IBC News

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New addition to ‘world’s fastest deploying tripod’ family
Vitec Group brands Sachtler and Vinten used IBC2018 to launch Flowtech100, a larger version of its Flowtech carbon-fibre tripod. As the name suggests, it is compatible with all major 100mm fluid heads and supports a payload of up to 30kg, making it suitable for ENG, EFP and mainstream wildlife, commercial and documentary production. Like the Flowtech75, Flowtech100 includes what are claimed to be the world’s fastest-deploying tripod legs, with their quick-release brakes conveniently located at the top of the tripod, so that all three legs can be deployed simultaneously and adjusted automatically to the ground’s surface, saving users from having to bend over and manually adjust multiple brakes on each leg. The tripod also includes a new removable carbon-fibre mid- level spreader with four locking positions, a carry handle and rubber feet for fast, stable setup in narrow spaces or on uneven terrain. The Flowtech100 can be raised up to 155cm for high shots, or lowered to 26cm. The companies have built significant improvements into the Flowtech100 that enable it to cope with higher payloads. The leg clamping mechanism has been redesigned to support 30kg, while its quick-release brakes have internal cast parts for greater strength. All castings from the top of the legs upward are larger and stronger, and the hinge-lock mechanism has undergone extensive endurance and environmental testing well beyond the rated tripod capacity. The system ships next month and lists at $3450, £2550 or €2900. 
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Next-gen live production arrives
The on-demand, cloud-based Virtual Production service from Sony is now available in Europe for content creators who want to broadcast live as and when they need to.  Sony Virtual Production is a production toolset for multi-platform content creation and delivery but, unlike previous live productions, it doesn't require serious infrastructure, major upfront investment and an army of talented creatives and technicians. The Virtual Production service aims to provide a solution by creating a frictionless production workflow with access to a cloud-based professional vision mixer, and then delivering it quickly to social, websites, apps or CDN platforms.Users pay only for what they need, when they need it. Requiring only a camera acquisition kit, production teams can then log into a personalised Virtual Production portal, synchronise their cameras and stream content on a ‘pay-as-you-go’ basis. Camera crews on location can use wireless transmitters to feed a virtual production switcher that’s hosted in the cloud via Amazon Web Services, while simultaneously a vision mixer, based anywhere in the world and using an ordinary web browser, logs into the Virtual Production service. Users can switch the camera feeds, add graphics, logos and captions and stream the output to a range of different platforms, including YouTube and Facebook Live, at rapid pace. None of this requires any running of or installation of software.Stuart Almond, head of marketing and communications at Sony Professional Europe, commented: “In an era of changing viewing habits, multi-screen and multi-platform viewing, media organisations need to embracenew technologies and services that increase content value and engage audiences in new and exciting ways. Virtual Production has been designed to do exactly that.”
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R&D initiative to quicken Core Technology innovation
A faster flow of innovation is the promise of Grass Valley’s new Core Technology initiative, which was discussed at IBC2018. It is described as “a more agile, collective approach to R&D” designed to cope with the accelerating rate of change in the industry.“Like our customers, we need to be agile and more efficient, and Core Technology helps us to do that,” said Michael Cronk, Grass Valley’s vice president of Core Technology. The company is embracing a “lean engineering” philosophy, which Cronk hopes will enable it to innovate faster, and at scale. It will deliver the common cores, platforms, engines and interfaces that are becoming central its product range, with “build once, integrate to many” its new approach in areas such as video processing, IP connectivity, cloud technologies and software-defined systems.The first product built on the platform is GV Flex, which offers cloud-native playout. “With Flex, we are really changing the whole approach to how you implement a linear playout channel,” said Neil Maycock, vice president of global marketing. It means users “can create a new channel of playout from scratch in minutes,” he added, which compares favourably to the weeks or months it takes traditionally. This will allow for pop-up channels for seasonal or special events, according to Maycock.Other products that are part of the initiative include GV Engine, iTX and ICE version 6. 
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VR is on the verge of takeoff
VR Industry Forum president Rob Koenen (pictured) has insisted that the hype about VR is over and the industry is poised for strong growth in the next few years.Speaking at an IBC VR Masterclass, Koenen said that the outlook for VR was very healthy. “Plenty is happening in the market, which it is predicted will really start to grow next year.”There are any number of market predictions forecasting strong growth for VR, said Koenen, who picked out Greenlight Insights’ statistic which predicts that by 2022 the global VR market including hardware, content, software and services will grow to $74.8 billion.“Everybody is dipping their toes in the water and there is a lot of investment going on. Sky, for example, is doing a lot of advanced stuff and its investment is starting to pay off – with the broadcaster offering exclusive VR content to its customers.”“VR headsets started off at around $2000 but now they are better, standalone wireless devices offering 3 degrees of freedom (DoF) or 6DoF for a fraction of that price.”While the market penetration of VR headsets builds, Koenen said that most VR consumption was on flat devices – although 360 content was surprisingly compelling even on these.” He added that a healthy VR ecosystem was coming together, from VR toolsets in editing systems with specialist stitching software tools to the roll out of powerful 5G networks to support the delivery of VR and AR content.“What we need for VR to be a success is for the consumer to buy more devices and for producers to introduce services and production in the market. This takes time.”Koenen insisted: “VR adoption is on track. The goal is to create the market with producers needing a single format with wide reach, and consumers and VR device manufacturers wanting high-end VR experiences.”Marius Preda, associate professor at Institut MINES-Telecom,who chairs the industry’s group on point cloud compression in MPEG for 3D graphics said the industry could expect an industry standard on point cloud compression soon. “The real problem will not be compression as we are working on it right now, but on capture. I would expect that’s going to be an application you can download within two years.”Light Field Labs CEO and founder Jon Karafin said that his company would bring his ground-breaking holographic 3D technology – which will be able to generate VR experiences without headsets – to market by 2020.Light Field Labs has produced a prototype holographic projector R150MP which will act as the building block for the construction of holographic walls from which holodeck experiences can be made.
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Automation with a human touch
Videomenthe has released the latest version of its collaborative media tool box, Eolementhe. While version 5.0 features new AI-based tools that permit automatic facial, object and thematic recognition, the company has ensured that at any point in the workflow, media can be verified in a collaborative manner by an external team of people.Sandrine Hamon, head of communications, Videomenthe (pictured, told the IBC Daily that when it comes to the cloud, “the main issue for our clients isn’t really security issues, it’s the automated processes. They fear losing control when everything is automated. We realised this so we’ve been working on two axes. The first is simplicity; we wanted to create a solution that is easy to use and understand for non-technical people. The second one was the collaborative and ‘human’ aspect. At every step of the workflow, the automated processes can be checked to make sure everything is correct. The cloud is a tool; we wanted to keep the human aspect because it’s quite important.”Eolementhe features several file-processing tools (transcoding, quality control, analysis and correction of audio levels, creation of technical and editorial metadata, speech-to-text, subtitle insertion, etc.). The latest version incorporates two new functions: conditional workflows, with the automatic creation of workflow branches in accordance with criteria predetermined by the user and parallel workflows, which make it possible to execute several tasks simultaneously.Stand Number: 2.B39
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World’s first MoCa Access 2.5 solution demoed
What’s claimed to be the world’s first MoCA Access 2.5 solution – with 2.5Gbps point-to-multipoint network speed and other key features – is being demoed at IBC2018 in the MaxLinear room in hall 15.The Swedish company InCoax’s In:xtnd solution uses the latest generation of MaxLinear’s MxL3710 MoCA 2.5 networking ICs to build a multi-gigabit MDU access solution that offers network throughput equal to fibre-to-the-home (FTTH) utilising existing coaxial in-building cabling infrastructure. The ability to utilise coax networks delivers a significantly lower total cost of ownership.The InCoax In:xtnd access solution offers 2.5Gbps speed over coaxial cable and powerful multipoint networking capability to manage up to 124 customer premise equipment (CPE) modems with one head-end unit. This combination makes the solution appealing to both telecom and cable service providers. Service provider network management features – including DBA, VLAN, QoS, TR-069, and layer 2 security – are fully supported by the management software.Peter Carlsson, CEO of InCoax Networks, said: “We are very excited to partner with MaxLinear on the industry’s first MoCA Access 2.5 solution. The highly integrated MxL3710 chipset and software suite enables us to deliver the most advanced coaxial gigabit access products to the market.”Will Torgerson, vice president and general manager of MaxLinear’s Broadband Group, commented: “MoCA Access 2.5 is picking up significant market momentum as consumers demand faster access speeds and carriers see the extreme value provided by the ability to use coax cable for these connections. InCoax has engineered an impressive MoCA Access 2.5 solution including a full suite of differentiated management and diagnostic features that that will address a real need for faster access speeds and simplified deployment and management tools.”Pictured is Marcin Smolarski, MaxLinear’s senior director EMEA sales and FAEs.Stand Number: 15.MS28
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Cobalt Digital demoing RIST specification
Christopher J Shaw (pictured) and his colleagues on the Cobalt Digital stand are taking the opportunity to host a demonstration of the Reliable Internet Stream Transport (RIST) specification at their IBC show stand. Created by the Video Services Forum (VSF) to serve as a common industry specification for low-latency video contribution over the internet, the first version of the new specification – the RIST Simple Profile – is nearing completion, and members of the VSF RIST working group have used Cobalt Digital equipment to demonstrate the protocol in action.The new RIST protocol will play a critical role in bringing interoperability to the many current and future products engineered to support RIST. Strong industry support for RIST means greater choice and flexibility for broadcasters, which benefit from the cost savings of using the internet for contribution feeds and from the freedom to mix and match products from different vendors as needed.Also on the stand is the 9904-UDX-4K new up/down/cross converter, which upconverts 12G/6G/3G/HD/SD to either UHD1 3840x2160 square division multiplex (SDM) or two-sample interleave (2SI) quad 3G-SDI based formats, or can output ST 2082 12G-SDI for single-wire 4K transport; the 9971-MV18-4K multiviewer, which supports the latest signal types and can be expanded indefinitely as necessary; and the OG-PC computer card, which fits into an OpenGear frame and saves space by avoiding the need for a full size computer.Stand Number: 10.B44
