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New Broadcast Tech in Amsterdam

IBC AMSTERDAM (14 – 19 September 2017)

Pebble Beach Systems Addresses Broadcasters’ Multi-lingual Playout Needs at IBC 2017

At IBC 2017 on stand 8.B68, Pebble Beach Systems, a leading automation, content management and integrated channel specialist, will demonstrate how Marina, the company’s powerful centralised ingest, content management and multi-channel automation solution is optimised to help broadcasters manage their multi-lingual playout operations, whether for SDI, IP or virtualised infrastructures. With Marina’s comprehensive multi-language support, implementing an intricate multi-lingual and multi-channel playout system no longer needs to be a complex and expensive integration exercise that requires the coordination of multiple systems.

Playing out channels across regions where content is delivered in multiple languages brings a specific set of challenges for the broadcaster or service provider. Managing all of the audio, voiceover and subtitling requirements is complex in itself, and when files are missing, fail to play, or require substitution the situation can rapidly become unmanageable, particularly when Dolby surround sound needs to be considered.

“As content providers acquire rights to distribute media worldwide, the demand to produce and play out content in multiple languages is increasing. This typically involves the acquisition, management and control of multiple-language versions of each piece of core content. However, efficiently managing this media while keeping international playout centers cost-effective, can be a truly daunting task,” explains Ian Cockett, CTO at Pebble Beach Systems.

For service providers who are bound by multiple diverse SLA requirements for their different clients, accuracy and reliability are key. Pebble Beach Systems has developed a series of tools for its flagship Marina automation system which simplify the management of complex multi-lingual workflows and help to ensure that the language playout conditions will be met, whether the services are being delivered via SDI or IP.

When a broadcaster wants to use a single playlist to originate several channels with multiple IP outputs for different language requirements, it’s vital that all of the audio tracks, voiceovers and subtitle files that need to be played out are associated with the correct channel. Pebble’s Marina has the ability to handle multiple output audio configurations from a single SDI or IP player. Its configuration tools enable the creation of bespoke language sets, so that audio and subtitle sets can be grouped for different territories or regions.

Marina also detects the language within the MXF file when the content is received, and if a file should fail to play, or the preferred language file is not available when the content is delivered, its configuration rules enable the dynamic substitution of the next preferred language file. Unlike some systems that implement a static set of audio shuffling rules, Marina is able to dynamically determine the correct audio channel mapping on an event-by-event basis.

About Pebble Beach Systems: Pebble Beach Systems is a world leader in automation, channel in a box, integrated and virtualised playout technology, with scalable products designed for highly efficient multichannel transmission as well as complex news and sports television. Installed in more than 70 countries and with proven systems ranging from single up to over 150 channels in operation, Pebble Beach Systems offers open, flexible systems, which encompass ingest and playout automation, and complex file-based workflows. The company trades in the US as Pebble Broadcast Systems.

MAXON unleashes Cinema 4D Release 19

With its Release 19 of Cinema 4D, MAXON is bringing a long development process to fruition.

“We are positioning this major release of Cinema 4D as ‘Tools for Today, and Technology for Tomorrow’,” began Paul Babb, president and CEO of MAXON the Americas in an exclusive one-on-one pre-SIGGRAPH interview with The Broadcast Bridge . “A little over a year ago we revealed that we were working on some significant modernization of the core of Cinema 4D, and this is Release 19 the result of that effort.”

The trend toward this has been evident since Release 17, and now they are reaping its benefits.

For example, MAXON has streamlined the media library for bringing in video and audio formats so it now natively supports MP4 without the need for QuickTime any more, and it now handles Open EXR, a High Dynamic Range (HDR) image file format developed by Industrial Light & Magic.

“There have also been some significant changes to the modeling core,” Babb said, “and we have started integrating AMD’s ProRender GPU rendering system which works for both Windows and Mac. We know that half of our user base is using Apple’s OS, and with the new Pro Mac’s coming out with Radeon Vega graphics cards, we want their early adopters to take full advantage of our new Release 19.”

There is a new Sound Effector, additional features for Voronoi Fracturing have been added to the MoGraph toolset, and MAXON has introduced a new Spherical Camera.

Graphic artists will also welcome the Viewport improvements which provide added support for screen-space reflections and OpenGL depth-of-field in addition to the screen-space ambient occlusion and tessellation features which were added in R18. This gives you on-screen results that are so close to final render that client previews can be output using just the new native MP4 video support.

Game developers will appreciate the new Level of Detail (LOD) interface element enabling designers to define and manage settings that maximize Viewport and render speed, letting them invent new types of animations or create optimized assets for game workflows.

Even BodyPaint 3D now uses an OpenGL paint engine adding surface details in film, game design and other workflows. This now gives artists real time display of reflections, alpha, bump or normal and improved visual feedback and texture painting.

This major re-design of the award-winning Cinema 4D software is laying the foundation for even greater advancements in the future.

