a result have ended up with a highly flexible platform that will allow us to implement any Video over IP protocol or standard that may be of interest to our customers,” said Pieter Schillebeeckx, Product Director at TSL Products.

The PAM-IP range will be available with several options including: Video over IP (S2022-6 with other formats following), Audio over IP (Dante/AES 67) and 4k (12G and Quad 3G-SDI).

Visit www.tslproducts.com

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Cloud Playout – As Easy as ABC?Imagine Communications CTO Steve Reynolds Talks to C+T about US broadcaster ABC/Disney’s move to virtualised playout.

Imagine Communications has been working with both Disney Cable Networks and with ABC Broadcasting to move them to a virtualised play out platform.

According to Imagine CTO Steve Reynolds, the system has gone from concept and proof of concept through to an implemented system where a major North American customer is now going live on virtualised play out.

“So, they’ve moved the playout infrastructure. It’s no longer in New York and Los Angeles, they now have all of their play out posted in two cloud environments to fully virtualise data centres really, not even a broadcast centre any more, they’re data centres that they’re using to run all of the play out including things that are under master control from the traditional broadcast centres. So, everything will come across an IP network and everything running in a software-only play out model, so it’s pretty exciting.”

The two data centres, is one for redundancy and one for playout?

“No, the way that Disney chose to do it, so they have one data centre that their own owned and operated data centre and then they actually have a facility that they use for geographic redundancy. But, the way that they are running is hot-hot so every channel is running all the time out of both centres. It’s not a traditional DR model, everything is running in kind of a fully redundant hot-hot arrangement.”

So, they can just switch over?

“It’s not even a switch over. If for some reason a packet drops you can pick that same packet coming out of the other centre. So, it’s a different way to do redundancy, resiliency and disaster recovery, a much more kind of advanced way of doing that. So, there’s not a monitoring point where somebody makes a decision about switching over, everything is automated. They’re also using our SDNO, our Software Defined Networking Orchestrator, so they’re using Imagine products with that topology layer to manage the entire network and infrastructure and then using our playout applications on top of that. So, they have a very robust and manageable network all the way through.”

Is playout of pre-produced material easier than live programming?

“That was the easiest and that’s where we started, so with the Disney cable networks, Disney Channel, Disney XD all of those kinds of pre-produced linear channels, that was where we started. But now we’re moving into the live network as well.”

What are the challenges of doing live programming this way?

“Well, the most significant challenge that we had to face was latency. So, the way that the – the topology that they’re using is master control is in New York and all of the ingest comes into New York as well. It gets encoded into J2K so they’re using a Selenio encoder which is our very low latency encoder, so using J2K taking it down to a couple of hundred megabits per second, sending it across the link into the data centres, and all of the switching actually happens in the data centre environments.

“So, when there’s a feed change, what actually happens is there’s a master control panel in New York and somebody says feed change and that actually triggers the change in the data centre. The video then comes out of the Versios that are in that virtualised environment, back up the link to New York for distribution.”

So, we had to get that whole round trip to under half a second latency, so you can imagine there were substantial challenges there. We’ve been able to get down into that target range of half a second of round trip.

Are there any issues of syncing the live programming with the commercial breaks?

“That was actually one of the more interesting things that we had to solve, timing. So when we went into the project we knew that we wanted to use

PTP, that’s the easiest way to do time distribution across these IP networks,

but we actually had to come up with a master clock architecture. So, a time

architecture really, of how to keep everything synchronised all the way

down to the playout. So, we’re doing time synchronisation across all of these

different locations, the two data centre locations and the two broadcast

centre locations, and in doing that all in a single time domain. So, coming up

with that architecture of how to do PTP time across multiple physical sites,

but keeping everything within a single time domain was, again, another

interesting technical challenge and, candidly, we learned a lot about it

through the course of the implementation.

“If I could go back and start the program again, probably the first thing we

would have done is nailed down the time architecture. It would have been a

lot easier to have a consistent reference time all the way through the plant as

opposed to trying to build things out and then impose a single time domain

on top of everything.”