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Sundog debuts secure rotoscoping tool
At IBC2018 Sundog Media Toolkit has launched DubSafe – an AI based auto-roto for content versioning security.Sundog developed the tool in direct response to requests from clients for a simple way to automate the manual process of rotoscoping content to obscure all but actors' faces for dubbing and subtitling security. The result is a tool that doesn’t completely replace the manual process but significantly reduces the time required.Sundog CEO Rich Welsh (pictured) said: “A whole feature film is probably a five-day process if you were doing it all manually – maybe a day for a 20-minute reel, so you’ll have five or six reels [for a film]. So we’ll get that down to a few hours, half a day maybe, for a feature film. Taking days out of that timeline can be a big deal for studios.”Welsh added: “With support from Hollywood Studios and broadcasters Sundog has developed a highly customisable tool using techniques including machine learning to identify dialogue sections and automatically produce the masking required. There are many challenges to this particular task including the fact that often, talking characters in movies and TV aren't human, such as animals, aliens, cartoons, robots etc. We have been busy training our system on just such content to bring the accuracy and breadth of content it recognises to the level required for our discerning Hollywood and broadcast clients.”DubSafe has been deployed on Sundog's secure cloud platform, using the company’s hardened security architecture, which has been vetted by the most stringent evaluators in the industry.Welsh explained: “Sundog already regularly handles sensitive pre-release content at all stages of post and versioning, and this is a natural fit for this process as it can take place completely within the control and workflows of the production, prior to the versioning process. We believe DubSafe's flexibility, accuracy and security is unique and we continue to improve performance thanks to the use of machine learning.”Stand Number: 9.LP4
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Smart TVs to “hit the glass ceiling”
TV has entered a new generation where ‘smart’ has been predicted to populate homes and penetrate the global industry to reach market revenue in excess of $49 billion by 2020.The smart TV ecosystem has more than doubled in the past five years despite a saturated market and pessimistic forecasting, and executives speaking in the new platforms track highlighted the value proposition and growing market revenues.Global shipments are estimated to reach 250 million units by 2023, according to Tony Guo, CEO, Ffalcon Technologies and TCL Group, who pointed to new technologies and constant innovation as the drivers for industry success.He said: “AI and IoT will make the future of the smart home industry by promising huge monetisation potential and the IoT integration on all smart TV devices will turn the home into a truly intelligent experience.”“The integration of more content providers is the future because there is a compelling business case around the smart TV ecosystem,” Guo continued. “By 2020 OTT video services will be valued at $31 billion.” Statista Research and Analysis head of research projects Eike Hartmann (pictured) said the business value behind the smart TV ecosystem will become invaluable.He said: “Internet penetration is a key driver for smart and connected devices.”The usage of connected devices in North America and Europe are currently growing significantly with the Asia-Pacific region set to soar.Hartmann said: “Roughly one-third of the total internet population is connecting their smart TVs to the internet which is slightly higher than digital media players.”Executives agree TV consumption remains relatively stable with smartphone and TV consumption growing where digital video consumption is seeing a decline in linear TV viewingHartmann said this trend is advancing in the US and China but, overall, audiences spend more time watching linear TV than they do digital.He added: “Linear TV is not dead and it will not be for the foreseeable future.”
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Bridging the gap with Ease Live
A year after launching its interactive TV platform Ease Live, Norway-based Sixty is making use of this year’s IBC to drive home the message that broadcasters should be engaging more with their audiences if they don’t want to lose them to other, digital offerings.Kjetil Horneland, CEO of Sixty, believes that the next big thing for broadcasters is to separate the graphics from the TV, enabling graphics to be created locally so that they can be controlled by users. Ease Live is designed to allow broadcasters to utilise the traffic they have built and monetise it, he added.Now, Sixty is talking to every sports league and broadcaster in the world, and expects to see some major launches next year. Ease Live has already been launched by a major US sports league, although no names can be revealed as yet.“Everyone has invested in their platform and they need to monetise it,” he said, pointing out that the traditional value chain has changed because of the challenges presented by new players that go direct to consumer.Ease Live distributes new and interactive on-air graphics to viewers across multiple platforms, providing interactive graphics both for live sports and studio productions. It also enables two-way communication with end users, linking directly back to the studio.“We glue the internet on top of the TV,” explained Homeland, who believes this is now creating new opportunities for broadcasters to improve the user experience, retain users and reduce churn, and improve advertising models.The aim is to keep users on the screen, rather than losing them to a second screen with information such as player stats or other data. “I think the debate about the first and second screen is dead,” Homeland said, noting that the emphasis now is on addressing user needs and encouraging younger audiences not to abandon linear TV.He pointed to statistics that said linear TV viewing dropped by 20% among people of all age groups in Norway. “We are bridging the gap between linear and digital TV. We are connecting the dots all the way from the studio to the user.”Stand Number:14.H21  
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Qvest.Cloud on show ahead of 2019 launch
Qvest Media’s cloud-based management platform, Qvest.Cloud, is in pre-launch mode at the company’s stand, counting down to lift off in 2019.Announced just prior to IBC2018, Qvest.Cloud is a management system that enables third-party cloud applications to be networked into one integrated end-to-end workflow and used and monitored via a central user interface.Peter Nöthen, CEO, Qvest Media, told the IBC Daily: “It is a platform that integrates multi-clouds (Microsoft Azure, AWS, Google Cloud) plus private data centres, plus your on-premise installation. We integrate all three with vendors. We have more than 20 partners already, which are all integrated into our cloud management system. What we do is enable people to use a hybrid model with everything they have on-premise, and scale up or scale down through the cloud, use the full ecosystem with partners, and have one single sign-on that controls the entire thing.”Beyond Qvest.Cloud, Nöthen adds that Qvest Media has been expanding its consultation services, helping companies manage digital transformations. The consulting covers everything from digital supply chain and cyber security to OTT and turnkey infrastructures.Qvest Media is itself transforming. After signing a deal to acquire HMS at last years IBC, the company’s products “are now all native cloud-based throughout the chain, from ingest of scheduling up to play out,” says Nöthen. “As the market and the industry is changing, we have to change as a company. That’s what we’re continuously doing, and we’re used to doing it.”Stand Number: 3.B40
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NeuLion roaring ahead with Endeavor
NeuLion is looking ahead to a new phase in its corporate development following its recent acquisition by sports and entertainment group Endeavor, but for now it is focusing on what it does best: refining and developing its over-the-top solution for content rights holders.According to Alexandre Maes, SVP of business development at NeuLion, the primary areas of focus right now include efforts to reduce latency for video content on mobile phones; investment in anti-piracy measures for content on phones; and the personalisation of such content.What impact the Endeavor acquisition will have on NeuLion’s future strategy – such as whether it will gain a new brand name – remains unclear. However, Maes said the new US-based parent is supporting the company’s expansion. “We are already growing,” said Maes. “We are really recruiting a lot.”Maes believes that NeuLion is well positioned in the OTT market because it provides a complete OTT management solution, and maintains a close relationship with the customers for whom it manages content. However, he appears convinced that the OTT market in general is ripe for consolidation because of the large number of companies that have specialised in small parts of the value chain. In his view, only those with a complete solution have a chance to survive and grow. “It’s easy to compete against best of breed,” he added.With Endeavor, NeuLion is now part of a group with more of a content than a technology background. It is made up of a broad network of companies ranging from branding and talent agencies through to the Miss Universe competition and the Ultimate Fighting Championship.It seems that Endeavor decided it also required a technical element for content delivery. As Maes pointed out, when companies develop content, they eventually look for a way to get that content to consumers.NeuLion already places a strong focus on sport, with the aim of providing high-quality delivery of live sports content. As Maes said, live sport is so demanding that it drives development in all areas of content delivery. “It forces us to be excellent,” he said.Stand Number: 14.H10 
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Blockchain: “Tracking IP and revenue is where the power is”
From empowering artists to track their IP to allowing studios see how their movies are performing, blockchain is set to revolutionise the way content is monetised and distributed, according to Singular DTV co-founder Kim Jackson (pictured).During the Blockchain Keynote, Jackson revealed that next year her company is set to launch an ecosystem based around the digital ledger technology that enables its users to generate smart contracts and tokens that can be embedded with IP, rights information and value.“The ability to track IP and revenue is where the power is,” said Jackson. “Singular DTV is focused on transactions: rights, royalty and revenues. Next year you are going to see films, TV shows and books using our digital distribution platform.”Singular’s platform comprises of Tokit, which allows creators to upload and tokenise content; a consumer facing peer-to-peer distribution platform and an artist’s portal where creators are able to see what transactions are taking place in each region in realtime.Jackson said the platform could be used to go direct to consumer or to help studios and digital streamers track revenues from their content.“Our tech can really help studios with their accounting processes, which can be a costly inefficient nightmare. They can just use the backend of what we offer and save millions of dollars,” Jackson claimed.Jackson is such a die hard convert to digital ledger technology that she even got married on the blockchain, securing her vows in a smart contract on the platform.Other cheerleaders for the DLT technology include film maker and Bill and Ted actor Alex Winter, who has made the film for DTV and Trust Machine and High School Musical producer Bill Borden, who has praised blockchain for its “transparent accounting abilities”.Maurice Schutte, producer and co creator of the sci-fi feature Space Beers, told delegates that he was planning to use STV’s platform to tokenise the film as a means of getting it made and rewarding stakeholders and fans who have contributed to the project.“We strongly believe that all financial supporters of Space Beers should reap the benefits. Traditional crowdfunding just doesn’t offer backers the sustainable or lucrative participatory structures that tokenised ecosystems can,” he said.