That’s why, as Paul Babb said, MAXON is giving us “Tools for Today, and Technology for Tomorrow”.

New Audio and KeyKode Reader for BMD Cintel Film Scanner

Blackmagic Design has released a new accessory for its Cintel Film Scanner that is able to capture both audio and image frame data while material is being transferred. The Cintel Audio and KeyKode Reader is able to record sound together with code information while the main images are being scanned.

Cintel was a UK company that designed and manufactured telecine machines for transferring film on to videotape. While the original firm no longer exists the name was bought by Blackmagic Design (BMD) and is now used to brand its digital Film Scanner range.

Cintel Audio and KeyKode Reader

The KeyKode Reader has been designed to simplify the post-production process, providing frame information during the editing or re-editing of sequences that have already been cut. This is read from bar codes containing edge code information and enables film frames to be correlated with corresponding video frames.

Included in the Reader is a magnetic audio head or deep red LED illumination, which is able to handle 16mm magnetic sound or 16mm/35mm cyan, high magenta dye and silver optical. Features include advanced optics, electro-formed slits and precision mechanical adjustments for azimuth to produce good quality audio that is synchronized to the video pictures. Any wow and flutter is corrected by the precision capstan encoder.

Commenting on the product release, BMD chief executive Grant Petty said, “The new Cintel Audio and KeyKode Reader is exciting because it allows both audio and picture to be scanned at the same time and in perfect synchronization. Customers also get KeyKode information that helps to dramatically speed up post-production workflows.” Showcases Server-based Sports Production Tools is showing off videoReferee which is designed to meet video refereeing applications in Soccer, Handball, Basketball, Ice Hockey and Athletics (Track and Field).

With 24 channels, this 4U server supports both 3G and HD formats and has four graphics outputs for monitors of up to 4K resolution displaying GUI, Multiviewer and Referee’s interfaces. It is designed to provide immediate file transfer into the sports arena network for easy decision making during in-play incidents. Also, its broadcast quality output meets all broadcasters’ arena TV needs, says the firm.

“First introduced at IBC last year,’s Simple RII compact production server has already attracted attention from sports broadcasters worldwide thanks to its advanced functionality and affordable price,” says Mike Gilman, CEO.

At IBC, the company debuts an enhanced version, complete with extended 3G SDI support, six recording channels, search capabilities on all six channels and two playback channels with transition effects. In addition, will offer a new 8-channel 3G video refereeing option.

A key focus of the booth will be its Dominator AT/3G server, which was launched at NAB and now features an enhanced AVC Intra encoder option which makes it compatible with Panasonic AVC Intra and SonyXAVC media formats.

Another development is the integrated solution for remote broadcast based on’s Dominator AT/3G server and Production MAM by industry newcomer, HTS. This combination enables users to remotely create summaries and special playlists as well as event logging and pre-editing during the live recording of shows.

“At IBC, we will demonstrate how is entering a new phase of development - capitalizing on our technological success, we are expanding into new markets,” commented Gilman.

EditShare Shows Its Flow Software and Quales QC

Standalone and software-only media asset management integrated QC workflows, and parking storage solutions are on EditShare’s IBC list

EditShare’s new Flow media asset management platform is now available working with third party storage.

“Filmmakers, content producers, broadcasters… just about anyone creating content for a living spends an exorbitant amount of time and money creating their assets,” comments James Richings, managing director, EditShare. “The sole purpose of Flow is to help creative professionals find and use their valuable assets, and ultimately create better content.”

Richings adds, “What we’re showing at IBC this year demonstrates our innovative approach to media management and opens our creative tools to a much wider audience. Whatever storage you have, Flow will help you get the most value out of your content by adding a layer of intelligence to your storage platform. And with the addition of Quales, Flow will also make sure your content is always in good shape.”

Flow is presented as a highly scalable media asset management platform for managing to ingest, logging, searching, retrieving, editing and distributing content. It includes advanced modules such as Flow Automation, which automates repetitive or complex tasks such as transcoding and file delivery; AirFlow for web-based review and approval; and Flow Story for remote editing and collaboration.

New for IBC, the Flow software brings MAM to other industry storage systems. EditShare’s Howard Twine, says: “Users can now host Flow on their own hardware - on premise, such as with Avid Nexus, or in a hosted virtual environment, such as Amazon AWS or Microsoft AZURE. For those facilities that have non-EditShare storage, this is a big win. Flow can now manage a wide range of third-party storage environments, automating workflows from ingest to archive and offering efficiencies that were previously only available with proprietary solutions. With a full public API, Flow provides all the flexibility required to integrate and provide powerful solutions for all kinds of content creators.”

