NTP Technology to introduce latest VMC routing software at BroadcastAsia 2016

NTP Technology, a developer and producer of audio conversion, routing and signal processing systems, will introduce the latest version of its Visual Matrix Control (VMC) routing software to …


NTP Technology, a developer and producer of audio conversion, routing and signal processing systems, will introduce the latest version of its Visual Matrix Control (VMC) routing software to the Asia Pacific market at BroadcastAsia 2016, which will be held between 31st May to 3rd June, 2016.  The company will co-exhibit with ATG Danmon UK and Marquis Broadcast.

VMC is a flexible and configurable Windows-based user interface for managing audio routing between studios. Allowing versatile management of signal routing and monitoring in the NTP Blue | NET MADI and AoIP routing control system, it has a wide range of applications both in broadcast facilities and audio post-production houses.

NTP Technology will demonstrate VMC in a system based on an NTP Penta 720 MADI router with a Blue | NET enabled 635 controller interconnecting an AX32 Eucon-enabled post-production system and well as Dante compliant audio-over-IP devices in a common router structure. The company claims that VMC allows fast and easy GUI-based routing of audio signals in various formats from all connected interfaces. All signal levels can be viewed as peak programme meters and individually monitored. Flexible scheduled routing automation can be managed as well as signal-dependant routing.

VMC is a client/server based application allowing multiple instances to run in parallel. This multiple user functionality includes individual user rights management for access to the various control features.

Avid delivers effortless music composition with Sibelius 8.2

The new Sibelius 8.2 music notation software from Avid offers composers significant engraving and workflow enhancements to effortlessly create accurate, easy-to-read scores. Dana Ruzicka, VP and Chief Product …


The new Sibelius 8.2 music notation software from Avid offers composers significant engraving and workflow enhancements to effortlessly create accurate, easy-to-read scores. Dana Ruzicka, VP and Chief Product Officer at Avid said that the update introduces some great notation improvements, including several enhancements requested by customers since the 8.1 release. “And thanks to the analytics and error reporting we introduced in 8.1, Sibelius is now more stable than ever,” he added.

With the new updates to Sibelius 8.2, music composers can now re-spell notes in parts, making it possible to have the same pitched note to have a different accidental in a part versus the score. It is also feasible for time signature changes to now appear after the barline, but before repeat barlines. Additionally, notes and rests can now be moved horizontally in the score, with new keyboard shortcuts that simplify the process, eliminating time spent cutting and pasting music around staves.

Software update helps composers to create the
high quality music scores quickly and easily

In addition, Avid has added two new Sibelius bundles, offering composers even greater value by adding powerful capabilities to their notation workflows at a reduced price. The Sibelius + PhotoScore & NotateMe Ultimate Bundle enables music content creators to scan sheet music into Sibelius and handwrite music and notes using a pen and tablet. The Sibelius + AudioScore Ultimate Bundle also allows them to turn recorded audio or live mic performances into transcribed music notation.

Osprey Video 840e video capture card

Osprey Video launched Osprey 840e video capture card, which features four independent, highly configurable input channels, and is built for customers who rely on SDI ingest in high-density …


Osprey Video launched Osprey 840e video capture card, which features four independent, highly configurable input channels, and is built for customers who rely on SDI ingest in high-density applications,.

Roger Bieri, General Manager, Osprey Video said, “With the 840e, we created a affordable card that lets our customers save money without sacrificing quality or density.”

Each of the 840e’s four inputs can accept video in three different formats — SD-SDI, HD-SDI, and DVB-ASI MPTS/SPTS — along with four stereo pairs of embedded SDI audio. All inputs are clock-independent and each can ingest a different format. This makes the 840e well-suited for SDI-based mobile streaming applications that involve ingesting and streaming from multiple sources, such as concerts or sporting events.

Like all Osprey 800 Series cards, the 840e comes standard with Osprey SimulStream, which allows each input to produce multiple parallel output streams with completely independent settings for colour space, cropping, scaling, closed captions, and overlays; enabling simultaneous delivery to multiple applications.

