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Blackmagic Design today announced that its Micro Studio Camera 4K, Video Assist monitor/recorder, ATEM 2 M/E Production Studio 4K live production switcher and Teranex AV and Teranex 2D Processors were used by New Orleans-based Raven Production Management Group (PMG) for an A/V installation at Mountain Dew’s Courtside HQ during NBA All-Star 2017.

Located in the historic New Orleans Board of Trade building, the installation was a collaboration between Motive, a full-service advertising agency, and Mountain Dew. Raven PMG helped actuate the vision by transforming the space into a unique and captivating experience. The inside featured a large LED cube stage used for a live performance, a gallery of mixboard-infused paintings, a heat press station allowing fans to customize apparel and a professional-styled photo studio that gave fans an exclusive, personalized art print. Outside, the patio featured a large LED screen that showed programming and content, a live feed from attendees playing basketball-themed video games and broadcasted the NBA All-Star game itself.

“Raven PMG provides the fabrication, design and technical connectivity to create a successful interactive and immersive event,” explained Ben Lewis, Technical, Video and Lighting Director, Raven PMG. “My specialty is show production, and I make sure everything works on a technical level, which is why we use Blackmagic Design. It interfaces easily with other gear, provides connectivity to multiple screens and has enough customizability to deliver projects above and beyond expectations.”

The Micro Studio Camera 4K, paired with the Video Assist for monitoring, shot a wide angle view of the stage during a live performance. Ben commented, “I often use the camera and Video Assist to get unmanned shots at unique angles to spice up a standard broadcast. In addition to using the Video Assist to set the camera’s focus and iris to make sure everything looks good before going back to the ATEM, I also use the Video Assist as a mobile monitor to check issues with feeds or frame rates.”

Ben fed the Micro Studio Camera 4K directly into the ATEM 2 M/E Production Studio 4K, which was the hub of the installation’s setup. The ATEM was connected via a Blackmagic Intensity Pro 4K to Ben’s computer, which was running a video and effects mixing software along with the ATEM Software Control. He used two Teranex AVs and two Teranex 2D Processors to interface with additional inputs, such as the video game and broadcast feeds, connecting, routing and conditioning the signals.

Four Blackmagic Mini Converters HDMI to SDI 4K helped get the HDMI devices, such as the video game and broadcast feeds, into the ATEM, and the Mini Converters allow Ben to run SDI instead of expensive fiber cable. “The Mini Converters give me audio output options in remote locations and allow me to run mostly SDI on my jobs without having to worry about expensive cables getting destroyed,” he noted. “All the feeds were output via SDI to the LED screens.”

According to Ben, there were three main needs from the video system. First, there was regular programming throughout the day, which involved switching the schedule, televised game and video game feed. Second, was to freeze the content on a frame from a video that they could use for branding purposes or to quickly change to another look whenever there were photo opportunities of the players. Third, was a pre-recorded music video and live feed of the concert. During the live show, Ben and his team used the system to its fullest extent by taking the live footage and manipulating it through a video and effects mixing software, adding logos and visuals, as well as routing the live feed of the show to the outside LED screen.

“Blackmagic Design made it possible to do complex cable routing through a venue with SDI and gave us full control of the entire system from one location,” explained Ben. “Having the ATEM with a reference monitor hooked up made the client feel good that we didn’t have to run around and check everything. We knew there was hardware to back up the randomness that pops up in a gig situation. Having the ability to freeze frame and switch routing on the fly made the client comfortable knowing their vision was accomplished.”

For Raven PMG, when it comes to creating these types of installations, it’s all about flexibility and peace of mind. “The ATEM 2 M/E Production Studio 4K was chosen for its big screen and range of outputs. The Teranex was chosen because of its signal conditioning, output options and the ability to route them, which all are very important for me because they allow me to load a still frame as well as plug in any computer, camera, game system or whatever is thrown at me due to the wide variety of standards conversions,” he concluded. “I really love the Teranex as it’s a highly-used piece of gear in my rack. You can really push video and have quick control on a hardware level that takes some of the risk out of a gig.”


Miller Presented AIR Alloy Tripod System to Winner of Miller Australia Award for Best Cinematography in an Australian Short Film

Miller Camera Support Equipment, a leader in the production of innovating camera support solutions, recently sponsored the Miller Australia Award for Best Cinematography in an Australian Short Film at the 26th Annual FLiCKERFEST International and Australian Awards. At this year’s ACADEMY AWARD®-accredited competition, held annually in Sydney, Australia, Miller Camera Support presented the award and a Miller AIR Alloy Tripod System to the filmmakers of “In a Cane Field,” commending exceptional achievement and skill in short film.