Following the acquisition of Quales, this QC tool is now part of EditShare’s MAM offer, available as part of an integrated solution or standalone. “Right now, people QC content because they have to. Our approach is different, which is why we’re so excited about this acquisition,” says Richings. “We believe that there is inherent value in checking your content at every stage of the production and post-production process. The problem is that it’s usually time-consuming and expensive. But with Quales, we’re changing that. Our Integrated and Automated QC approach will add value at every step of a production, and it will be an important part of the content creation process in the future.” The new XStream EFS 40NL parking storage is also shown. Bill Thompson, EditShare’s storage product manager, comments, “Parking and unparking assets are incredibly simple and only requires the storage goal for a media space to be redefined. The EFS 40NL automatically moves the content to and from parking storage as directed by users, saving valuable online storage for important production needs.”

Broadcast Wireless Systems’ Sapphire 4K Codec

Broadcast Wireless Systems (BWS) will feature the BWS Sapphire 4K Codec at IBC. The codec enables 4K wireless camera systems to be used on productions in the same way as current ‘standard’ HD systems.

According to BWS Managing Director Stuart Brown, “Although some 4K wireless systems have been available previously, the long latency inherent in such systems meant they were relegated for use on long range aerial shots because they cannot be inter-cut with cabled cameras. Sapphire changes all that with the ability to offer true 4K coverage rather than having to up-convert images from standard HD wireless cameras.”

Sapphire can encode UHD signals at up to 50/59 frame-rate in 4:20/4:2:2 8-bit and 10-bit. In addition to 4K encoding, Sapphire can also encode 4 simultaneous ‘standard’ HD 1080p50/59 signals, which is useful for wireless slo-mo, multi-camera and aerial downlink applications.

Its compact size of only 125x60mm enables it to be easily attached to a wide range of camera types. Low power consumption enables long battery run times and requires minimal cooling. This keeps the overall size and weight much lower.

Sapphire uses the same board for encoding and decoding, which means the unit can change functions at the flick of a switch, enabling operators to maximize utilization and re-coup capital investment much sooner.

Brown added, “We believe the price of Sapphire is extremely competitive given its powerful combination of features. Units can be purchased with a basic feature-set and upgraded via software in the future.

Blackmagic Design Releases Video Assist 2.5 Upgrade

Blackmagic Design’s Video Assist 4K now has professional ‘scopes that will make it an indispensable tool on the set or in the studio.

Although patents for video assist technology go back to 1947 (US Patent 2,420,197 by Adolph H. Rosenthal), Jerry Lewis is usually credited for its first practical implementation by strapping a video camera onto his 35 mm film camera to parallel the shooting of “The Bellboy” in 1960.

But the enormous leap in video assist technology since then is epitomized by Blackmagic Design’s release at the end of June of their Blackmagic Video Assist 2.5 upgrade, which adds professional vector scope, waveform monitoring, RGB parade and histogram displays to the screen of their Blackmagic Video Assist 4K 7-inch high resolution monitor with Ultra HD recorder.

We previewed these capabilities on May 16th after Blackmagic Design gave us a glimpse of them at NAB Show 2017, but now that they are available as a free download for all Blackmagic Video Assist 4K customers, I asked the president of the company, Dan May, to give The Broadcast Bridge a description of their functional usefulness.

First, May wanted to let us know that in addition to what is in their press release, this 2.5 update also adds anamorphic de-squeeze to the Video Assist 4K along with Blue only for calibration.

But it’s the ‘scopes that will be the center of attention for most applications.

“With the addition of these scopes, we hope to continue to see the Video Assist become more and more a part of everyone’s production kit,” he said, “from live production to broadcasters to color grading, and from in the field to the studio and everywhere in between.”

May figured that most of The Broadcast Bridge readers are already well familiar with classic vectorscope (color hue and saturation) and waveform monitor (luminance and black level) displays

However, RGB parade may not be as well known.

“RGB Parade shows separate waveforms displaying the luminance of each red, green and blue color channel, providing an extremely detailed overview of color in your images,” May explained. “Additionally, you can also see if one specific color channel is clipping because the parade scope shows a waveform for each channel. You may not see this otherwise if you are looking at a single combined waveform.”

Then there is also the histogram display.

“Histogram shows the distribution of the luminance and lets you monitor how close the detail is to be clipped in the blacks or whites of the video, as well as representing the effects of gamma changes in the video. By seeing if your video is clipping, you can adjust the camera iris and ISO settings to keep all black and white detail in the image. This means you have the full contrast range of video for easy color correction during post production,” May said. Finally, in our polyglot production world, it is also handy that the Blackmagic Video Assist 2.5 upgrade can display in several different languages, including Chinese, English, French, German, Italian, Japanese, Korean, Portuguese, Russian, Spanish and Turkish.

Image Matters to Showcase Multiple IP-Core Integrations

Multiple vendors will demonstrate IP integration with the revolutionary IM-B20 modular platform.