How does that affect the playout in the different time zones?

“It’s all under the same master clock. So, the way that they’re doing it they

are actually using multiple instances of Versio to handle each time zone. So,

there’s an Eastern a Central and a West Coast and they’re actually managing

it as separate streams of play out.”

Is this a model that is readily portable to other broadcasters?

“Yes, absolutely. In fact, we’ve already launched number two and number

three. So, Al Rayyan and Alrai TV are two different companies, both based

out of the Middle East. One is in Doha and the other one is in Kuwait. They’ve

already adopted this virtual approach as well. Al Rayyan is using it for their

disaster recoveries, so they’ve actually put up redundant channels in a

virtualised environment, and Alrai is actually using it for primary playout so

we’ve got a couple of other companies that have taken the leap and moved

into virtualised play out environments and I think the pace is starting to

accelerate now where you will see additional announcements coming along

fairly soon.”

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Streaming Video & QoE in Asia: The Need for Peer-Assisted DeliveryRecently adopted by Southeast Asian OTT provider, Thinkingtub Media, Voddler’s peer-assisted video delivery platform is designed to overcome bottlenecks in the public Internet. Voddler Group President & CEO, Adam Lewis, explains how.

OTT VIDEO IS HAMPERED BY THE TRADITIONAL ARCHITECTURE that delivers it since the path from the content supplier to the consumer is complex and not under the control of any single body. Additionally, a huge number of companies are involved in the content delivery path (from manufacturers of the physical fabric, to the cable companies). Therefore, because the OTT video on demand providers are using the public Internet, they do not have direct control over their delivery mechanism in the same way that broadcasters do. Consequently, they cannot guarantee the user’s experience, particularly when those users are outside of the best-served metropolitan areas of service. Since the internet protocol is simply designed to ensure that all data packets reach their destination, and not that they be delivered in a specific order or within the tightly determined time frame required for online video, guaranteeing a uniform and exceptional consumer experience is a challenge that will increase.

Worldwide, 75% of viewers abandoned poor streaming within the first four minutes according to research by Conviva, the global video analytics company. In Asia Pacific (APAC), just over 17 % of viewing attempts ended in an exit before the video even started, nearly double the rate in Europe, Middle East and Africa (EMEA). The problem is exacerbated regionally, where the average bitrate at which content is delivered was of 0.70 Mbps, compared to North America’s 2.87 Mbps. The viewing experience is worsened throughout APAC as demand outpaces the networks’ ability to support it.

Of course, none of the technical variables affecting Quality of Experience (QoE) are really of interest to the average consumer, who just wants to hit the play button. The impact of a negative experience is, however, immediately felt by the provider in churn rates, brand damage, and ultimately severe financial pressure to their balance sheet.

Video providers largely tend to outsource their distribution to content delivery networks (CDNs), which aim to maximise QoE by storing video content as close as possible to the consumer, in the form of edge servers. The more edge servers, the better the performance of the CDN. On the other hand, edge servers are very expensive to set up and run, requiring secure hardware, uninterruptible power supplies and costly cooled server environments. CDNs have to make a complex, capex-intensive commercial decision on how many edge servers to invest in, and where to locate them. These decisions have a direct impact on the consumer’s experience, and the provider’s ability to retain them and create a profitable long-term relationship.

Peer-assisted video delivery offers an innovative way of providing a very large number of edge servers without the associated costs: A typical CDN design is one-to-many, with content flows from a central hub to edge servers and then to consumers. In a peer-assisted system, end-user devices act as nodes in a vast, webbed network, sharing content with each other. Video content is divided into pieces and distributed across consumer devices. As consumers watch a movie, it will be assembled on their device as they watch it, coming from a large number of individual nodes. With every member of a service acting as an edge cache, video content bypasses the

CDN’s server infrastructure, traveling shorter distances, and avoiding peak traffic slow-downs and thus ensuring a bufferless viewing experience. The more consumers the service has, the more robust and resilient the peer network becomes. The fine granularity of these content servers within this architecture means that the performance is consistently excellent.

