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.

Amagi enables virtualized playout with CLOUDPORT 3.0

Amagi has announced CLOUDPORT 3.0, the latest version of its cloud-based playout platform, which the company claims enables TV networks to operate virtualized playout on the cloud. This …


Amagi has announced CLOUDPORT 3.0, the latest version of its cloud-based playout platform, which the company claims enables TV networks to operate virtualized playout on the cloud. This gives them greater flexibility and agility to spin new channels and create regional feeds instantly to keep pace with changing viewer dynamics and preferences.

Available as a commercial-off-the-shelf (COTS) platform using Intel servers, CLOUDPORT 3.0 can also be deployed at operator headends while retaining full control over operations with the broadcasters. It 3.0 is IP-enabled, supports live broadcast, and is 4K UHD compatible. Complete with multifeed monitoring, the platform offers remote playout management, creating a live MCR-like experience on the cloud.

K.A. Srinivasan, Co-founder of Amagi said, “With CLOUDPORT 3.0, TV networks can respond to market needs quicker, as well as operate multichannel playout and delivery with zero CAPEX when compared to traditional playout and broadcast models. Given its flexibility to be hosted on the cloud, CLOUDPORT 3.0 can be used to create broadcast-quality OTT feeds. It can also double up as a cost-effective option to meet disaster recovery needs of TV networks. There is no longer a need for broadcasters to stay invested in expensive, traditional delivery models”

Offered as a platform-as-a-service model, CLOUDPORT 3.0 is packed with advanced features such as near-live asset changes to broadcast playlists, real-time social media integration, and enhanced digital video effects for a better end-user experience.

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.

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.

Pebble Beach Systems’ Orca virtualized channel-in-a-box

At NAB 2016, Pebble Beach Systems launched Orca, its software-defined virtualized IP channel solution suited to meet the needs of centralcast hubs, service providers, Multiple Channel Operators (MCOs), …


At NAB 2016, Pebble Beach Systems launched Orca, its software-defined virtualized IP channel solution suited to meet the needs of centralcast hubs, service providers, Multiple Channel Operators (MCOs), sports broadcasters, as well as corporates such as publishing companies seeking new ways to inform their audiences.

As a completely virtual channel-in-a-box, without the box, Orca channels run in a private cloud with IP inputs and outputs to deliver all the functionalities previously handled by discrete hardware video servers, graphics and captioning systems within a pure software environment. Completely unmanned operation is now possible for channels with remote administration available through secure, but standard browser interfaces.

Orca offers a software-only virtual implementation of Pebble Beach Systems’ Dolphin platform. As with Dolphin, Orca software-defined channels can be configured to meet the requirements of each service. Because both Dolphin and Orca share the same underlying architecture and control, the company claims that it is easy to mirror channel templates for simultaneous playout to traditional SDI as well as IP video distribution.

Orca can also reportedly create new IP channels from a series of templates at the touch of a button, and deploy them quickly into a running system without having to restart or make configuration changes. Channels can be launched and integrated into a running Marina automation system literally at the click of a button. The solution can also deploy grid-based GPU power for encoding and graphics, freeing up CPU power to enable Orca to increase channel counts more cost-effectively for the end user.
Ian Cockett, technical director of Pebble Beach Systems explained that while systems offering integrated software components running on off-the-shelf IT hardware have been gaining in popularity, pushing the infrastructure to the cloud is the next step, as broadcast businesses seek to evolve IP-based services alongside more traditional channel delivery methods. The flexibility to provision and tear down channels dynamically in an instant is a revolutionary concept for companies used to the old way of doing things. However, with today’s budgets and schedules, he claimed that Orca has arrived at exactly the right time for organizations seeking a pure IP video solution.

Claro Chile and Harmonic to demonstrate end-to-end Ultra HD in Latin America

Claro Chile, a subsidiary of America Movil, the third largest telecommunications operator in the world, and Harmonic, a video delivery infrastructure company, will demonstrate end-to-end Ultra HD (UHD) …


Claro Chile, a subsidiary of America Movil, the third largest telecommunications operator in the world, and Harmonic, a video delivery infrastructure company, will demonstrate end-to-end Ultra HD (UHD) delivery via Claro Chile’s distribution network. Over the next few months, Claro Chile will showcase UHD images produced and delivered by Harmonic on Sony UHD TV sets. The UHD demo channel will be the first of its kind shown in the country, highlighting the growing momentum for UHD content.