At IBC, the origami Ecosystem powered by Image Matters will show 6 demos with different IP-Core integrations from origami members as well as new hardware products: The IM-B21 from Image Matters, the IM-C21 set-top-box made in collaboration with NGCodec and the e4 appliance from LDA Technologies. All three connected by origami. The origami Ecosystem provides design services from Adeas and Fidus, manufacturing services from Tokyo Electron Device, hardware parts and boards from Embrionix , Image Matters, LDA Technologies, Samtec, Xilinx, distribution services from Fujitsu Electronics EU, inrevium and Village Island, and IP-Cores from Atria Logic, Crucial-IP , Helion Vision, IBEX Technology, intoPIX , LDA Technologies, NGCodec, Omnitek , PathPartner, SOC Technologies, VYU Sync, and Xilinx.

IP-Cores available in the origami Ecosystem includes TICO, JPEG 2000, HEVC, AVC, MPEG2, PCIe Gen3, 12G-SDI, 10G Ethernet, de-interlacing, up and down scaling, warping, de-noising, image pre-processing, and many other processing and interfacing cores.

From HD to 8K, from SDI to IP, from uncompressed to compressed, from camera to screen, Image Matters’ solutions and origami Ecosystem provide infinite possibilities to re-invent design and manufacture of advanced audiovisual systems.

“We believe modularity is the key to future-proof designs. Based on FPGA modules and with the help of origami Ecosystem partners, new product creation has never been faster and easier, leading to an incredibly rapid level of go-to-market.” – said Jean-François Nivart, Image Matters’ CEO.

Image Matters’ reconfigurable modules, together with the origami connector, take care of all the complexity common to every design, allowing manufacturers and system integrators to focus on building their own top-notch added value in video and IP systems. Image Matters’ set of modules are organized around a selection of highly targeted FPGAs. System designers can select the most adapted module and upgrade it later to a more advanced one. Designs can be scaled-up to optimize performance and price according to each solution or application.

The origami breakthrough modular approach guarantees future-proof and adaptable hardware designs. Decoupling processing power from the application layer, the origami connector, and its tremendous bandwidth creates agility and speed in hardware development.

NEW Products at IBC2017

IM-C21 is an advanced set-top-box platform integrating an IM-B20 module connected by origami. Designed in partnership with NGCodec, the IM-C21 provides a fast and affordable route to market. It is highly connected through 12G-SDI, HDMI video input, and output, Ethernet, and USB, and provides control with an embedded ARM processor. With the IM-C21, application development starts quickly as all high-speed FPGA design work is provided by the IM-B20 module.

The e4 from LDA Technologies, paired with the IM-B21 carrier and IM-B20 module is a truly remarkable appliance, answering any customer IP requirements. This 1U sized unit features 48 SFP+ ports on the front panel for up to 10G Ethernet and 12G-SDI interfaces. The e4 leverages all Gigabit Transceivers from an FPGA to match the most demanding applications. Designers can access, use and configure FPGA resources through the network and have easy access to the world of Internet Protocol.

IM-B42 is the ultimate gearbox platform, targeting high bandwidth applications such as the new emerging UHD-2 8K resolution, and providing flexibility with its 12G-SDI and 10G Ethernet ready ports. Acquisition and transmission of an 8K signal become child’s play with this standard PCIe form factor board. Coupled with multiple or bigger FPGA modules, the IM-B42 is a stand-alone all-rounder carrier board delivering ultra-flexibility to the customer’s design.

BenQ’s new SW271 monitor

The new UHD SW271 27-inch monitor from BenQ is designed to appeal to both still photo and video production needs

“IBC 2017 will be the first time the new 27-inch SW271 monitor from BenQ will be on display,” said Dave Mobbs, marketing manager at XP Distribution. XP Distribution represents BenQ’s “creative class” monitors in Europe. “It’s been designed to appeal to still photographers by matching 99% of the Adobe RGB color space as well as 100% of Rec. 709 for video pros.”

The SW271 is also Technicolor Color certified, meeting strict standards for color accuracy. It’s rated at UHD (3840 X 2160) resolution, which is just under 4K (4096 X 2160) and displays High Dynamic Range (HDR-10) imagery.

One of the main features on all the SW models is an OSD (On Screen Display)that tracks a round controller referred to as a hot key puck. With this users can assign three different color modes and switch between them just by accessing the puck.

To maintain critical color display, the SW271 comes complete with BenQ’s Palette Master Element software that communicates with an external calibrator such as an X-Rite i1Display Pro via a USB-C port. This allows users to adjust the image processing chip in the monitor without changing the graphics card output data.

Talon G2 Encoder Offers One-Touch HD Streaming

Osprey Video is bringing to market an extension of its Talon hardware encoder line with the launch of the Talon G2. Like others in the range, the G2 creates live RTMP streams for unmanaged networks. It costs $1,890

Targeting customers looking for end-to-end video-streaming tools for professional workflows, Osprey Video’sTalon G2 ingests video from multiple formats, encodes it to H.264, and delivers it over IP. One of the product’s most important characteristics is its front-facing LCD touch screen, which offers one-touch streaming control. Once the streaming profiles are set up on the back end, which can be done remotely if needed, any user can start or stop encoding operations at the touch of a button. The screen displays continuous feedback on the status of all encoders, so users always know which ones are active versus idle.