“In a Cane Field” was selected for its outstanding visual elements that enhanced the overall atmosphere and creativity of the story. A committee made up of Catriona McKenzie, Matilda Brown and Daniel Krige were impressed with how the cinematography heightened the suspenseful atmosphere of the film.

“FLiCKERFEST strives to support new and emerging talent by recognizing the various craft areas inherent in making a great short film,” says Bronwyn Kidd, Festival Director, FLiCKERFEST. “Empowering filmmakers with new opportunities for future cinematic development is a priority for us.”

For the past several years, Miller has supported the awards ceremony by providing its best-in-class products to one of the category winners.

“FLiCKERFEST brings some of the best and brightest minds in international film together under one roof,” says Joseph White, Regional Sales Manager Asia & Africa and presenter for the Miller Australia Award for Best Cinematography in an Australian Short Film. “It brings us great pride at Miller to continuously support such wonderful talent in our own backyard. We look forward to seeing how the filmmakers of ‘In a Cane Field’ use their new AIR Alloy Tripod System.”

This year, Miller supplied its AIR Alloy Tripod System, which is an ideal solution for any new entrant into videography. It features a payload range from 2-5 kg (4.4-11 lbs), a height range of 371-1762 mm (14.6-69.4 in), a two-position counterbalance system and caliper disc brakes. Weighing 4.8 kg (10.6 lbs), it is perfect for run-and-gun applications. The 75mm mounting with bubble level and quick-release, sliding camera plate allow for fast setups.

“For me, the award represents what can be achieved when a film is built on trust,” says Adric Watson, director of photography for “In a Cane Field.” “Myself, director Emily Avila and the entire team all took risks and faced many challenges. Without a trust built on mutual creative respect and on friendship there was no way we could have created this extraordinary piece. Even though great cinematography is so much more than just cameras and lighting, credit must be given to the Miller AIR, which is the first tripod I’ve ever owned. It is a long overdue piece of equipment for me that I’m thrilled to have.”

Experienced, value-added distributor Mobile Video Devices (MVD) has entered into a partnership with Bangalore, India based RiverSilica Technologies, through which MVD becomes the exclusive North American distributor of RiverSilica's innovative IP video processing and workflow solutions. MVD will also represent RiverSilica products in select European regions.

In addition to bringing the performance and flexibility of RiverSilica solutions to customers through MVD's extensive network of resellers and systems integrators, MVD will also leverage its proven support capabilities and dedication to exceptional customer experiences to help service RiverSilica users.

Founded in 2009, RiverSilica provides end-to-end, software-defined IP video processing and delivery solutions for broadcasters, media organizations, communications providers, corporate enterprises, educational institutions and government entities. RiverSilica's modular, flexible and customizable PIXFIX(tm) solutions enable delivery of live and on-demand content with high performance, low latency and robust reliability throughout the entire IP video lifecycle -- from contribution, recording and asset management to publication and distribution to audiences on any device.

RiverSilica's PIXFIX solutions are available in a wide array of scalable configurations to seamlessly integrate into any IP video workflow. The company's newest offering, PIXFIX Versa, provides an all-in-one IP video workflow solution with comprehensive functionality for encoding, transcoding, decoding, storing, multiplexing, streaming and playing out high-quality media. Simultaneously supporting both live and file-based workflows, PIXFIX Versa's multi-format flexibility and extensive user configurability make it ideal for IP workflows from broadcast and OTT services to non-commercial video delivery applications.

Focused on evolving digital video production and streaming media technologies, MVD has been providing full-service distribution and manufacturer representation for market-leading media solutions for over a decade. Other key product lines distributed by MVD include Magewell video capture and playout devices, and PTZOptics professional pan/tilt/zoom cameras.

"We see RiverSilica as filling a void in the marketplace that was created as pioneering encoding specialists were acquired by larger companies with different target markets and priorities," said Darryl Spangler, President of Mobile Video Devices. "Their PIXFIX solutions deliver cutting-edge technology, exceptional adaptability and deep configurability to meet the most challenging requirements of premium media companies and communications providers, but at cost-effective pricing easily accessible to other markets. The addition of RiverSilica rounds out our product roster with upper mid-range solutions superior to anything else in their class, and we look forward to bringing these benefits to the North American and European markets."