“The global Ultra HD TV market is projected to reach 102.8 million units by 2020, according to the latest market research from Global Industry Analysts. Partnering together on this demo, Claro Chile and Harmonic will demonstrate that the Latin American market is ready for the remarkable viewing experience that can be achieved with Ultra HD,” said Alvaro Martin, vice president of sales for Latin America at Harmonic. “The demo will include footage from NASA TV UHD, the first consumer UHD channel in North America, and we are confident that it’s the most amazing video quality anyone has ever seen.”

At the heart of this demo is Harmonic’s Electra X3 advanced media processor, a converged media processor for UHD content with live, full-frame, full-GOP UHD encoding. Powered by the Harmonic PURE Compression Engine, an encoding technology that supports resolutions up to 2160p60 (HEVC Main 10) for broadcast and OTT multiscreen delivery, the Electra X3 enables superior video quality at minimum bandwidth.

Demo content will be sourced from NASA TV UHD, an ambient video channel that was recently launched by Harmonic and NASA, showing consumers the beauty of space and the various facets of NASA’s space program in stunning UHD.

Octopus Newsroom to introduce Version 8 Software and Octopus App at BroadcastAsia 2016

Octopus Newsroom, a producer of television broadcast newsroom automation systems, will introduce Octopus 8 at BroadcastAsia 2016 in Singapore. “With audiences expecting to watch, hear and read bulletins …


Octopus Newsroom, a producer of television broadcast newsroom automation systems, will introduce Octopus 8 at BroadcastAsia 2016 in Singapore. “With audiences expecting to watch, hear and read bulletins on their choice of device and at their choice of time, we have focused development on making the sharing of news items and information across departments easier and faster than ever,” Octopus Newsroom’s APAC Director, Miro Rusko, said. “Octopus 8 enables users to collaborate with other teams and deliver stories in multiple formats for the widest possible audience. It streamlines operations and workflows so that all necessary production information, including news sources, clips and stories, is now available to at a glance.”

“Pressure on journalists to hit deadlines is enormous and continues to increase,” added Sales Director, Gabriel Janko. “Octopus 8 features a new dashboard GUI which brings together every assignment, notification and update. Until now, newsroom solutions have treated social media as an add-on feature. Octopus 8, Twitter, Facebook and Instagram are fully integrated into the newsroom. Social media are now treated with the same importance as a traditional news feed or a programme rundown. This is a big advantage which reflects the huge importance of social networks to channel owners and audiences worldwide.”

Octopus 8 gives administrators the ability to assign users to create content for social media. Tweets and Facebook posts are treated like any other news story with team managers able to assign and share tasks, and to approve posts before they go live. Journalists can now follow Twitter trends and track topics of particular interest to them across the social network in real time. The research process is now automated, giving teams instant information and analyses trends over time. Editors can tweet, reply, re-tweet or favourite directly from Octopus as well as manage the channel’s relationships by following or blocking Twitter users.

With audiences increasingly using the internet for their news, media organisations are under ever increasing pressure to publish stories to the web. Octopus 8 directly interconnects with CMS systems such as WordPress, Joomla, Drupal and Core Media, allowing scripts and articles to be uploaded dynamically to web portals. This new web component enables TV news editors to upload pages directly, saving time and reducing the workload on web managers. Another new feature is the ability to publish social media posts directly from the rundown.

Also making its BroadcastAsia debut, the new Octopus Mobile App offers journalists full news production capabilities on tablets and mobile phones running Apple iOS or Google Android. Reporters and editors working remotely gain instant access to all wires, rundowns and assignments. They can also edit stories within a rundown, preview prompter text as well as create wires and reports in the field. The new app supports both Octopus 8 and the most recent versions of Octopus 7.

Octopus Newsroom recently extended its international business development and technical support presence with the establishment of a regional office in Thailand. Rusko said that the aim of this investment is to increase the quality of the company’s existing 24/7 support capability. “We will now be able to respond to customer requests within, or at least nearer, their national time zones rather than expecting them to think in terms of European time. Our focus will be on the entire South East Asia region, working faster and on a more personal basis. This will help particularly in the area of proof-of-concept tender fulfilment where documentation needs to be processed quickly,” he noted.