Another aspect of the G2 is API-level integrations with both Facebook Live and the Wowza Streaming Cloud streaming service.

“These integrations, along with one-touch streaming control, bring simplicity and time savings to a process that could otherwise be very cumbersome,” said Scott Whitcomb, business development manager. “For example, streaming to Facebook is a daily practice for many operations, yet Facebook users must configure a new session every time they want to deliver a stream. Osprey Video worked with Facebook on an exclusive interface that makes it possible to configure the Talon G2 for Facebook streaming only once instead of daily. Once configured, users simply press a button. Furthermore, built-in security features make it so that authorized users can start streaming to anyone’s Facebook page (such as a company’s or an executive’s) without needing login credentials, saving even more time while alleviating security concerns over password-sharing.”

Elements Launch Cloud Feature

Elements plans to present a cloud option at IBC. Embedded in its Media Library, the feature allows all connected workstations to share assets through a private cloud, directly from within Elements’ GUI.

“Following our basic principle to make processes safe, simple and fast for the user, we have managed to create our new feature in the most efficient fashion,” said André Kamps, CEO. “Instead of uploading the big hi-res file, our Cloud feature uses the smaller Proxy-version of a clip, reducing upload times significantly. Now entire projects can be stored, shared and recalled with just a keystroke, making collaboration from anywhere convenient and easy.”

The web portal allows the Cloud to be accessible directly from within the Elements system via various applications including Elements Filemanager, Media Library and Task Manager. Customers can direct clients to view clips on an individually branded Cloud-based Portal, giving the impression of an on-premise, self-hosted storage. Identical to the use of the Media Library as a communication portal, viewers accessing the assets through the cloud are invited to leave comments and even drawings on the image. All annotations are integrated and synced to Elements Media Library.

The new feature will become part of Elements’ workflow management tool-set that provides a GUI for professionally managing, presenting and sharing media assets. This web-based workflow enhancement feature set is embedded in Elements appliances ONE, NAS, GATEWAY, SAN and the mobile appliance CUBE.

The optional Media Library, MAM tool is compatible with the main professional editing application available today, enabling operators to transfer entire projects from the Media Library to any other editing application. The Media Library also fully supports Avid bin-locking and project sharing.

Artel to Show New IP Transport Solutions at IBC 2017

At IBC 2017, Artel will showcase an end-to-end hybrid IP- and fiber-based network specifically designed to address the migration from direct fiber to all IP or hybrid IP/SDI networks.

Artel will demonstrate reliable IP transport of live, broadcast-quality media with the company’s modular InfinityLink and DigiLink media transport platforms. New capabilities include auto-sensing of broadcast-quality 3G-SDI, HD-SDI, SD-SDI, ASI video formats plus Ethernet traffic over IP.

Artel’s IP-based solutions include SMPTE 2022-1/2/5/6 IP encapsulation and optional forward error correction (FEC) algorithms for flexible configurations that maximize reliable performance and minimize latency.

Artel’s IP network will feature the DLC/ILC410, DLC/ILC450 IP transport solutions for the DigiLink and InfinityLink platforms and showcase new features in the DLC/ILC450 including Gigabit Ethernet (GigE) IP interfaces enabling greater bandwidth utilization.

The company will provide an interactive demonstration of SMPTE 2022-7 Hitless Protection Switching in an IP network. Attendees will be able to create “breaks” in video transmissions between the company’s InfinityLink chassis and witness delivery of uninterrupted clear video signals.

Artel and ARG are teaming up at IBC to offer attendees additional IP delivery solutions while demonstrating interoperability between Artel’s InfinityLink and DigiLink platforms and ARG’s Quarra and ARQ IP solutions. These include PTP Switching, SMPTE 2110 and 2059 Support with the ARG Quarra.

ARG Quarra switches are designed for audio/video broadcast, defense and security, finance, utilities, telecom and enterprise IT applications where accurate timing and control is required.

Artel’s FiberLink 3500 Series transmits 4K/UHD video at up to 60 frames per second one way. Supporting nearly every type of video, audio, and data signal, FiberLink products are for broadcast or corporate studios, OB vans, point-of-view cameras, rental and staging, auditoriums, stadiums and theaters and transportation hubs.

Has DTC Solved UHD Wireless Transmission?

DTC’s existing SOLO7 OBTX camera-back transmitter supports1080p60 and 4:2:2 compression.

DTC Domo Broadcast (DTC) says it will launch a new, as yet unnamed, solution for transmitting wireless 4K UHD video at IBC 2017. Whether it will solve latency for live to air UHD remains to be seen.

DTC Domo Broadcast Sales Director JP Delport said, “It is exciting to watch the development and possibilities of POV cameras for live broadcast; UAV use; virtual and augmented reality; 360 camera viewing; and IP delivery. However, it is the increasing adoption of UHD and HDR on a global scale that really excites us.