"Our goal at RiverSilica is to build the world's best video processing and delivery solutions for the next generation of communications and distribution technologies," said Jagannathan Balaji, Founder, President and CEO of RiverSilica Technologies. "MVD's extensive experience in the streaming media market complements our own deep understanding of video delivery infrastructure, while their full-service approach to customer satisfaction will be invaluable as we further extend our success in India and Asia to the U.S. and other markets."

Executives from RiverSilica and MVD will be available to discuss the new partnership at the upcoming Streaming Media East conference (May 16-17 in New York City), where MVD will be showcasing Magewell solutions in booth 301. For more information about Mobile Video Devices, please visit www.mobilevideodevices.com. For more information about RiverSilica, please visit www.riversilica.com.

Mobile Video Devices Inc. (MVD) provides distribution services and manufacturer representation in the Americas with a product focus in the digital video and streaming media industries. Offering business development, marketing, logistics, channel management and product warranty support services, manufacturers choose MVD for its industry expertise and extreme dedication to an exceptional customer experience at every level of the supply chain.

RiverSilica is a technology company, working on the frontiers of solutions for IP video delivery and acceleration. Based in Bangalore, India, RiverSilica's founders leverage vast video processing knowledge and experience to develop state-of-the-art video distribution systems. RiverSilica's powerful software-defined video processing and delivery solutions are bolstered by the company's ground-breaking algorithms that intelligently maximize transcoding performance and efficiency while improving quality.

The NBA’s Sacramento Kings recently finished their second season at their new home, The Golden 1 Center, which reportedly cost half a billion dollars and features the latest in technology for the enjoyment of fans in attendance. The new technology—much of it supplied by Grass Valley—includes hundreds of 4K displays throughout the venue and a giant scoreboard with equally impressive (and immersive) images.

The project required a close collaboration between the Sacramento Kings, Grass Valley and Diversified, a veteran systems integrator, to engineer and install a series of technology solutions that are used to create and deliver a captivating fan experience.

To help produce content for the multiple screens, Grass Valley was instrumental in providing the necessary camera, replay, production switching, routing, multiviewer and signal processing technology to achieve the owners’ goal of creating an in-venue experience that many say is second to none in the league.

One of the centerpieces of the new facility is a giant Panasonic 4K/UHD video board— the largest of its type in the NBA—that measures more than 84 feet long and runs nearly the entire distance from baseline to baseline. For attendees, high-quality slow-motion replays are an essential part of the experience. To capture and produce the 4K content that drives the video board, the Kings chose Grass Valley because of its integrated solutions.

“The most important thing for us was that we were not willing to make any compromises,” said Brian Plumb, senior director of A/V and production for the Sacramento Kings. “We had a pretty specific idea of what we wanted and we met with a few different suppliers to see how we could make it work. Grass Valley understood our vision and had the right components to make it happen. We’ve been thrilled with the way it all turned out.”

Multiple K2 Dyno controllers and a K2 Summit 3G four-channel HD/SD server handle 4K replays, which are displayed on the giant scoreboard screens.

The action on the court is captured with six Grass Valley LDX 86 cameras—four of which are equipped with a perpetual GV eLicense for 4K—with one of the cameras providing a reverse-angle feed. Multiple K2 Dyno with a DynoZoom 4K/UHD option and a K2 Summit 3G four-channel HD/SD server handle replays. All content is punched through a Grass Valley Karrera K-Frame video production switcher, driving the 4K production, while several NVision routers paired with Kaleido multiviewers help to manage and move the content throughout the control room and facility.

Plumb and his team continue to refine the process and are looking at a transition to 2SI 4K, which the Karrera switcher will support, to free up more of the M/E channels that are now handling 4K conversion. He is also looking at IP routing in the future to get the benefit of going from 4 wire to 1 wire, and has already begun investigating options for introducing VR into the process.

“Our operators love the easy workflow and file management of the K2 Dyno units for replay,” Plumb said, “we just drop the clips into a common folder and everyone has access. Fans won’t miss any of the action with this replay setup. Everything about this arena is state-of-the-art, so the pressure was on for the broadcast capabilities.”

Grass Valley parent company Belden worked in partnership with the Grass Valley team to supply mission-critical production cabling for the Golden 1 Center’s massive infrastructure. A complete broadcast solution, including armored fiber, racks, wire management and custom assemblies, was designed to ensure signal integrity and maximum reliability while providing resistance to cutting and crushing to prevent downtime or unplanned outages.