In the event of signal loss, the 840e card automatically replaces lost video with color bars and presents options for text overlay and audio tones. This feature guards against failure of downstream applications due to signal loss.

In terms of video preprocessing, the 840e handles functions such as VBI/VANC closed-caption extraction/on-screen rendering; scaling, cropping, deinterlacing, and inverse telecine; and vectorscope and lumascope readings.

The 840e card supports the Microsoft DirectShow API and Linux drivers, while an available Osprey SDK lets developers take full advantage of the driver capabilities in the Osprey 800e Series. Users can access additional audio options through the Osprey 800a audio-expansion card.

Video Clarity unveils RTM 4K

Video Clarity, provider of audio and video quality measurement and analysis systems, released RTM 4K, a 4K-capable version of the company’s RTM real-time audio and video monitoring solutions. …


Video Clarity, provider of audio and video quality measurement and analysis systems, released RTM 4K, a 4K-capable version of the company’s RTM real-time audio and video monitoring solutions. The company claims that RTM 4K is the first quality-monitoring solution that can apply 4K video sources and compare them with encoded/decoded 4K video to test for video quality, audio quality, lip sync, and loudness. It also performs those tests using full-reference methods and correlates results to accepted scales of human perception.

“4K, real-time, full-reference, perceptual-quality functionality has never been done before. Now manufacturers and entertainment networks with new 4K delivery functions can set up real-time monitoring with the unique functionality of automatic, time-based quality measurements that are highly correlated and meaningful to the audience’s quality of experience,” said Blake Homan, President and Founder of Video Clarity. “Understanding the quality of experience is crucial as companies deploy their UHD services. RTM 4K lets them run a full performance evaluation on the delivery chain automatically, which saves them time and money when evaluating their UHD deployments.”

Whether monitoring an existing service or perfecting the workflow of a future service, content originators and delivery networks can use RTM 4K to measure the quality of delivered 4K video over time and do it by comparing the 4K source with the downstream versions, with audio quality, lip sync, and loudness included. The solution alerts and records a degraded A/V signal if it falls below user-set limits, enabling users either to make adjustments as the content is playing out, or to study and correct the problem later.

The 3-RU RTM 4K is built with a variety of applications in mind, such as testing new 4K HEVC encoders for audio and video performance over time, and testing the performance of origination channels and automatically recording and logging faults in video, audio, lip sync, and loudness. Content providers can also deploy RTM 4K — both in advance and during a broadcast — for long-haul performance testing of special large-audience live programming, or in any instance where 4K content quality monitoring and measurement are required.

Timecode Systems launches Sync Solution for GoPro

Timecode Systems, provider of wireless technologies for sharing timecode and metadata, released the SyncBac PRO, a customised GoPro timecode sync accessory. By enabling the GoPro HERO4 Black and …


Timecode Systems, provider of wireless technologies for sharing timecode and metadata, released the SyncBac PRO, a customised GoPro timecode sync accessory. By enabling the GoPro HERO4 Black and Silver cameras to generate their own frame-accurate timecode, the SyncBac PRO creates the capability to wirelessly timecode sync multiple GoPros and GoPros with pro cameras and pro audio devices over long-range RF.

Over the last few years, wearable cameras have become commonplace on professional film and broadcast sets. But since these cameras are not timecoded, the challenge has always been how to sync the footage captured not only with other GoPros, but also with pro cameras and pro audio devices.

“Until now, all we could do was advise production houses to visually slate using a digislate,” said Paul Scurrell, CEO of Timecode Systems Limited. “It was a decent workaround, but it wasn’t the seamless solution productions craved. What customers really wanted was timecode generated at source and synced over long-range RF, producing a single file with embedded timecode that postproduction can work with in exactly the same way as media extracted from more traditional professional cameras and audio equipment. This is exactly what we’ve delivered with the SyncBac PRO.”