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Gearing up for the future with IP tech
Gearhouse Broadcast has purchased more UHD and IP-ready Grass Valley LDX 86N cameras for its German business. They will be used by Gearhouse Broadcast Germany, previously known as Genesis Broadcast Services, before it was acquired and rebranded by Gearhouse Broadcast’s parent company Gravity Media Group in March this year.Meanwhile, Gearhouse announced at this year’s IBC show that it is upgrading its fleet of Flyaways to be IP-ready. This means that Gearhouse’s customers will be able to use its portable production solutions with either an SDI, IP or hybrid backbone, whichever set-up they prefer for a particular job.Pete Newton, technical director at Gravity Media Group, told the IBC Daily: “This is an important investment for us and is based on the fact that we’re looking to offer a bit more diversity in our portfolio and looking to move away from SDI into IP. Scalability is important to us in our events, and we feel that IP can be scaled easier; decentralised routing is important.“Our DNA is in flyways, which are different to turning up in an OB truck and distributing flight cases to different places. In a SDI world, there’ll be a lot of cabling, whereas with IP, there’s a lot less, leading to decreased rig times.”In May, Gearhouse Broadcast Germany’s UHD rental inventory was boosted following a group-wide purchase of multiple Sony HDC-4300 cameras and a range of Canon and Fujinon 4K/UHD studio/field and ENG lenses.The Grass Valley LDX 86N cameras feature native UHD (3840x2160) and native 3G/HD (1920x1080) image capture. The IP ready cameras are ideal for sports productions, where the use of traditional B4 mount HD/4K lenses instead of PL lenses enhance the producer’s and director’s ability to capture content. They are also specifically designed for live broadcast 4K UHD in controlled lighting situations and wide-angle camera positions.Tom Gehring, managing director of Gearhouse Broadcast Germany, said: “The multiple LDX 86N cameras add even more versatility to our solutions for the European rental market. In today’s world of UHD and HDR broadcasting, having access to this technology enables us to offer our customers greater choice and value.”Pictured are Pete Newton, technical director at Gravity Media Group (left), with chief revenue officer Eamonn Dowdall.Stand number: 10.B39
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TV 2 Denmark inks Avid deal
Denmark’s TV 2 has inked a multi million-dollar deal with Avid that will see newsrooms in Odense and Copenhagen updated with the latest Avid news production tools.MediaCentral will be at the heart of the installations with TV 2 hopeful of increasing efficiency and collaboration opportunities for its news teams while also providing a future path to the cloud.The upgrade is expected to be completed in 2019 and includes a multi-year service agreement.“[TV2] are reimagining their production to meet today’s demands,” Avid chief executive Jeff Rosica said, noting that this includes delivery to digital, social media as well as traditional platforms.“It’s designed to accommodate over 300 users simultaneously between its sites.”TV2 chief information officer Tom Bjerre added: “TV 2 has been an Avid user for more than 10 years and we’re looking forward to moving our longstanding relationship forward through this alliance. Together with Avid, we have a mission of building a modern, easy-to-use and flexible production system that publishes across many platforms.”Also at IBC, Avid announced that more than one million users have now downloaded its Avid First creative tools.Pictured, left to right, are Avid senior manager, solution design and consulting, Henning Braendeholm, Avid senior enterprise sales manager Anders Lundstrom, TV 2 head of technology Gunnvor Klementsen and Avid senior vice president of global sales Tom Cordiner.Stand number: 7.B55
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Economics will always triumph over dogma
With a 30-year background in the telecommunications and mobile technology industries, Imagine Communications’ new CEO Tom Cotney – he was appointed late last year – brings a fresh perspective to the industry. It’s also his first IBC. So; what are his impressions so far?The media industry is going through a change that is the magnitude of the Industrial Revolution,” he observed. “It’s very comparable with what the telecoms industry has been through – not least in the way it is being forced to cannibalise its installed base.”“From what I’ve seen so far,” he continued, “it’s also a refreshingly open industry.”Cotney’s view is that the transitions the industry is going through – not least the transition to IP – won’t go as fast or as smoothly as many have hoped or predicted.“Economics will always triumph over dogma,” he smiled. “We need to do a better job of understanding whether some of the problems we’re trying to solve are problems that our end users really care about – or whether we’d be better off investing elsewhere. If the price is right, there are issues they’re prepared to overlook.”With this fresh vision of the opportunity, Cotney believes it’s time for his company to adapt the way it operates. Historically, he points out, Imagine has prided itself on its technology leadership – not least in the area of IP – but he thinks it’s time to shift that focus.“The fact is, there are many perfectly valid reasons for our customers to not want to make that change right now,” he said. “We may be able to better serve their real needs by becoming more of a vendor-agnostic advisory service, helping them solve the problems they face today.”Stand Number: 4.A01
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Sohonet unveils pay-as-you-go tool
The networking and connected cloud service provider Sohonet has revealed a ‘pay-as-you-go’ real-time remote collaboration tool, ClearView Flex Go, which is scheduled for launch in October 2018.The tool is an update of ClearView Flex and is designed to make the remote collaboration product easily accessible to projects of any size or budget by offering short-term commitments with flexible pricing, while providing the same quality options that are found in the subscription product.                  ClearView Flex Go will come in two packages – Weekly and Weekly Plus. The Weekly version will sell for $300 per week and will include up to medium (desktop) quality bitrate and two viewers per session. Weekly Plus will sell for $750 per week and will include Sohonet’s highest quality bitrate, and up to five simultaneous viewers in any streaming session. For customers who have long-term usage requirements, Sohonet will continue to offer the contract version, ClearView Flex Pro.Sohonet CEO Chuck Parker explained: “Due to the unpredictable, project-based nature of much of their work, many of our customers want to pay for what they use and match their cost cycles with their revenue cycles. Incorporating a pay-as-you-go pricing model into ClearView Flex is going to meet these unique requirements of our customers.”Parker added: “The ClearView product suite has been changing the way movies, TV and commercials are made. Directors, producers and executives can now review and approve real-time video streams from any location or edit suite to help speed up the production workflow.”Sohonet has provided connectivity and data management services for the media and entertainment industry for over 20 years. It offers a range of connectivity, data management, storage and compute solutions that enable clients to manage store and transfer valuable and critical content quickly, securely and effectively.Stand Number: 9.LP11
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AtomX expansion gives Ninja cutting edge
The new Atomos Ninja 5 can now be integrated into the broadcast world thanks to the first of the new AtomX expansion modules. The AtomX Ethernet/NDI ($199) gives it NDI I/O, while the AtomX Sync ($149) adds wireless timecode and genlock (in partnership with Timecode Systems). It means users will be able to use anything with an HDMI output with broadcast infrastructure. The modules can be stacked.The timecode module will allow users to wander around with a compact camera and Ninja 5 and it will sync perfectly with other broadcast equipment – useful for anyone working with a sound recordist.Users will also be able to see and control other devices on the network and potentially trigger them, which will be useful for applications from low-budget multicam setups to wildlife productions.“It’s bringing a lot of things you associate with bigger cameras to a small camera,” said Dan Chung, product marketing, Atomos. “All the gear has been in there, what we were missing was the glue to bring it together,” and of course the expansion slot itself, which is new to the Ninja 5.“It’s a slightly different direction for us, but it recognises that people want to attach these cameras to their infrastructure,” said Chung. The Ninja 5 “is not just a monitor or recorder, but an expandable computer with a slot on it that allows you do all sorts of funky things. This is just the beginning.”Stand Number: 11.D25, 11.D15
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Pure play streaming tech company emerges
In a business move Nokia has announced plans to sell its IP Video business to Toronto-based software company Volaris Group, which will then result in the creation of a new pure play streaming technology company to be known as Velocix. Nokia’s video product portfolio – including its caching and streaming products, origin and storage technology and stream personalisation software – is expected to move to Velocix. Nokia is set to remain a minority shareholder in the new entity and will play a role in supporting the company’s growth. The planned deal is expected to close during Q4 2018, subject to customary closing conditions, and the financial details are not being disclosed.The majority of Nokia’s IP Video business employees are expected to transition to Velocix with Nokia becoming a global channel partner, thus enabling it to continue to sell and support Velocix video solutions. Nokia has said it will maintain certain elements of its video unit, including integration business and associated employees, to provide continued support for existing customers.Paul Larbey, head of the IP Video business at Nokia, said: “We are excited to be part of the new company under the Velocix brand that set out to transform the video landscape back in 2002. Through several acquisitions the name changed, but the purpose remains the same: to enable big changes in the video market, to make video more personal and to enable a highly compelling entertainment experience for consumers on every screen.”David Nyland, portfolio leader and president, communications & media at Volaris, said: “Volaris is truly excited by this pending acquisition of Nokia’s market-leading video streaming portfolio. This planned transaction marks our first investment in the highly dynamic media technology sector and we look forward to using it as a springboard for growth.”        Stand Number: 15.MS35
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Compact OBs offer cine-look production
Berlin-based news agency Ruptly has two new UHD OB and DSNG vans on show that went into action at the World Cup, and have been designed for versatile, file-based productionRuptly’s key requirements were: manoeuvrability, flexibility and an innovative vehicle concept that could be driven with a normal car driver’s licence – something integrators Qvest Media managed thanks to a novel body and lightweight construction method developed with Carrosserie Akkermans. Both vans are based on a Mercedes Sprinter and weigh less than the maximum of 3.5 tonnes without making concessions in terms of fully-featured technical equipment.For acquisition they use Arri Amira UHD cameras, CueScript teleprompters and Canon lenses, which means they can not only do live news or sports, but also cine-look productions. They have a 4K/UHD video mixer from For-A, Yamaha audio mixer and an AJA 4K ingest and playout server.According to Norman Tettenborn, principal, Qvest Media, the project shows that “a high level of technical quality can be achieved with competitive budgets even when space is at a premium.”The two vans can be coupled to form one integrated production unit using Riedel’s integrated real-time network MediorNet, with the decentralised router distributing audio and video between the OB, DSNG and integrated stageboxes. The live feed is broadcast via a fully redundant Vislink NewSwift uplink.Ahmet Cakan, CTO, Ruptly said: “The vans passed the baptism of fire during the World Cup in Russia without a hitch and made our reporting considerably easier.”Stand Number: 0.B05
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Big future for AI in storytelling
Yves Bergquist, CEO of AI research company Corto, has predicted a big future for content companies which use the latest AI-driven analytical tools.The evolution of more sophisticated analytical platforms which can measure and predict how popular particular characters and themes in stories are going to be are set to revolutionise the industry, said Bergquist, speaking at a Keynote session on AI.“We are standing on the cusp of a massive revolution in how media companies will be able to tell stories. It’s about telling stories that really resonate with people and when the stories are right media companies are going to take over the world. They are going to become much more powerful and successful.”According to Bergquist, who is also director of the Data & Analytics Project at the Hollywood-funded University of Southern California’s Entertainment Technology Centre, his AI-based analytical platform can show which narratives attributes of film or TV content do better with audiences.“We have an application which is parsing scripts to measure media tonality in scenes. We can map how emotions are represented in a film, we can map the emotional journeys of characters and how audiences respond, looking at the script and TV ratings.Bergquist said AI analysis could help content owners like Disney develop huge content brands such as Star Wars. “The challenge is to find the right blend of innovation and adherence to traditional Star Wars themes. Innovate too much and you turn audiences off. I want to push creatives to be more creative.”Asked if entertainment companies will take to more powerful AI-based analysis, he said: “The younger ones totally get this as it will allow them to create more compelling stories. The older ones hate it as they think it will mean reverting to the mean and everyone will be telling the same stories with maximum appeal.”