“At IBC we will be launching a UHD solution that makes it possible to transmit 4K wireless video. We believe broadcasters will be excited about our transmitter, not for just its UHD and HDR capabilities but its ability to take advantage of next generation HEVC compression technology. The new transmitter and decoder will be able to handle significantly higher bit-rates than we have seen before and make 4K wireless transmission possible for the first time.”

DTC will also show its miniature Broadcast Nano HD transmitter for the first time in Europe. Launched earlier this year, Broadcast Nano now incorporates a control panel; robust, broadcast-standard connectors; and forced cooling that provides significantly improved thermal performance. These improvements enable production teams to capture high definition POV images in, for example, referee or jockey-mounted camera situations not previously possible due to equipment size and battery run-time limitations.

DTC’s camera back OBTX and multi-functioning PRORXD will also be exhibited at IBC, with added features including dual pedestal DVB-T for high bit-rate studio applications.

Media Links ‘Go-Anywhere’ IP Gateway Encoder/Decoder at IBC 2017

Media Links will launch its MDP3020, an IP media gateway edge device, designed for remote production and IP content delivery at IBC 2017. The company developed the MDP3020 for the broadcast media market and it will be of particular interest for sports broadcasters. It can be used in three primary configurations: firstly, for contribution applications as an encoder, secondly for distribution applications as a remote video playout decoder, and thirdly for point-to-point local video and distribution applications.

“Live events continue to appeal to viewers, bucking the general trend of the overall decline in audience figures for pre-recorded content. As a result, broadcasters recognize the value of producing live content from a variety of environments,” confirms John Smith, managing director, Media Links EMEA. “However, broadcasters also need to minimize the cost of live production. Therefore, we are excited to launch the new MDP3020 at this year’s IBC.

“This tiny workhorse, addresses the universal need for network protected IP transport that is highly portable, rapid to deploy, and remotely configurable,” continues Smith. “The MDP3020 uses standards including 2022-6/7, TR-01 to process ever-increasing amounts of media information over IP networks, existing broadcast networks, as well as point-to-point fiber networks offering a both cost effective and convenient solution for applications such as remote production over IP.

Media Links specifically developed the MDP3020 for the broadcast media market where economical IP media conversion is a must-have and it will be of particular interest for sports broadcasters. It can be used in three primary configurations, either separately or in combination due to its multichannel capability: firstly, for contribution applications, as an edge device (encoder): secondly, for distribution applications, as a remote video playout device (decoder) and: thirdly, for point-to-point local video and distribution applications, when used in pairs (encoder to decoder) to offer secure and simultaneous video, audio, and data services.

One key benefit to the MDP3020 is that it’s compact and portable. It is so small, it fits into a standard briefcase and can be taken on an aircraft as carry-on baggage. This means connectivity can be achieved economically over long distances without the associated shipping costs of heavier equipment.

The MDP3020 incorporates a high capacity - 1GbE or 10GbE - trunk interface and multi-format support, including 3G / HD / DVB-ASI / SD-SDI with both SDI and HDMI output interfaces. The solution has been designed with upgradable functionality to ensure broadcasters’ investments are future-proofed whenever changes in the workflow are required during the transition to IP based infrastructures.

Globecast Launches Live Stream Capture Platform at IBC 2017

Globecast, the content delivery arm of the French Orange group, will major on its new media management platform for extracting on demand files from live streams at IBC 2017.

The platform will allow broadcasters and distributors to clip content from live streams for immediate editing, publishing, and syndication to online services and social media. The package exploits Globecast’s existing techniques covering live events to help customers’ editorial teams package action highlights during and after an event and to publish to connected screens. The pitch is to increase viewer engagement, grow audiences and introduce new monetisation models.

Globecast will also show its GCXN package, which manages the transport of broadcast and media services over the public internet. Designed to accelerate deployment, it enables customers to create and then distribute content from wherever they are more quickly and cost effectively than using traditional fiber.

GCXN can be used for both primary and secondary distribution of broadcast quality. It comes as a standalone service or complementary to satellite services. It can also be used for disaster recovery and monitoring of video services, exploiting the almost universal access enabled by use of the Internet.

Globecast will also focus at IBC on managing its portfolio of services with a real-time digital tool that can be used from anywhere, again exploiting Internet connectivity. Called My Globecast, this was designed in partnership with some of its customers to simplify common management tasks. Customers have access to their services via a single click and can manage their media management and distribution-related services. Functions include services supervision, incident management, and planned maintenance communication, as well as overviewing associated playout and VoD services.

Shotoku Broadcast with New VR/AR Tracked Camera Cranes at IBC 2017Shotoku Graphica 390

Shotoku has announced plans to introduce the European market to Graphica, its recently launched series of manual virtual / augmented reality (VR / AR) tracked camera cranes in Amsterdam at the IBC 2017 show. The series is the result of a partnership with crane manufacturer CamMate, known for its quality of engineering.