At the end of a shoot, SyncBac PRO users simply remove the SD card from their GoPro and hand the footage with embedded timecode to postproduction. The single MP4 file can be uploaded into the chosen editing package in the same way as media captured by large-scale, professional broadcast cameras and audio devices.

The SyncBac PRO neatly clips to the HERO4 Black and Silver cameras via the HERO Bus 30 pin port, with no requirement for external connectors. This keeps the GoPro small and light and ensures its full compatibility with HERO4 standard BacPac backdoor housings. The user simply clips on, switches on, and runs timecode to integrate the GoPro seamlessly into a Timecode Systems production workflow.

“The SyncBac PRO adds an important new capability to the GoPro — the ability to integrate into a multicamera film and broadcast workflow in the same way as larger- scale professional cameras,” said Adam Silver, director of strategic product partnerships at GoPro. “This is not only an important tool at the point of shooting, but a good workflow enabler for postproduction — it could save hours in edit time, freeing up budget for the production and studios. Add to this the capability to wirelessly control and remotely monitor GoPros from a single application.”

The GoPro cameras’ compability with the entire Timecode Systems range of wireless timecode and metadata products also means that users now have the capability to wirelessly view, control, and monitor all GoPros on a shoot over long-range RF from a single application — the B:LINK Hub.

The B:LINK Hub is a new feature embedded within the Timecode Systems :pulse, a miniature base station for timecode and metadata. By connecting the SyncBac PRO to the B:LINK Hub dashboard via a :pulse unit, production teams can view, monitor status, and remotely control multiple GoPros from any smartphone (iOS or Android), tablet, Mac, or PC. This, among other things, unlocks the capability to adjust camera settings and record start/stop remotely — a good way to maximize a GoPro’s battery life when the camera is gear-mounted or not easily accessible.

Digigram to showcase new AQORD HEVC encoders at 2016 NAB Show

Digigram, developer of audio and video solutions, announced that during the 2016 NAB Show it will showcase two new HEVC/H.265-enabled versions of its popular AQORD video encoder designed …


Digigram, developer of audio and video solutions, announced that during the 2016 NAB Show it will showcase two new HEVC/H.265-enabled versions of its popular AQORD video encoder designed to enable point-to-point broadcast contribution of UHD 4K video or simultaneous HD channels, as well as broadcast and IPTV distribution of 4K content to the home. Housed in a compact 1-RU, 19-inch chassis, the AQORD HEVC-4K Ultra HD encoder and AQORD HEVC-xHD multi-HD encoder leverage HEVC/H.265 to enable cost-effective contribution of the high-resolution (up to 4Kp60, 4.2.2, 10-bit, 120 Mbps) video increasingly used for premium-quality live event production.

Ready to use right out of the box with minimal configuration, these latest additions to Digigram’s AQORD family allow users to stream superior-quality video — UHD or multiple HD feeds — almost immediately. With HEVC/H.265 encoding or local recording capabilities, AQORD HEVC offers mission critical 24/7 reliability, supported by dual streaming capabilities, forward error correction (FEC), and a redundant power supply. Each unit’s compact form factor saves space and reduces power consumption in demanding outside broadcasting environments.

The new Digigram products ingest raw video through quadruple 3G-SDI video inputs and use HEVC to realize double the compression efficiency enabled by AVC/H.264. The AQORD HEVC-4K is UHD-ready while the AQORD HEVC-xHD can encode one HD channel and upgrade up to four HD channels or one UHD channel via software license.

Leica to debut two cine lenses at NAB 2016

CW Sonderoptic, a sister company to Leica Camera, will introduce two new lenses in the Leica Summicron-C cine lens family at 2016 NAB Show. The 40mm T2.0 and …


CW Sonderoptic, a sister company to Leica Camera, will introduce two new lenses in the Leica Summicron-C cine lens family at 2016 NAB Show. The 40mm T2.0 and 15mm T2.0 lenses bring the growing Leica Summicron-C family of primes to 11 focal lengths, all T2.0. The company claims that these lenses lend a natural treatment of skin tones without sacrificing clarity and resolution while maintaining the compact, lightweight and reliable build quality of the other focal lengths. While all lenses have matched focus and iris ring locations and 95mm front diameter, the 15mm lens is slightly longer like the 135mm.