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UHD goes mainstream with XF705 camcorder
The new XF705 is the Ultra HD successor to Canon’s hugely popular XF305, which was the mainstay of many productions' move to HD. As such it meets mainstream broadcast needs, including UHD at up to 50/60p in 10-bit 4:2:2 H.265 (or XF-HEVC as it has an MXF wrapper), and HD at up to 120p.It is built around a Canon L-series lens with 15x optical zoom, with three independent control rings. In HD it has a 30x zoom (by cropping the sensor). It includes Dual Pixel CMOS auto focus with face or object tracking. “These cameras get handed over to users with very different capabilities so this automatic functionality is very useful for inexperienced users,” said Matthew Yates, broadcast & pro video segment manager, Canon UK.The 1-inch sensor and dual Digic DV6 processors mean “it has better low-light ability and increased dynamic range compared to the 305,” he added, including the ability to record HDR files internally (to an SD card) using the Hybrid Log Gamma (HLG) and Perceptual Quantisation (PQ) formats. It can also output SDR while recording HDR, for simultaneous HDR/SDR production.It is Canon’s first product with 12G-SDI to deliver 50/60p UHD via a single cable. It has HDMI 2.0 as well, and will do IP streaming using HEVC via an RJ45 Ethernet connector. It has WiFi for camera control and to FTP files, but not for streaming. It will list at €/£6,999 (including VAT) when it ships in December.Stand Number: 12.D60
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Keith Underwood: “Distinctiveness can defeat scale”
While trillion dollar Goliaths Apple and Amazon may be ploughing billions into content, Channel 4’s COO Keith Underwood argued at IBC’s welcome opener that there would always be room for smaller companies which brought distinctiveness and innovation.Underwood told delegates: “Scale alone is not sufficient for success. David didn’t beat Goliath by piling on the pounds. The victory came by being agile, nimble and deploying smart technology.”The exec, who has taken on the newly-created role of guest chair for this year’s conference sessions, set the tone for the programme with a speech that focused on the response by established media businesses to the onslaught of the digital streaming giants.Underwood, who helped transform the commercial pubcaster’s 4oD catch up service into the more dynamic All4, described the achievements and resulting scale of SVoD behemoths Amazon and Netflix as “awe inspiring”.“The level of competition driven by these businesses has brought significant benefits for consumers, it has driven quality and choice, in what is now considered to be a Golden Age of TV,” he added.However, he warned that the ascent of Facebook Apple Amazon and Google - collectively known as FAANG - could come at a cost to local creative industries and new talent. Broadcasters, he warned, could not afford to be complacent.“What is not in doubt is that established businesses need to respond and respond quickly.”Now, more than ever before, established content providers must compete head-to-head with new entrants, often with an imposing global scale.”One response to the rise of FAANG has been the mega mergers which Underwood said were “fundamentally reshaping” the industry. In the US these include mergers between AT&T, Time Warner; Fox and Disney; Discovery and Scripps as well as anticipated reunion of CBS and Viacom. In Europe he pointed to the battle for Sky and its 23 million pay-TV subscribers that is raging on between Disney and Comcast.“If only I hadn’t sold my Sky shares last year,” Underwood quipped, “I’d certainly be staying in a better class of hotel in Amsterdam.”The former Discovery executive also highlighted national collaborations taking place between rival broadcasters in a bid to scale up including France Televisions, TF1 and M6’s joint VoD venture Salto as well as the rumoured VoD initiative between the UK’s three main terrestrial channels.“It is entirely possible that many of our expert speakers could be colleagues rather than competitors by the time we leave Amsterdam on Monday,” he speculated.In terms of where this leaves smaller players Underwood said there were huge opportunities for niche operators with carefully curated propositions, citing the success of niche VoD player Walter Presents, which operates on All4 in the UK. “Distinctiveness can defeat scale,” he said.Underwood predicted that the confidence to embrace new technology would be crucial in helping broadcasters maintain a competitive edge in a landscape that requires its operators to be nimble.“No CEO can credibly claim to not understand technology and expect to stay in their job,” he said.“Artificial intelligence and machine learning are delivering personalised user-experiences; blockchain is enabling innovation in transactional processes and rights management; and cloud computing underpins ‘fluid’ platforms for content creation, distribution and consumption.”
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Autoscript prompter monitors go all-IP
Autoscript has launched what it claims to be “the world's first all-IP prompting monitor” range with its new Evo-IPS 15- and 19-inch monitors. By ditching the built-in analogue and digital video inputs that were part of its Intelligent Prompting IP range introduced last year, it saves money, is simpler to install and easier to use.The Evo-IPS monitors connect directly to Autoscript’s upgraded WinPlus-IP or new WinPlus-IPS software over an IP network and display smooth scroll prompter video without the need for an additional scroll engine. Both models have a slim chassis and lightweight design, with a depth of only 42 millimetres. The on-camera systems come with a carbon fibre hood and are designed to remove the need for counterbalance and make the prompter significantly lighter.The WinPlus-IPS software is claimed to be “a simple but powerful prompting application for smaller productions”, and links with the Evo-IPS monitors to offer the power of Intelligent Prompting in a package perfect for smaller IP-based studios as well as corporate, educationalÍ and government productions.WinPlus-IPS features include a modern, customisable user interface, smooth scroll preview and live script editing. Users can connect any number of Evo-IPS monitors and Xbox-IP scroll engines, while the Intelligent Prompting device manager enables users to monitor, control and update networked prompting devices remotely.Stand Number: 12.E65
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BBC goes electric for newsgathering
Megahertz has built what is believed to be the first ever fully electric newsgathering vehicle, the ev-Sat, which will start trials with BBC News in London immediately after IBC.The concept vehicle is built on a Nissan e-NV200 electric van, because “running diesel-powered broadcast trucks into city centres was becoming increasingly untenable,” said Steve Burgess, CTO of Megahertz. Broadcasters have environmental responsibilities, and cities increasingly penalise diesel vehicles, but electric vehicles have limitations too. The van is a little smaller than the 35 v-Sat vehicles Megahertz has already built for the BBC, but there is limited choice right now.One challenge has been to keep the weight down, because the van’s batteries are heavy. To counter this, the desk is carbon fibre and the technical battery (for the production equipment) is lithium.The 360 amp-hour battery it has at IBC provides six to eight hours of power, depending on whether it is using the satellite uplink, mobile data or charging camera batteries at the same time. Given that it typically does a couple of jobs a day, there should be enough power for this. The van has a range of 100-115km driven aggressively with a full load, and as the BBC envisages using it mainly in central London that shouldn’t be an issue.The design is easily transferrable to other vehicles as no holes have had to be cut in the van, and the neat system for diverting some of the incoming charge to the technical batteries doesn’t require any changes to the van or the charger.Stand Number: 12.F20
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Lawo premieres WAN-capable audio-over-IP interfaces
Lawo is unveiling the new WAN Edition of its A__line family of networked audio-to-IP interfaces at IBC2018. These compact 1RU devices are capable of streaming uncompressed broadcast-quality audio to Layer 3 networks in realtime via both WAN and LAN connections. A__line nodes convert audio – mic, line-level, AES3 and even digitally-encoded baseband MADI – to audio-over-IP streaming traffic using open-standard SMPTE 2110-30/31, AES67 and Ravenna protocols. IP-audio streaming is managed using either the open-source Ember+ control API, or standards-based Ravenna advertising and discovery.New A__line WAN Edition units are optimised for high-traffic, high-demand audio transport. Dual RJ45 ports utilise SMPTE 2022-7 Seamless Protection Switching (SPS) to provide two discrete, redundant network connection paths, ensuring error-free stream delivery. Dual-redundant power is also available. Ample receive buffer capacities meet ST2022-7 class C specifications, with redundant path differentials of up to 150ms supported; additionally, up to 160ms of jitter buffer is provided for each received audio channel. A__line units can even synchronise to, and convert between, PTPv2 and wordclock reference signals.The A__line family of audio nodes integrates with Lawo’s VSM IP Broadcast Control System and Lawo mc² audio production consoles. Three models are available. The A__mic8 features eight Lawo-grade mic/line inputs and four line-level analogue outputs on XLR connectors, eight GPIOs, dual-redundant streaming ports and wordclock input and output. The unit is PoE-powered and fanless. A__digital8 has eight AES3 inputs with sample rate conversion, four AES3 outputs on XLR connectors, eight GPIOs, dual-redundant streaming ports and wordclock input and output. The unit is PoE-powered and fanless. A__madi4 provides two pairs of redundant MADI interfaces on SFP, two pairs of redundant SFP/RJ45 dual-media streaming ports, and wordclock input and output. A__madi4 comes standard with a dual-redundant power supply.Stand number: 8.B50