Shotoku Broadcast Systems’ Graphica Series - launched at recent NAB 2017 - blends the company’s VR technology with the engineering know-how of crane maker, CamMate. The result is a range of manual VR / AR tracked camera cranes with tracking capabilities in a portable package that is scaleable, stable and, most importantly, repeatable. Graphica calculates positional data output from embedded physical rotary encoders designed specifically for VR applications. Free of the jitters, external markers, and area limitations often associated with other positional tracking systems, Shotoku encoders seamlessly process data via the SPI interface to provide real-time data output, in the studio or on location.

The SPi-Touch origin reset and 2-Point calibration function adds another level of convenience and high production flexibility. A true set-and-forget system, complete calibration is needed only once and can be achieved in 20 seconds. SPi-Touch comes standard on every model.

Suitable for all types of production, 7 models of varying lengths are available to create dynamic camerawork in the smallest studios or the largest of outdoor sporting events. Custom-made carry cases for easy transport are included with every purchase.


SmartPed Robotic Pedestal

The company is also showcasing its SmartPed Robotic Pedestal, a fully robotic XY pedestal launched in 2016. SmartPed addresses the creative and commercial demands of on-air environments with a cost-efficient and high-performance solution.

SmartTrack - Ceiling Mounted Rail Track Camera System

Shotoku will demonstrate a ceiling mounted SmartTrack rail camera system, including full elevation control. The demonstration will show a level of camera control that can really only be achieved with a ceiling mounted track/elevation system. Following its success in the unique “Glass Box” studio at Sky News UK, the ceiling based SmartTrack has proved itself as a high-end track based system.

VR/AR Tracking

Free-d2 Absolute Tracking System

The company will also show its Free-d2 Absolute Tracking System, a next-generation tracking system that does not require physical encoder devices attached to the camera support’s moving axes. The Free-d 2 system, which is ideal for VR/AR news, sports and current affairs live studio productions, uses advanced video processing algorithms and simple ceiling markers to precisely determine the exact position and orientation of the studio camera, thus providing highly accurate and constantly referenced (absolute) position tracking.

Vintage Cloud Brings Archive Digitization and Indexing Services

Film archive digitization specialist Vintage Cloud is announcing a new service designed to help companies monetize archive assets.

The new service is based on Vintage Cloud Steenbeck, the only system capable of digitizing separate image and audio at the same time at up to 4K resolution and up to 60 fps. It is therefore 3-5 times less costly per digitized hour than other systems while delivering unprecedented image quality, the company claims. Vintage Cloud Steenbeck is “highly tolerant of broken perforations, fragile splices, warped and brittle film”, and is also capable of handling shrunken film via a special

capstan sprocket.

“Vintage Cloud was created by film people for film people, and we share a background in film editing, cinematography, sound engineering and film production,” said Peter Englesson, CEO of Vintage Cloud. “We can take care of an entire project, delivering maximum results for minimum cost. There’s a lot to think about in undertaking a project to transfer analog files to digital – but we’ve used our considerable experience and expertise in making the investment in creating the optimum tools for the job.”

Digitization is only part of the service. The all-in-one system has now been enhanced by the introduction of Smart Indexing. Vintage Cloud developed software that uses AI and machine learning to automatically generate new metadata for search and categorization. For material that has already been digitized, Smart Indexing is available as a standalone app for automatic content tagging– increasing the monetization potential of assets while saving time. “Using Smart Indexing’s automatic tagging helps categorize and curate content, meaning that revenue can be generated from film assets quickly, easily and seamlessly,” added Englesson. “The keyframes generated in Smart Indexing are an easy and quick way for users to make sure their film assets are found by the right buyers. They also enable customers to search through their own archives and organize their libraries.”

Smart Indexing is capable of delivering a tagging result in a fraction of a second. “AI allows Smart Indexing to automatically recognize over 11,000 objects, scenes, and events with an accuracy that is equal to, or better, than that of a human. It can even recognize faces (including the emotions portrayed by those faces). Smart Indexing can distinguish ‘known’ faces, or the user can add names to faces and those faces, with their associated data, are added to the Smart Indexing database such that they are automatically recognizable in other assets,” he explained.

Dalet Showcases Latest Advancements in News and Orchestration Workflows at IBC2017

Agile platform boasts new content discovery framework, advanced social media integration, analytics & reporting tools, new graphics capabilities and IP future-ready solutions, taking a quantum leap forward for News, MAM, Orchestration and Video-Over-IP workflows.

Dalet Digital Media Systems, a leading provider of solutions and services for broadcasters and content professionals, will be unveiling several new technology advancements at the 2017 IBC Show (stand 8.B77), held at the Amsterdam RAI Centre from September 15th through 19th.

“Key for our customers is the ability to take advantage of emerging technologies that ultimately enable new business opportunities and growth. However, these come at a faster and faster pace. Replacement of key tools and infrastructure with every evolution is not a viable business option, nor is staying with the current siloed infrastructure,” comments Arnaud Elnecave, vice president of marketing, Dalet. “Today’s media operations require fluid, collaborative workflows based on an open technology framework such as the Dalet Galaxy platform, which can bend to the flow of new business requirements. All our recent implementations are about enabling this agile transformation for our customers.”