“With the popularity of the Leica Summicron-C lenses in the high-end feature film, television and commercial markets, we received many requests to add more focal lengths, especially the classic 40 mm and a very wide lens,” said Gerhard Baier, MD of CW Sonderoptic. “The decision to go with a 15mm is a nod toward one of Leica’s popular still photography lenses, the 15mm R lens.”

The Leica Summicron-C 40mm lens is expected to deliver in June 2016 with the Summicron-C 15mm to follow in October 2016. All Leica Cine lenses are currently available from CW’s worldwide network of resellers.

Recent productions that chose Leica Summicron-C lenses include ‘Snowden’ from Oliver Stone, Sundance’s ‘Equity’, HBO’s ‘Togetherness’ and ‘The Young Pope’, as well as ‘Mr. Robot’ on USA and ‘Criminal Minds’ on CBS.

Square Box Systems introduces CatDV Archive to S3 Cloud

Square Box Systems announced the launch of CatDV Archive to Amazon Simple Storage Service (S3) Cloud, enabling the archiving of CatDV-managed media assets and associated metadata in S3, …


Square Box Systems announced the launch of CatDV Archive to Amazon Simple Storage Service (S3) Cloud, enabling the archiving of CatDV-managed media assets and associated metadata in S3, the cloud-based file-storage service offered by Amazon Web Services.

Square Box Systems claims that its CatDV helps teams organize, communicate and collaborate effectively in organizations that create or manage a large volume of digital media. These tools support sophisticated media workflows, from single-user installations to large dispersed teams in global operations.

With CatDV Archive to S3 Cloud providing a direct link to S3 from CatDV’s Web and desktop user interfaces, users can copy content directly to Amazon S3 object storage or archive files to clear space on their local storage drives — all the while preserving the assets’ metadata and tagging. They can view the status of the service and the job queue at any time during a CatDV Archive to S3 Cloud operation.

“Ideal for production, postproduction, and repurposing of finished media assets, CatDV is well-suited to content creators in traditional broadcast and production operations, as well as many other types of businesses,” said Dave Clack, CEO of Square Box Systems. “With CatDV Archive to S3 Cloud, we’ve given our customers even greater workflow flexibility and the added confidence that their valuable assets are protected — with the increasing cost savings and efficiencies enabled by the cloud.”

Imagine Communications introduces Epic

Imagine Communications introduced Epic, a next-generation operational management and orchestration platform designed to facilitate the seamless assimilation of IT-based environments into the broadcasting realm. The company also unveiled …


Imagine Communications introduced Epic, a next-generation operational management and orchestration platform designed to facilitate the seamless assimilation of IT-based environments into the broadcasting realm. The company also unveiled the Epic Multiviewer (Epic MV), an operational monitoring solution and the first product built on the Epic platform.

The software-based and UHD-ready IP multiviewer is optimized for hybrid and high-powered production, acquisition, origination and distribution requirements, providing broadcasters and other media companies a single solution for SDI, IP and hybrid environments. Powered by Zenium, the media processing platform from Imagine Communications, Epic MV is designed to seamlessly scale and evolve to meet future monitoring requirements.

Today’s broadcast facilities are undergoing significant evolution. In addition to the need to create and distribute content across a broad set of formats to a wide range of platforms, broadcasters and other media companies are also addressing simultaneous technology transitions, including the evolution to higher resolutions and the migration of operations to more agile and versatile IP-based environments. The ongoing evolution of the broadcast plant has created the need for signal monitoring technology that is more scalable, flexible and multi-faceted than ever before.

Capable of handling an array of formats — from production to multiscreen delivery — the Epic MV monitoring solution empowers broadcasters, content distributors and other media companies with a single system for scaling their multi-viewer capabilities to new levels. The software-based nature of the advanced monitoring system also guards against obsolescence, as it is able to seamlessly incorporate new formats and technologies as they are introduced into the market.