Of course, the Golden 1 Center is home to much more than just Sacramento Kings games. The owners are positioning it as a premier event center with the capability to offer video presentation for any occasion, from sports and entertainment to business and education.

Experienced Executive's Appointment Follows 24 Years of International Business Development

Ikegami, a pioneer in Broadcast, CCTV and Medical Imaging technology, has named Toshihisa Mitsuoka as President and Chief Executive Officer of Ikegami Electronics U.S.A., Inc.

Mr. Mitsuoka's appointment is preceded by 24 years of distinguished service with Ikegami. His career specializing in Overseas Sales began in Japan and included two posts in the United States, the first from 1997-2005 and the second from 2013 until the present.

Previously, Mr. Mitsuoka oversaw the Business Development Division for Ikegami USA throughout North, South, and Central America. Prior to that, he served as Ikegami's manager of East Asia, Overseas Sales Department, Sales and Business Development Division where his role was to expand the company's reach, building new customer relationships in a region considered to be a top priority for Ikegami.

"It has been an extreme honor to serve with Ikegami USA for over a decade, and to be appointed as the President and CEO," Mitsuoka said. "The company's pioneering work in 8K technology is recognized globally. In addition, Ikegami continues to lead the broadcasting, surveillance and medical imaging fields with technologically advanced cameras, OLED and LCD monitors. With our complete commitment to our customers, unmatched service and support is synonymous with Ikegami."

Ikegami is a leading supplier of high quality professional broadcast equipment. The Ikegami name is recognized globally for its state-of-the-art television cameras, Medical cameras and CCTV equipment. World-class CMOS imagery, 4K and 8K technology, multi-format flexibility, and unparalleled customer support define the Ikegami experience for users in broadcast, sports venues, mobile production, houses of worship, education, corporate and many more applications.

Vimond Media Solutions today officially announced the opening of its office in Sydney, following an expansion of business across the Asia Pacific (APAC) region. Already serving a wide range of regional customers, Vimond is focusing its resources on supporting the continued growth of its clients and bringing its modular OTT solutions to more APAC content owners, telcos and broadcasters.

Vimond’s momentum in the region has been building for several years, as it has provided the Vimond Platform to numerous customers, including Fox Sports, Optus in Australia, PLDT in the Philippines, and iflix in Malaysia. With Fox Sports, Vimond created a global streaming application for the Australian Football League (AFL), launching the service in time for the first-ever AFL Women's professional match in February 2017. In the previous year, Vimond collaborated with Australian telecommunications company Optus on a new streaming video service Optus Sport. In 2015, Vimond provided managed services and operational expertise that enabled iflix to launch a SVOD service and become Southeast Asia’s premier internet entertainment company.

“We are excited to deepen our roots in a region where OTT providers are looking for scalable, easy-to-use tools to continue growing. The modularity and multi-tenancy of our solutions are fundamental to helping companies deliver programs and events throughout this region, and around the world.” – Miguel Silva, CCO Vimond Media Solutions.

The Vimond Platform makes it easy to ingest content from different sources and formats, and to distribute it to different channels. Those characteristics make the Vimond Platform powerful when used for sports and global events. Developed in close collaboration with customers, and in some cases hundreds of hours of workflow observation, Vimond software is designed to simplify life for the OTT operator. The curation module, for example, allows service managers and editors to easily drag and drop content that they want to feature in end-user portals. Many APAC customers also appreciate the Vimond Rights Manager, which organizes the cumbersome and fragmented domain of contracts management into a tightly integrated, automated workflow. The leading telecommunications and internet service provider in the Philippines, PLDT, is also the first Vimond customer to use the new Live Channel Planner, a solution for scheduling and monitoring a large number of live channels for global customers.

“In terms of users and population, the Asia-Pacific market is extremely large, and our clients are addressing and targeting a huge number of OTT consumers. This gives us the opportunity of developing scalable solutions that are, at the same time, highly personalized both for different customers (iflix, Optus, FOX SPORTS Australia or PLDT) and for their heterogeneous markets.” - Oscar Gutierrez, VP Business Development, Vimond Media Solutions.

With its own origin in broadcasting, Vimond is dedicated to remaining close to customers and believes its Sydney office already has enhanced its cooperation with regional broadcasters and other OTT providers. Situated in heart of downtown Sydney, within a fifteen-minute walk of the city’s iconic Opera House, the office is now staffed with six full-time employees. Vimond is continuing to hire within Australia.