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Control with a tactile approach from ruwido
Based on the company’s TICTACTILE System, ruwido is demonstrating its new home solution, designed to give users control over their devices using the same intuitive interaction mechanisms they use to interact with the TV. Through this, ruwido believes it has created a seamless experience for the user that will appeal to both the visual and tactile senses while at the same time regulating automated interaction between machines, so they can be secure in the home. Sporting a transparent display with the same pattern structure as the Tictactile system, ruwido’s home solution is said to enable users to easily navigate the interface wherever they are in the home. On returning to the TV, they will be able to find their favourite shows using the same interaction methods. Ferdinand Maier, CEO, ruwido (pictured), said: “IBC is an opportunity for ruwido to demonstrate the importance of the convenient home where the user is in control, not the technology. While the TV and living room has become the campfire for the modern family, technology innovation means there is now an unprecedented number of devices that can be controlled in the home, but that isn’t necessarily a good thing, especially with ambient voice recognition services. By giving the user back that control, ruwido has developed a unique, adaptable and premium service that will enable our operator customers to offer quality propositions to consumers.”Stand Number: 1.D69
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Wolftech showcases workflow for multiplatform news
Wolftech News, a workflow management system focused on streamlining news production, will be on show at IBC. Wolftech says the system is designed to guide an idea for a story through the entire process to multiplatform publishing. The system is web-based and built with a focus on collaboration, ease-of-use, and accessibility from all devices.Arne Berven, CEO of Wolftech Broadcast Solutions, said: “We take a different approach than the traditional newsroom systems. Our focus is on planning, allowing the whole organisation to collaborate.” Berven added that the approach seeks to tear down the walls which sometime exist between digital and the various shows and offices. Wolftech News features an integration platform to ease interactions with existing systems such as rundown, HR, booking, webcams, MAM, and so on. It has its own rundown module as well, and rollout can be taken step-by-step, allowing a customer to start working with a modern workflow on its own schedule.The system is also able to handle requests for tasks, such as graphics, as well as booking of personnel and equipment. Incoming feeds from social media, official sources, mail and video cloud services, and others are aggregated in the system, and a custom-built integration and workflow engine handles the flow of video and other content.“We strongly believe in building a real partnership with our customers, and greatly appreciate working with creative and demanding clients like TV2, VRT, Vice Media, Medialaan and BBC,” said Berven.Stand Number: 8.D10 
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New satellite business emerges
Having saved the famous Goonhilly site from BT’s wrecking ball in 2014, Goonhilly Earth Station’s partners have been building a new business from the ground up. At IBC, they will unveil Goonhilly’s latest service offerings to the broadcast industry following a £24 million funding injection by UK billionaire Peter Hargreaves in May 2018. Goonhilly says it is now looking to gain significant market share in the GEO broadcasting sector. Although the company notes that commercial geostationary satellite market faces downward pressure on capacity costs, while high-throughput satellites are adding data volumes and TV habits are increasingly trending towards OTT and hybrid services, Goonhilly says it sees potential for disruption. It plans to do so by adopting an agile approach to developing and delivering solutions that challenge the traditional models and working with partners to open up new value-added services. Goonhilly claims that it further meets broadcasters’ needs with a new ‘green’ data centre that supports data-intensive live streaming requirements. Broadcasters will, the company believes, benefit from access to Goonhilly’s secure, highly connected and resilient network that links space communications with subsea cables and fibre broadband for unprecedented reach.Ian Jones, Goonhilly CEO, said: “We have the agility, approach and technology to shake up the existing world order in satellite broadcasting.”Stand Number: 5.B48
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AI in focus for Mobile Viewpoint
Portable and fixed encoding device specialist Mobile Viewpoint is showing its suite of AI-driven live production and delivery products at this year’s IBC with the aim of demonstrating how they enable content contribution from live capture through to delivery.Mobile Viewpoint believes that AI is now proving its value in broadcasting with practical implementations that tackle challenges facing the industry, including improving the efficiency of production and reducing costs.The company’s three AI-driven products, NewsPilot, IQ Sports Producer and HyperSense, are designed to reduce the cost and complexity of live news and sports content production by removing the need for costly camera crews, production facilities and distribution platforms.They will all be on show on the company’s stand, alongside TerraLink-4C Multicam, a rack mount bonded transmitter that enables multi-camera shoots without the need of an OB van on site, and LinkMatrix, an online dashboard.Mobile Viewpoint is also showcasing one of its newest products, 5GLink, which it claims to be “the first 5G-ready” bonding device. Specifically aimed at camera crews and journalists, and designed to be compatible with any smartphone, 5GLink enables the fast transmission of live content. The Hall 14 stand is hosting demonstrations of how 5GLink connects to an SDI camera and enables the transmission of content to live newsfeeds or the studio.Michel Bais, CEO at Mobile Viewpoint, said: “Traditional live broadcast set-ups are expensive, resource-intensive and not conducive to the viewer’s expectations of instant news or sports coverage. Broadcasters and content owners must adapt to new ways of producing and delivering content if they are to meet consumers’ increasing demands for live content, online.”Stand Number: 14.F24
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IBC2018 International Honour for Excellence recipient announced
The IBC2018 International Honour for Excellence, IBC’s highest award, this year goes to Joan Ganz Cooney, the driving force behind the ground-breaking Sesame Street series and Sesame Workshop. She is recognised for her life’s work in changing children’s lives through media.Cooney co-founded Children’s Television Workshop, now Sesame Workshop, in 1968. The show Sesame Street first appeared on TV in the United States in November 1969. She remains a board member and chairman of the Executive Committee today.Cooney had a revelation when she recognised that children all over America were singing the words from beer commercials: she realised that television was reaching children, and wondered if it was possible to use that powerful media platform to teach. The result was Sesame Street, a unique blend of puppets, children, a culturally-diverse cast, and a remarkable range of guests, bound together by music that underpinned the educational elements.Today, Sesame Street is seen in 150 countries worldwide, and localised versions have been made in more than 20 countries, including Mexico (46 years), Germany (45 years), and the Netherlands (42 years).  In Bangladesh, four-year-old viewers of Sisimpur have literacy rates 67% higher than non-viewers. In South Africa, viewers of Takalani Sesame are four times more likely to have an awareness of HIV/AIDS issues than their peers. Alam Simsim gives Egyptian four-year-olds the same maths and literacy levels as non-viewer five-year-olds. American children who frequently watched Sesame Street as pre-schoolers achieve high school grade point averages that are almost 16% higher than those who did not watch the show. “We are grateful to IBC for recognising the ways that, for almost 50 years, we have used the combined power of media and the Muppets of Sesame Street not simply to advance the world of educational media, but to touch countless children’s lives,” Cooney said. “We are proud and humbled to receive the International Honour for Excellence, and on behalf of everyone at Sesame Workshop, past and present, I thank you.”Michael Crimp, IBC CEO, added: “Through television, and now through new media, Sesame Street is a genuinely positive, transformative influence in children’s lives. It has transformed television and had a huge impact on our industry. I am proud that we will be able to present the IBC International Honour for Excellence to its co-founder, Joan Ganz Cooney, who is incidentally the first woman to receive the award.”The award will be presented as part of the IBC Awards Ceremony on Sunday 16 September at 18:30. Accepting the award will be president of media & education and COO of Sesame Workshop, Steve Youngwood. He will be accompanied on stage by a very special guest from Sesame Street.The IBC Awards Ceremony is free to all IBC visitors.