Moreover, the management of video delivery itself can be decentralised. Each end-user device can determine which other nodes to fetch content from, using weighted criteria such as location, ISP performance and ping times. So, the practicalities of routing individual connections are also peer-assisted, further reducing dependency on the wider Internet. However not all peering technology is the same. A traditional peer-to-peer service relies exclusively on the peers to provide content to each other. A hybrid peering service has a more sophisticated architecture; it takes advantage of a provider’s existing CDN servers as a fallback source in case there are no nodes with the requested content. This means that QoE remains reliably high even for newly released and rarely viewed content.

Voddler’s VoddlerNet is an example of the hybrid-peering architecture. Recently, South-East Asian OTT service provider ThinkingTub Media, which provides the newest platform streaming content in and from Indonesia, deployed Voddler’s hybrid peering to assure a high-volume high-growth launch, traditionally a fraught exercise in the absence of peer-assisted delivery. In this example, VoddlerNet is combining controlled and secure peer-to-peer delivery with direct streaming from the source provider. This hybrid peering platform greatly expands the reach of ThinkingTub Media’s video services, and is particularly powerful in their service areas where internet connectivity is limited and traditional CDNs do not provide an effective and cost-efficient solution.

Hybrid peer-assisted video delivery does not replace an existing CDN, but complements it to maximise user engagement. It does this by offloading the current centralised streaming: our own benchmarks suggest that average offloading of 95% or more is readily achievable. Peer-assisted delivery supports existing digital rights management (DRM) schemes. While content is primarily protected by comprehensive DRM, slicing the data into multiple packages also increases security by ensuring that no individual user holds more than a small fraction of each programme. With the further possibility of encrypting internode traffic, the whole network can be made virtually impossible to intercept. Voddler’s customers have used this to their advantage in negotiating rights and licensing to content.

Regardless of their location or their chosen device, viewers expect immediate, smooth playback. Yet despite the staggering demand for OTT video around the world, with much of that demand expected to come from the APAC region, poor delivery infrastructure threatens to undermine the experience. Peer-assisted delivery can solve the problem of congested and sparse networks and ensure that APAC viewers can enjoy and depend on a truly great QoE. The service providers can consequently depend on much lower churn rates, and greater revenue and profitability.

Visit www.voddlergroup.com

Advertiser Index

Advanced Broadcast Solutions .......45

Aspera, an IBM Company..... Cover, 11

Brainstorm ............................................29

BroadcastAsia .....................................IBC

Broadcast Solutions ..........................37

Calrec .....................................................39

Comrex......................................................9

Domo Broadcast .................................18

EMC .........................................................31

Enensys.....................................................5

GatesAir .................................................13

Ideal Systems ..........................................3

IHSE ............................................................4

LiveU .......................................................21

Magna Systems & Engineering ..... IFC

Medialinks ............................................19

Mediaproxy ..........................................17

Miller Camera Support ......................23

Omnitek .................................................15

Quantum ............................................OBC

Riedel ........................................................9

Snell Advanced Media S-A-M ..........27

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2014

For artwork specifications visit www.content-technology.com

PUBLISHING + ADVERTISING CONTACTS

PUBLISHER: PHIL SANDBERG

papers@broadcastpapers.com or +61-2-9211 8205.

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PUBLISHING + ADVERTISING CONTACTS

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As well as the features below, EVERY ISSUE of Content+Technology contains features on the following:

Image Acquisition News Operations Sportscasting Post-Production & VFX

Media in the Cloud Digital Asset Management Audio Radio

Content Transmission & Delivery Signal Distribution Command & Control – Automation, Monitoring,

Systems Management.

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2016ISSUE EDITORIAL + AD DEADLINES PUBLICATION

DATE PRODUCT ROUND-UP SHOW COVERAGE

July-Aug Editorial Submissions: 06-07-16

Ad Bookings: 13-07-16

Ad Artwork: 20-07-16

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9-13)

Oct-Nov Editorial Submissions: 30-09-16

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Witness key trending technologies

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Azran Osman Rani Chief Executive

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