Sacramento Kings select Vitec IPTV venue solution for New Golden 1 Center

The Sacramento Kings have selected Vitec to provide high-definition (HD), ultra-low-latency IP streaming and digital signage capabilities throughout the team’s new arena, Golden 1 Center. With Vitec’s EZ …


The Sacramento Kings have selected Vitec to provide high-definition (HD), ultra-low-latency IP streaming and digital signage capabilities throughout the team’s new arena, Golden 1 Center. With Vitec’s EZ TV IPTV Venue Solution, every display becomes a new opportunity for fan engagement and revenue-building, while providing a media-rich game day experience.

“VITEC’s EZ TV IPTV Venue Solution is a dynamic and comprehensive solution that allows stadiums and arenas to stream high-quality, live on-demand video over their existing IP infrastructure,” said Michael Chorpash, vice president of sales at VITEC. “Using our IPTV solution, Golden 1 Center will be able to deliver a one-of-a-kind fan experience, drive revenue opportunities, and manage a complete IPTV and digital signage experience through a single centralized system.”

VITEC’s combination of low-latency streaming video and centralized management were key to the Sacramento Kings’ decision in selecting VITEC’s IPTV and digital signage solution. With the EZ TV’s scalable architecture, the arena will have a viable end-to-end streaming video system that displays HD video with ultra-low latency over IP networks throughout the concourse, concessions, and suites within Golden 1 Center.

Using VITEC’s EZ TV IPTV Venue Solution, Golden 1 Center administrators will be able to create and schedule video-rich digital signage seamlessly for any of the arena’s more than 700 displays, providing an optimized solution for every screen. From a single location, the EZ TV administrators will be able to schedule, control, and distribute the arena’s live feeds and on-demand content to all TV end-points, as well as PC users and mobile clients while gathering advanced analytics. The Golden 1 Center will be able to provide better fan experience customized to any screen, anywhere in the arena.

NewBay Media Music Group lifts tempo of video production with Quantum Storage

NewBay Media Music Group, a creator of specialized music news, enthusiast and instructional content, has amped up its video production workflow capabilities by replacing an aging Apple Xsan …


NewBay Media Music Group, a creator of specialized music news, enthusiast and instructional content, has amped up its video production workflow capabilities by replacing an aging Apple Xsan system with a Quantum storage system powered by StorNext. By enabling NewBay to accelerate its rate of video production and double its output, the Quantum solution has helped the company meet ever-increasing demand for fresh content on a range of digital media platforms.

NewBay Media is a publisher of specialized content across music, pro-audio, video and gaming, which it delivers through more than 35 print and digital magazines and more than 35 integrated web and mobile applications. In recent years, the company’s Music Group has seen increasing demand for video content, a major source of revenue and driver of continued growth, and it became clear that NewBay’s aging Xsan system could not support its needs.

“It couldn’t keep up with the speed our production required,” explained Anthony Verbanac, NewBay’s director of IT. “The team ran out of storage on almost every project, so we were always writing data off to tape. And the disk was so old that we were beginning to see frequent errors and even signs of data corruption.”

Lacking a large internal IT department, NewBay decided it needed a turnkey solution that would fit quickly into its Apple environment, be easy to maintain and meet the performance, reliability and scalability requirements of its evolving video production workflow.

Driving Business Growth With Quantum Workflow Storage

Working closely with Reboot Computer Services, a trusted systems integrator, NewBay evaluated different options and ultimately selected Quantum’s StorNext Pro Foundation, which is fully Xsan-compatible and optimized for small and mid-sized production workgroups. The system provides 48TB of Quantum QXS disk capacity (raw) and full support for the company’s preferred applications, including Apple Final Cut Pro, Compressor and DVD Studio Pro, as well as Adobe Creative Suite.

The Quantum solution links NewBay’s four Mac Pro workstations directly to the company’s SAN fabric, giving all editors direct access to the same set of files at Fibre Channel speed. It also provides continuity with the old system — all the applications used in the original Xsan environment still work with the Quantum system, and StorNext enables the team to view previously created content and edit it transparently. Other key benefits include much greater performance, capacity and efficiency, as well as the ability for NewBay to expand or upgrade the system in the future as its needs grow.