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International debut for Deluxe One
Deluxe Entertainment Services Group has announced that its presence at IBC2018 will mark the international debut of Deluxe One, its ground-breaking solution that addresses today’s complex content creation and delivery challenges.Trusted by the largest studios, programmers and distributors for their most important and complex projects, Deluxe’s end-to-end post-production and distribution services take content from lens to living room, anywhere in the world. Deluxe One, virtualises these services in the cloud, giving customers the opportunity to leverage these powerful solutions, regardless of workflow, to maximise the value of their content.Andy Shenkler, chief product officer for Deluxe, said: “The global nature of content today has our customers grappling with more titles, formats and languages than ever before, making the content supply chain the most complex it has ever been. Deluxe One simplifies this process, making it easier and faster to get quality content to audiences all over the world.”Deluxe One provides a unified platform for customers to manage their content – from creation to delivery – all in one place. Built on a micro-services architecture with open APIs, customers choose the services they need – from content acquisition and title and asset management, to localisation, distribution and OTT playout – unifying a traditionally fragmented media supply chain and giving customers control and visibility into their workflows. In contrast to traditional closed-silo solutions, Deluxe One is designed to be open, allowing for integration with third-party solutions for improved collaboration.With customers’ assets and data connected in the cloud, Deluxe One accelerates today’s complex workflows by automating tasks to reduce hand-offs or errors, and speeding up turnaround times. The streamlined process means content can get to more screens, more markets and more viewers, without added time and expense.Stand number: 7.C29
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New Abekas Tria News server on show
The new Abekas Tria News 4-channel newsroom playout server from Ross Video supports software-based codec playback with no transcode required for the most commonly used news codecs. This is intended to reduce the time to air from content creation, to edit, and to playback.It is optimised for efficient ingest and playout of newsroom media assets from four independent PGM playout channels, all controlled from newsroom automation systems. It has dedicated HD-SDI baseband input, and can ingest and store live content, encoded with DVCPRO-HD. This captured content can be quickly trimmed using simple heads and tails edit tools built into the Tria News server. Once this content is clipped, it can seamlessly play back-to-back with native XDCAM and AVC-I MXF files during a run-down playout.Tria News is tightly integrated with Ross Video’s Inception newsroom computer system, Streamline media asset management, and OverDrive automated production control platform. When news stories are published to a central NAS from networked edit systems, Ross Streamline can direct Tria News to load and playout up to four native XDCAM HD422 and/or AVC-Intra 50 MXF media files concurrently, with all four clips played directly from the NAS across gigabit Ethernet. For redundancy, assets can also be mirrored inside Tria News on SSD. For complete playout redundancy, Streamline can also mirror media assets across two separate Tria News servers.Stand Number: 11.B08, 11.C10, 11.C23
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Pebble Beach to demo Singular.Live integration
One of the demos on the Pebble Beach Systems stand will be the integration of Singular.Live cloud-based graphics on its Orca virtualised playout platform. Singular.Live is a HTML5 graphics authoring platform which allows designers to create, control and play out broadcast quality graphics from a standard web browser. Stuart Wood, technical product specialist at Pebble Beach Systems, said: “The Singular.Live platform is both powerful and intuitive, and this new integration enables us to demonstrate the benefits of using a cloud-based graphics solution alongside an Orca software-defined channel. Overlaying real time HTML5 graphics with content derived from Pebble’s Marina automation playlist, or from moderated social media feeds and other online data sources becomes easy.”Wood said that with Marina controlling the timing of the graphics, these can be scheduled from traffic, or the manual control interface can be used by a studio during a live event. The integration allows for multiple HTML5 render instances to be used in the same pipeline or channel configuration to suit multiple applications. For example, the branding can be different on a broadcaster’s OTT platform and linear channels, but can use the same triggers and data from Pebble’s Marina automation system. Marina can also trigger ‘client-side’ graphic branding/advertising for online streaming to display personalised graphics which can be interactive, helping to further drive viewer engagement.Stand Number: 8.B68
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Avatar sequels get Sony shooting solution
Visitors to IBC2018 can check out Sony’s CineAlta Venice motion picture camera system, which will be used for principal photography on director James Cameron’s two upcoming Avatar sequels.Cameron’s production company, Lightstorm, has worked closely with Sony to customise the Venice cameras by using an extension system that allows the camera body to detach from the image sensor block at distances of up to 20 feet. With the new Sony cabling system the only part of the Venice carried on the rig will be the image sensor optical blocks. This reduces on-board camera weight to about three pounds per sensor block, thus increasing the potential to shoot with greater flexibility and freedom. Cameron revealed: “The Venice camera delivers the most astonishing image I’ve ever seen. The blacks are rich, deep and velvety, the highlights and source lights are amazingly bright. For the first time, we truly appreciate what the term High Dynamic Range means. I’ve enjoyed shooting with Sony CineAlta cameras for 19 years, but I’m really looking forward to shooting Avatar 2 and 3 with the new Venice camera.”Principal photography on the Avatar sequels is slated for the first quarter of 2019 with multiple Venice cameras to be paired in various 3D stereoscopic rigs. Performance capture is already underway and the shooting process will also utilize a number of other Sony cameras. These include multiple Alpha mirrorless interchangeable lens cameras, the PXW-Z450 and PXW-320 camcorders and the compact RX0 video camera. Sony’s F55 and Alpha cameras will be used to record behind-the-scenes footage and stills.Neal Manowitz, vice president of digital imaging at Sony Electronics, said: “Our goal in this ongoing co-development collaboration is to enable Lightstorm to execute their vision and deliver their unique approach to storytelling. For Avatar, Venice will be put to use in very demanding environments. The camera’s full frame sensor gives them complete flexibility and freedom to choose aspect ratios, various bokeh and lenses that match their shooting requirements.”Stand Number: 13.A10
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IBC2018 keynote convention speaker announced
[[{"fid":"6626","view_mode":"default","fields":{"format":"default","alignment":"","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false,"external_url":""},"type":"media","field_deltas":{"1":{"format":"default","alignment":"","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false,"external_url":""}},"attributes":{"style":"height: 167px; width: 250px; float: left;","class":"media-element file-default","data-delta":"1"}}]]Kim Jackson, co-founder and president of entertainment at blockchain entertainment studio Singular DTV, will be delivering the Convention Keynote at IBC2018.The session, entitled Blockchain: Empowering content creators, takes place on 14 September at 09:15 in The Forum and will reveal how to utilise the peer-to-peer ledger system to restore trust and confidence to creators while delivering an exceptional experience for consumers. While cryptocurrencies are currently seen as more publicity than purpose, the underlying blockchain technology has the essential elements to make a significant impact on how we create, manage and/or distribute entertainment content in the future. Artists and creators are looking at new ways to partner with content companies to address their goals of creative independence, IP ownership and financial transparency. This keynote presentation looks at how tokens can be used to manage rights/revenue automatically using smart contracts and explores the tools and systems required to support creatives in this emerging, dynamic and empowering ecosystem.Jackson said: “In the two years since we founded SingularDTV, I’ve seen blockchain skyrocket into the public consciousness. We are one of the first companies to bring transparency to the entertainment industry and I am very honored that IBC asked me to share our vision with its impressive roster of high-profile global participants. Having a head start on most other blockchain companies means we are building on our experiences of actually putting that vision into practice.”Prior to co-founding SingularDTV, Jackson worked with Universal Pictures and founded Streetwise Pictures. She has been the driving force behind more than a dozen award-winning and theatrically released independent films including Children of God and Gunhill Road. She also executive-produced King Cobra, starring James Franco and Christian Slater. Jackson will be joined on stage by Maurice Schutte, producer and co-creator, Space Beers, who has been active as a producer and director for over a decade in television and live broadcasts.This session is free-to-attend and open to all IBC attendees.
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Discover the future at IBC2018
The IBC Future Zone showcases innovation, concept technologies and cutting-edge solutions. This year the focus is on showing how new technologies grow from their first inception, progress through research/development/validation projects and mature into the ground-breaking applications and product standards of the future. Major industry trail-blazers who will present their visions of the future, include NHK (Japan) and BBC R&D (UK). A number of demonstrations of technology advances will be on display on their stands, including: Web-VR applications; object-based media scenarios; pathways to 8K resolution for UHD; and artificial intelligence in broadcasting. Internationally renowned research institutions such as B-com (France) will highlight innovative uses for augmented reality and new audio/video production workflows - with other research foundations including ETRI (S Korea) and IRT (Germany) contributing as part of international collaborative research projects. Demonstrations will feature object-based broadcasting of major sports events, 'smart stadium’ technologies, and the world’s first intercontinental ultra-wide vision (UWV) transmission between South Korea and the Netherlands. Audio, an important but often over-shadowed component in the broadcast world, takes a prominent role in the Future Zone this year. Spatial audio solutions have progressed significantly over the past year, and delegates will have the opportunity to immersive themselves within remarkable 3D sound experiences, produced by leaders in the field like G’Audio Lab (USA). On the video side, we see that 4K UHD is already establishing itself in the marketplace. Various implementations of UHD technology standards will be on display in the UHD Forum stand, including end-to-end OTT HDR systems, and new academic research into high contrast HDR techniques which includes an app that will enable delegates to see some astounding quality special HDR content on their mobile phones.Alongside this, The IABM Future Trends Theatre in the IBC Future Zone will host a packed programme of presentations that explore up-and-coming technology and business trends and how they will segue from today’s environment.The sessions are linked to themed tracks which cover a range of topics including AI, personalisation, targeted advertising, immersive media and production innovation.  Highlights include Sanchez Guillaume, AI R&D engineer at Hexaglobe, discussing ‘Art and technology: A deep learning approach’;Muriel le Bellac, CEO, videomenthe, asking‘Is cloud only a matter of technology? Will new cloud business models be human-centric?’; Vimalesh Melwani, vice president, product line management, Prime Focus Technologies, considering ‘Automated distribution for new-age content supply chains; and Tracie Mitchell, media technology consultant at Blue Lucy who will tell the audience to‘Forget the hype, blockchain technology could truly transform media rights management for content creators’.The IABM Future Trends Theatre is open to all visitors across all five days of the show. 