Elnecave elaborates on what attendees can expect to see on the stand: “We will be unveiling several key technology advancements at IBC. These innovations span across all media workflows, offering smarter services that enhance the content production experience, foster collaboration, reduce the complexity of multiplatform distribution and the curation of targeted content, ultimately enabling customers to create and deliver richer, better content to more platforms faster than ever before.”

Unified News Operations

An agile and scalable solution, Dalet Unified News Operations combines all the essential functions of an efficient modern newsroom, offering a comprehensive suite of collaborative tools that streamline the entire chain of operations. Dalet will introduce new additions to this toolset at the show:

• Dalet Social Media Pane. As audiences consume their news more and more on social platforms, efficient production and publishing to these outlets have become paramount. The new Dalet Social Media Pane makes publishing on social channels easy and intuitive. It also provides a synthetic view of the published stories and their performance with audiences to inform new editorial directions and planning.
• Dalet Content Discovery. This new module sets the framework for a new generation of editorial experience, recommending to the journalists and producers a selection of content readily available on the platform that matches their assignments or work in progress.
• Advanced News Graphics Workflows. Dalet Cube, the comprehensive suite of high-quality broadcast graphics tools, boasts a new set of native integrations with the Dalet Galaxy platform for creating and managing CGs, crawlers, tickers, lower-thirds, logos, full-frame graphics and complex 3D animations. Available at various touch points of news production and playout workflow, these new integrations enable superior user experience and new branding efficiencies.

Orchestrating & Streamlining Enterprise Media Workflows

The new, award-winning Dalet Orchestration solution is an agile enterprise media management solution designed to integrate content pools and automate workflows across the various verticals of a typical media enterprise – such as programs, promos, news, sports and lifestyle. Dalet Orchestration provides a consolidated view of all media assets across the business with tools to easily automate and optimize workflows from acquisition and production, to distribution of content to multiple broadcast platforms and publishing systems. Delivered with Dalet Report Center, the solution offers critical business intelligence data specifically tailored for media operations, allowing management teams to measure performance throughout the chain and build data-driven strategies.

Deeper Integration with Adobe Premiere Pro CC

The critical connect point for post-production, the recently updated HTML5 Dalet Xtend panel connects Adobe® Premiere Pro® CC users to the Dalet Galaxy platform, providing a direct gateway to shared assets and facilitating greater collaboration with the rest of the users on the Dalet Galaxy platform – such as journalists, prep editors, sports producers and other production personnel. Editors can save projects or sequences as assets in Dalet Galaxy, and share them with other Adobe Premiere Pro editors connected to Dalet.

New features and capabilities include support for multi-sequence export, locator inheritance, configurable metadata forms for exporting content and support for “while” scenarios when exporting from Adobe Premiere Pro.

Video-Over-IP and Virtualizing Your I/O Server

The Dalet Brio high-density I/O platform supports the latest IP standards adopted across the industry – SMPTE 2202-2, SMPTE 2202-6 and the soon-to-be-published SMPTE 2110. The latest version of Dalet Brio no longer has dependency on a physical video board, allowing for a full virtualization of the I/O service, opening doors to more agile, next-generation video network configurations.

EditShare Launches New XStream Storage

EditShare is expanding it XStream EFS scale-out storage product line with the introduction of the XStream EFS 40NL storage solution.

Customers can add one or more EFS 40NL nodes of storage to an existing XStream EFS storage cluster as well as configure the EFS 40NL as an independent storage cluster for disaster recovery or media backup purposes. Each XStream EFS 40NL 4U storage node provides 240TB of raw capacity and, when configured appropriately, can protect against the loss of one or more nodes.

“We have many existing XStream EFS storage users who need to store dormant assets temporarily and inexpensively. And they need to do so in a manner that is easily managed between their main production storage platforms,” comments Bill Thompson, EditShare’s storage product manager. “Our new EFS 40NL scale-out storage model is the ideal solution for these situations because, in addition to satisfying budget requirements, it’s connected to the EFS storage group and therefore mounts under the single EFS namespace. As a result, moving project content from higher performance XStream EFS online systems to a 40NL nearline system and vice versa is as simple as selecting the storage node group. The EFS file system transparently moves the content from one group to the other, bringing both cost and production efficiency to the operation.”

Like all existing EFS SSD and HDD nodes, the new EFS 40NL nodes leverage the EditShare “Storage Node Group” concept, which allows users to assign media spaces to a specific set of nodes and define how the files in the media space are protected.

“EditShare XStream EFS customers can also combine the EFS 40NL with one or more EFS Metadata Controllers to create a low-cost, nearline-only storage configuration for disaster recovery or business continuity,” explains Thompson. Using the EditShare Sync tool, users can quickly and easily back up media from a primary XStream EFS online cluster to the dedicated EFS 40NL nearline cluster.