“We designed Epic with a focus on both the current and future needs of today’s broadcasters and media companies,” said Brick Eksten, Chief Product Officer, Imagine Communications. “The software-based nature of the platform will allow us to seamlessly blend operational monitoring and orchestration in a way that leverages the state of the art in enterprise-class IT solutions, while catering specifically to the needs of broadcasters — both now and in the future.”

Epic MV is a fully integrated IP multiviewer with out-of-the-box support for displaying UHD signals. Its ability to handle both SDI and IP signals will help enable broadcasters to significantly simplify their monitoring environments, while at the same time unleashing unprecedented performance, scalability and adaptability to future technologies. Designed with rapidly evolving operational environments in mind, the EPIC MV was built to provide broadcasters, content distributors and other media companies with cutting-edge performance for years to come.

Harmonic takes VOS to the cloud

Harmonic launched two new VOS offerings powered by the cloud. VOS Cloud is a media processing platform that enables content and service providers to manage the video production …


Harmonic launched two new VOS offerings powered by the cloud. VOS Cloud is a media processing platform that enables content and service providers to manage the video production and delivery workflow for broadcast and OTT applications via standard IT hardware, over public or private cloud infrastructure. The second VOS offering, Harmonic’s VOS 360 professional cloud media processing service, provides operators with a software-as-a-service (SaaS) solution that is hosted in the public cloud and maintained and monitored by Harmonic, enabling customers to launch revenue-generating, broadcast-quality OTT services in a matter of minutes instead of months.

“Senior executives at numerous media companies have repeatedly told us they want cloud-native solutions. For technology companies this means not simply repackaging the software they already have, but re-implementing their technologies into micro-services architectures that enable hyper scale and service agility. Beyond technology, a fresh approach to commercial models for licensing, service and support is also required to fully unlock what media companies really mean when they talk about cloud,” said Joe Zaller, President and Founder of Devoncroft Partners.

The VOS Cloud platform, which is currently in trials in various OpenStack and public cloud environments with leading service providers around the globe, provides operators with ultimate simplicity, efficiency and agility. Configuration, deployment and management is easier through VOS Cloud’s automated video formation technology, which uses standard IT deployment templates to simplify set-up and unlock powerful media processing and delivery workflows. By transforming traditional video preparation and delivery architectures into a hybrid cloud operation, VOS Cloud accelerates time to market for new broadcast and OTT services.

As a native cloud-based media processing service, VOS 360 is maintained and operated by Harmonic 24 hours a day, ensuring superior quality of experience and service availability at all times. Built upon leading public cloud infrastructure platforms, the VOS 360 service makes it easy to prepare and deliver content from anywhere in the world, with total geographic redundancy and operational resiliency.

“With the VOS Cloud media processing platform, operators have the flexibility to deploy on public or private cloud infrastructure. Building on this innovation, VOS 360 is a hosted service that retains the exceptional video quality, reliability and 24/7 support that Harmonic is known for,” said Patrick Harshman, President and CEO of Harmonic. “Staying true to our open architecture solutions strategy, Harmonic allows our ecosystem partners to seamlessly integrate with VOS 360 to deliver a true end-to-end, OTT, SaaS platform in an elastic public cloud environment.”

Through capabilities such as time-shift TV, VOD and cloud DVR, both VOS cloud offerings enable service providers to generate instant revenue, without the traditional CAPEX involved with building, maintaining and operating a new headend or data center. Pay-as-you-go pricing for both offerings allows service providers to realize ROI in the shortest time possible.
Encoding and transcoding functionality on the new VOS cloud offerings is powered by the Harmonic PURE Compression Engine, which provides support for a wide range of formats, codecs and encoding schemes to enable broadcast-quality video at low bitrates. MPEG-2, MPEG-4 AVC and HEVC codecs are offered, as are SD, HD and UHD content formats for broadcast, cable, satellite and IPTV delivery — including constant, variable and adaptive bitrate streaming.