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Next gen video meets reality at IBC2018
Technology companies and service providers will once again come together to discuss the latest trends, strategies and developments in online TV and video at the Content Everywhere Hub programme at IBC2018. This year, the Hub will consist of 10 expert panel discussions and 34 product demos. Situated at the heart of IBC2018 in Hall 14, IBC Content Everywhere combines a high-quality exhibition with the Hub programme designed to help visitors learn and experience how innovative new technologies are expanding the opportunities arising from the exponential growth of content consumption online.The agenda for the Hub is centered on 10 panel discussions drawing together a range of perspectives and expertise on key issues including the implications for the digital media sector of high profile emerging technologies such as 5G, Edge computing and blockchain. Other topics covered will include how to successfully grow an OTT service, how artificial intelligence and machine learning are impacting content creation, OTT distribution and monetisation, new business models and innovations in programmatic advertising, as well as the convergence of broadcast and telecoms.There will also be 34 product demonstrations covering the entire OTT distribution chain, including online video platforms, transcoding and streaming solutions, content security options and monetisation techniques. Speakers will include experts from small start-ups to some of the biggest names in technology including Google, Alibaba, CSGi, Telia, Ooyala and Roku.With viewers wishing to take greater control over their viewing habits, over-the-top distribution is becoming more and more critical to the electronic media eco-system. Offering consumers ‘content everywhere’ and catch-up services are now essential requirements for many broadcasters to complement traditional distribution, as well as telcos wanting to add video to their portfolios or independent content creators or brands wishing to go direct-to-consumer. The ability to deliver content ‘over the top’ across broadband networks has also opened the door for new players to establish their own direct relationships with new audiences. IBC Content Everywhere will bring together technology companies and service providers who are at the heart of this revolution.
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European debut for StreamGuys’ URS
StreamGuys is set to use IBC as the backdrop for the European debut of its Uncompressed Reflector Service (URS), the latest evolution of the Reflector stream delivery and management service offered jointly by StreamGuys and Barix. The company claims support for uncompressed audio streaming with metadata enables new cloud-based encoding, processing and distribution workflows.Developed by Barix and hosted, operated and supported by StreamGuys, the Reflector managed service allows broadcasters and content producers to create IP-based audio delivery links without the complexity of configuring static IP addresses and firewalls. Audio from a Barix hardware endpoint is transported across StreamGuys’ content delivery network, bolstering reliability, while management of the link is simplified through a cloud-based portal. In the new workflow, a Barix Exstreamer 500 encoder/decoder unit transports source audio via Reflector to StreamGuys’ broadcast-grade cloud infrastructure as an uncompressed PCM stream with metadata. StreamGuys’ virtualised Remote Encoder then transforms the uncompressed audio into any desired combination of bitrates and profiles for subsequent multi-point, multi-platform distribution. Reflector’s new uncompressed transport functionality also brings benefits to the service’s traditional point-to-point architectures for studio-to-transmitter (STL), studio-to-studio and remote contribution links.Stand Number: 8.A59 
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IBC Best Conference Paper Award recognises advances in AI
In a year in which artificial intelligence and machine learning became a very hot topic in the media industry, the IBC Best Conference Paper Award goes to a team from BBC R&D which has investigated practical applications. The award is made to the technical paper which, according to the team of peer reviewers, delivers not just the most significant new research, but does so in an accessible way.A large team of BBC researchers, led by Craig Wright, authored ‘AI in production: video analysis and machine learning for expanded live events coverage’. It discusses ‘Ed’, a prototype system developed by the team and used to create near-live content with minimal crew. An example might be a single operator with an 4K camera, from which ‘Ed’would produce a number of properly framed HD pictures, cutting between them as appropriate.“The point of the work is to allow coverage of more events, to reach places we otherwise could not reach,” lead author Craig Wright said. “With conventional production we can cover only six of the 100 places music is performed at the Glastonbury Festival, for example, or just a tiny fraction of the 50,000 performances in 300 venues at the Edinburgh Fringe.“But with ‘Ed’, we can reach many more of these, and do so with production techniques which are much less intrusive for the event itself,” he explained. “This technology will be suitable not just for major production companies like the BBC, but for a whole range of use cases, like minor sports which need to increase visibility, and even vloggers who want to improve their online presence.”Dr Paul Entwistle, Chair of the IBC Technical Papers Committee said “The detail in this paper is absolutely fascinating. The team has developed a machine learning system that understands the rhythms and cadences that make for professional video production. This was validated by research to see how well ‘Ed’ performs compared with a real director, and how the audience perceived the viewing experience.”The winning paper will be presented at midday on Sunday 16 September at IBC. It is part of a new innovation in the conference: a series called ‘Tech Talks’. These are integrated into the overall conference programme, to bring the innovative ideas presented in the IBC Technical Papers to all delegates in a fresh and accessible form.“Senior technologists and researchers who have been responsible for original and thought-provoking advances in media technology will talk about their own work, and audiences will have the rare opportunity to question these world experts,” said Dr Nick Lodge, Executive Producer of the IBC Conference technical sessions.“The technologies that impact the media industry are broad,” he added. “This year’s ‘Tech Talks’ will cover emerging areas like artificial intelligence, virtual and augmented reality, 5G and blockchain.”The Best Conference Paper Award winning authors are Craig Wright, Jack Allnut, Rosie Campbell, Michael Evans, Ronan Forman, James Gibson, Stephen Jolly, Lianne Kerlin, Zuzanna Lechelt, Graeme Phillipson and Matthew Shotton, all from BBC R&D. They will be presented with their award as part of the world-class IBC Awards Ceremony during IBC, on Sunday evening 16 September at 18:30 in the RAI Auditorium.The ceremony will see the presentation of all of IBC’s awards, including the International Honour for Excellence and the IBC Innovation Awards. Attendance is free for all IBC visitors. 
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VidiU Goes live for social streaming
The new VidiU Go wireless streaming box is an on-camera video encoder module that can output H.264 or H.265, “and is designed for streaming to various social media platforms with the minimum of complexity”, said Richard Payne, technical development manager, Holdan (a European distributor for Teradek).The central unity offers dual-input HDMI and SDI (whereas other VidiU units are HDMI only), and supports two 3G/4G/LTE USB modems for internet, along with Ethernet and WiFi as additional sources. It can also be fitted with Teradek Nodes, the same high-powered USB modems found in Teradek’s high-end broadcast equipment, to create a low-cost bonding system.Although H.265 isn’t widely accepted by platforms now, it does halve the bandwidth required for any given quality and users who sign up to Teradek’s Core cloud encoder service can upload H.265 and have it automatically output to Facebook, YouTube or any online destinations in the required formats.Also new from Teradek are the small form factor Bolt LT and XT ranges. The LT is a low cost, basic wireless system, while the XT adds up, down and cross conversion, look-up tables and spectrum analysis (to see what’s using the same frequency range). The XT also has both SDI and HDMI I/O, while the LT users have to choose one of SDI or HDMI when purchasing.For long-range transmissions, the new Bolt 10K antenna works with the Bolt 3000 transmitter to give line-of-sight distances of up to about 3km.Stand Number: 12.E65
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IBC announces world class keynotes for 2018 Conference
IBC has confirmed a host of keynote speakers from the likes of Amazon, BBC Studios and Impossible.com for the IBC Conference held at RAI Amsterdam from Thursday 13 to Monday 17 September 2018.Tim Davie, CEO of BBC Studios, will take the opening IBC Conference Keynote on the morning of 13 September, offering insight into how BBC Studios views the new world of content. Also taking to the stage on the first day is JB Perrette, president & CEO of Discovery Networks International (DNI), who will deliver The New Discovery Keynote: Engaging fans on a global scale. He will discuss the need to nourish fans across all screens and services in order to serve loyal and passionate fan groups around the world.Later that day, Max Amordeluso, EU lead evangelist Amazon Alexa, Amazon, will lead the Trailblazer Keynote session entitled ‘Give your vision a voice’. As voice assistants such as Amazon Alexa are transforming the way audiences discover content and control devices, Amordeluso’s must-attend presentation will explore a variety of avenues, including: how to build a voice strategy with Alexa; why voice experiences are now a crucial part of any multi-platform content business; how to implement an engaging voice strategy for content products and generate new revenues with Alexa Voice Service and Alexa Skills Kit.Neal Mohan, chief product officer at YouTube, kicks-off the afternoon sessions on Friday 14 September 2018. Mohan invites us to ‘Experience the future of entertainment’ in his Visionary Keynote which will look at the next era of television and the ways that tech can help broadcasters reach more people in new ways. He is followed by Channel 4’s ex-chief executive and founder of the recently launched Wonderhood Studios, David Abraham, who will deliver the New Platforms Keynote entitled, ‘Content creation and funding embraces the multiplatform world’. The appetite for premium content has never been higher across so many platforms, both online and on TV. With YouTube, Facebook, Snapchat, Netflix and Amazon all vying for content, it is boom time for talent both on and behind the screen – but these are also challenging times for traditional business models. This session will explore both the new content consumption landscape, the threat and opportunities of the big tech players and what are the best creative commissioning and funding strategies going forward. On Saturday 15 September, Kelly Day, president of Viacom Digital Studios, will keynote her session dubbed ‘Get Shorty: How iconic TV brands can be re-cast for social and mobile-first audiences’, a session that ties in perfectly with the IBC Conference’s major themes for 2018, which include exploring social, mobile audiences, audience engagement, OTT and branded entertainment. In this session, Day will share her insights into how the newly launched Viacom Digital Studios is leveraging Viacom’s iconic brands to create unique, original content for a new generation of digital-native audiences.The final day of the conference starts with the opening keynote from Impossible.com, an innovation group and incubator founded by Lily Cole and Kwame Ferreira. Lily, Kwame and a multi-disciplinary team spread over different cities around the globe, are using design and technology to solve social and environmental issues and guide global change. At IBC their session will focus on planet centric design and how individuals and companies can innovate in a more balanced way with the planet.“We are looking forward to sharing some of the latest products and businesses we’ve created, as well as the planet centric design thinking behind them,” said Cole.