“The Quantum solution has made our video productivity at least double what it was without it,” said Bill Amstutz, vice president and general manager of NewBay Music Group. “Before Quantum, upwards of 50 percent of our videos and related revenue would not have been actualized without using additional videography resources.”

A Dramatic turn

Four Village Studio moves to HD and upgrades its studio production capabilities with Hitachi Z-HD5000 cameras to gain better performance and ease of use Government access TV facility …


Four Village Studio moves to HD and upgrades its studio production capabilities with Hitachi Z-HD5000 cameras to gain better performance and ease of use

Government access TV facility Four Village Studio (4VS) has endeavoured to produce high-quality community interest programming for its viewers, while offering a practical educational environment for local students interested in media careers. When the studio started upgrading its production capabilities to HD, it purchased four Z-HD5000 HDTV cameras from Hitachi Kokusai Electric America Ltd (Hitachi Kokusai) to support its immediate and forward-looking needs.

4vsbetter

Based in New York’s Floral Park, 4VS produces nearly 80 governmental, educational, and culturally themed shows yearly to inform, instruct and entertain viewers while promoting the diverse talents and contributions of community groups, organisations and individuals. 4VS has won several awards for its productions, while its dedication to providing real-world educational opportunities has earned it a reputation for helping develop entry-level television professionals.

Like many public-access channels, 4VS was limited to standard-definition delivery by its TV distribution arrangements but was eager to bring the HD experience to its audience. “Our Cablevision and Verizon channels are SD today. We, however, wanted to bring our product to our viewers in its best possible form wherever we could,” said James Green, operations manager at 4VS. “Upgrading our production operations and infrastructure will allow us to offer HD streams on our website in the short term and be HD-ready when our television carriage allows it. The flexibility, performance, and exceptional value of the Z-HD5000 cameras make them ideal for our transition.”

DRAWING FROM EXPERIENCE
Satisfied with the studio’s earlier analog Hitachi cameras, Green found the Z-HD5000 offered all attributes and benefits he sought. “The Z-HD5000 is a high-quality yet affordable camera, with the same solid, dependable construction I’ve come to expect from Hitachi Kokusai,” he explained.

cablevision
“Our Cablevision and Verizon channels are SD today.
We, however, wanted to bring our product to our
viewers in its best possible form wherever we could.”
– James Green, operations manager, 4VS

The Z-HD5000’s 2/3” sensors and advanced digital signal processing give 4VS better video quality while helping overcome challenges such as inconsistent lighting within its studio. “The cameras produce great images and a very clean signal and they perform extremely well in a variety of non-optimal lighting situations we face in our facility,” said Green. “The efficient size and form factor of the cameras and their supporting equipment such as camera control units (CCUs) fit well in our small studio and limited control room space.”

The Hitachi cameras have also helped 4VS achieve its educational goals. “More than half of our staff consists of 15- to 25-year-olds wanting to get an education in the television business,” Green explained. “With these cameras, the students are learning on the equipment that they may encounter in their careers in a high-end TV facility or station. The Z-HD5000 is also operator-friendly, making it easy for students and volunteers to learn how to use the camera and perform basic setup configuration.”

“Broadcasters like Four Village Studios are important to the future of television not only due to their dedication to local programming, but also because of the educational value they bring to their local communities and the broadcast and production industry at large,” said Sean Moran, COO, Hitachi Kokusai Electric America. “The Hitachi Z-HD5000 is an ideal camera system for community TV and government-access facilities as it combines our tenets of high-quality engineering, pristine image quality, and high performance with an economical path to HD.”

Green’s delight with the cameras is matched by his satisfaction with Hitachi Kokusai’s customer service. “I’ve had very few needs for their support over the years even with the old analog cameras. However, when I did, their team was very responsive,” he said. “It’s comforting to have that level of expertise available and readily accessible.”

As 4VS completes its move to HD, the quality advantages of the Z-HD5000 cameras will be further amplified,
enabling superior experiences for its viewers while continuing to bring operational benefits to the studio. “The combination of the camera’s performance and reliability, along with the responsiveness of the tremendous people at Hitachi Kokusai, make the Z-HD5000 a ‘home run’ for me,” concluded Green.