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Updates announced for Omnia.11 and Omnia.9
Telos Alliance company Omnia has released updates for both the Omnia.11 and Omnia.9 broadcast audio processorsThe Omnia.11 broadcast audio processor has a free upgrade with software v3.5, which brings significant new updates to the platform. This includes the new Pepino clipper – the latest FM final clipper design from Frank Foti. With Pepino, Foti redesigned the clipper section to complement Omnia.11’s G-Force dynamics engine."The toughest job for a broadcast audio processor is the final stage, which is known as the clipper or peak limiter, as this is where the precision peak control is accomplished. The challenge is what to do with the portion of the signal that has been clipped off, as this content gets distributed within the audio spectrum as both harmonic and intermodulation distortion," said Frank Foti, executive chairman of the Telos Alliance. Through advanced research into the peak limiting mechanism and how distortion is created, Omnia.11 v3.5's Pepino clipper system suppresses both harmonic and intermodulation distortion as the clipping function is realised. This is applied over the entire audio spectrum, and the result is cleaner audio overall, yet without any compromise to the desired competitive loudness level.  V3.5 includes several other improvements, including better high-frequency handling and more consistent bass response; seamless transitions when switching between presets; improved audio consistency for better blending between FM and HD channels, including a unified FM/HD Bass Clipper; a new ‘Phat Bass’ update for richer, stronger bass presence; improved sound in the low-latency DJ section; a greatly improved HD look-ahead limiter in HD-enabled units; and warmer and cleaner live/dry voice performance. New Omnia.9 units are also now shipping with a major update to the audio engine. This update is also available as a software download (v3.18.99) for existing Omnia.9 users at no charge. New features include a major system rewrite to the audio engine, introducing a new lower-latency clipper for both FM and AM; a new, fully rewritten streaming engine that now supports Shoutcast 2, FLAC and lossless streaming; an integrated internal stream server; phase correction with mono bass that reduces multipath distortion; expanded SNMP features; shared processing path for AM+HD units; improved BS.412 MPX power limiter; and seamless preset switching, even between presets with major structural differences. This update also enables optional µMPX encoding, making the Omnia.9 the first hardware processor to support this revolutionary codec, which offers full composite MPX over a 320kbps pipe.Stand number: 8.D47
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Lawo has its finger on the Pulse at new UAE radio station
Sharjah’s new Pulse 95 Radio is the UAE's first English-language station. It broadcasts across the Emirate on 95.0 FM, and also through the Sharjah Media Corporation’s (SMC) web and mobile app – makes extensive use of mixing, routing and control from Lawo.



SMC has equipped the station with a pair of Lawo systems comprising ruby control surfaces with accompanying Power Core mixing engines and VisTool user interfaces. The installation is an extension of an existing NOVA17 Mk.II router already operated by SMC. 

Supporting from four to 60 faders and being fully AES67-compliant, ruby consoles offer AutoMix smart mixing and a context-sensitive GUI through VisTool. While the physical mixing surface carries faders, source selectors, monitor controls, less frequently accessed features such as routing selections are available via context-sensitive multi-touch displays.

The Power Core engine supports hundreds of AES67 and MADI I/O channels, and can be expanded with plug-in cards to accommodate further digital and analogue sources. It natively offers 96 DSP channels, multiple AutoMix groups, and a 1920 x 1920 internal routing matrix.

Pulse 95 Radio presents itself as a feel-good station that showcases Sharjah’s rich cultural heritage – it's goal is to be “a totally inclusive, fun, trusted, feel-good station, bringing the listeners positive, upbeat stories of real people”.Stand number: 8.B50
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Imagine Communications provides turnkey playout solution at SEA TV
Imagine Communications has updated the playout operations for South East Asia Radio & Television (SEA TV), based in Cambodia. The new software-based, automated playout solution replaces an existing ‘channel-in-a-box’ system.SEA TV’s upgraded playout environment is based on Imagine Communications’ ADC playout automation platform. Content is stored on a redundant network of Nexio+ AMP playout servers, with asset management provided by Nexio Motion intelligent media movement software. The tightly integrated solution is implemented in software running on standard commercial off-the-shelf (COTS) hardware, allowing for improved operational efficiency and future scalability.“Our original channel-in-a-box playout system wasn’t able to deliver the stability and scalability we required soon after implementation,” said Yim Cheatvannak, deputy director general of SEA TV. “With a strong and growing audience, we needed to raise the quality and reliability of our output, without adding to our operational workload. Imagine Communications proposed a solution that fully automates our content control and delivery.”SEA TV broadcasts to the entire country from a powerful transmitter at its studio site in the nation’s capital, Phnom Penh. Its output is also carried by satellite, cable and digital terrestrial platforms. The station first went on air in 2010.“The new installation shows the power of our software-defined solutions,” said Mathias Eckert, SVP & GM EMEA/APAC, playout & networking solutions at Imagine Communications. “We were able to implement a solution that met SEA TV’s operational requirements in compact, space-saving hardware, install and test it quickly, and get the company on air seamlessly with minimal change to their operational procedures. SEA TV now has a modern playout system that will provide stable and secure playout for many years to come.”Stand number: 4.A01
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APP World Tour uses Blackmagic Design workflow
The Association of Paddlesurf Professionals (APP) World Tour is now using a full Blackmagic Design workflow, including the URSA Mini 4K digital film camera, Micro Studio Camera 4K live studio camera, and ATEM Production Studio 4K switcher for the broadcast, live production, streaming and video production of international surfing events.Created by the Waterman League, the APP World Tour is the official professional world championship tour for the fast growing sport of paddlesurfing, also known as stand up paddling (SUP), including both the surfing and racing divisions. The APP World Tour produces a complete inventory of programming, including live and post produced broadcasts from all of its events across the globe, with distribution to more than 100 countries worldwide via premier global networks such as CBS Sports and Fox Sports Australia. Delivering live broadcast action, highlight content, athlete specials and post produced shows, the tour’s 2018 events will be held in New York, San Francisco, Paris and the Canary Islands, with the London event taking place earlier this month.Waterman League CEO Tristan Boxford, said: “We’ve produced events and live productions everywhere from the beautiful beaches of Hawaii to the city of Tokyo to Germany to Patagonia in the glacier area of Chile to Fiji and beyond. We have a very dynamic environment. We need products that can hit the ground running, so we can create a production setup very quickly and easily. Sometimes we don’t even have production trucks and other various elements that make things easier from a production standpoint.”In each live broadcast event, the Micro Studio Camera 4K captures two hosts in the broadcast booth, two URSA Mini 4K cameras are set up to capture the main action angles, and another URSA Mini 4K acts as a roving ENG camera. All of the camera feeds run via SDI through Blackmagic Micro Converters SDI-HDMI, and the loop through SDI signal is then fed into the ATEM Production Studio 4K, while the HDMI out signal is fed into a replay machine, sending one replay feed back into the ATEM. The Micro Studio Camera 4K runs SDI in and out, giving the team control over that camera from the ATEM Production Studio 4K. The team also has a graphics station that runs live graphics on an HDMI input, while all of the audio gets mastered via a MIDI board running in conjunction with the ATEM and its software.The Waterman League also runs two full time television series that follow both the surfing and racing tours and their competitions, as well as special projects and lifestyle content the company creates to support the tours, including segments on the athletes, locations, lifestyle and other elements of the sport. Since 2012, the tour has been broadcasting all of its events live on the web. After using Blackmagic Mini Converters for many years, they began using ATEM switchers to support their live broadcasts.“The ATEMs were very intuitive and easy to use, and gave us the high quality we needed,” said Boxford. “They are amazing for our needs. From there, we saw the value of the cameras and the level of production quality, and began gearing towards that. Now all of our cameras are Blackmagic Design. We use the ATEM switchers for live production, the studio cameras for live studio setups, and the URSA Mini 4K for the high speed action of all the water sports.”Stand number: 7.B45
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AWS Media Services helps Norwegian football club establish OTT service
Odds Ballklubb, an association football club in Norway’s top professional league, has used AWS Media Services and the Crystallize e-commerce platform from Snowball Digital to cut time to market in half for its new Gullpila paid subscription video streaming service. Launched at the start of the 2018 Eliteserien season, Gullpila offers subscribers exclusive access to match highlights, player interviews, tips and tricks, and other fan-friendly content streamed live or on-demand to connected devices. Subscribers have unlimited access to content and can choose a monthly subscription or pay a one-time fee for the full season. Within weeks of launch, Gullpila recorded hundreds of subscribers, establishing a new source of significant recurring revenue, and its subscriber base continues to grow steadily.“Thanks to AWS and the Crystallize platform, we are able to efficiently deliver a variety of live and on-demand content, provide high-quality user viewing experiences, easily capture and manage subscriptions, and create new revenue opportunities,” said Einar Håndlykken, managing director, Odds Ballklubb. “Crystallize truly automates the business and technical aspects of delivering paid video services, allowing us to focus on serving our subscribers with fresh, dynamic viewing experiences.”Gullpila is built on the cloud-based Crystallize platform created by Snowball Digital. Crystallize offers customers a comprehensive, platform-as-a-service approach to building and managing subscription-based video services. It combines an e-commerce engine to manage subscriber access and process payments with a video processing and delivery solution, all powered by AWS services.Snowball Digital selected AWS Elemental Media Services for cloud-based video processing and delivery for the Crystallize platform’s video workflows. For Gullpila’s on-demand content, AWS Elemental MediaConvert transcodes file-based inputs from the Odds Ballklubb video team for distribution through the Amazon CloudFront content delivery network (CDN). Crystallize enables Gullpila’s live streams with AWS Elemental MediaLive, which processes real-time inputs, and AWS Elemental MediaPackage to prepare streams for delivery to connected devices via Amazon CloudFront.“Today’s sports teams and other content providers are increasingly looking for new ways to connect with fans, enhance their brands, and monetize the uniquely compelling content they’re able to produce,” said Bård Farstad, CEO, Snowball Digital. “Crystallize lets forward-thinking organisations like Odds Ballklubb customise video services to their audiences, while taking advantage of a virtually turn-key solution for distributing OTT video at scale. We’re delighted by the capabilities of AWS solutions to enable services like Gullpila to engage their audiences in new ways and generate new revenue streams.”Stand number: 5.C80
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