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NEWS MANIPULATE & EDIT “ Virtual reality (VR) technology has the potential to revolutionise television, especially for premium content, both episodic and live, such as sports.” Those are the words of Alain Nochimowski, the executive vice president of innovation at Viaccess-Orca. At IBC the company announced that it has teamed up with Harmonic and VideoStitch to offer a full VR set-up for broadcasters and service providers. If you think you’ve seen similar quotes before, you probably have. This kind of technological ‘revolution’ (as opposed to a forcible overthrow of a government) is promised every couple of years. You may recall that Stereo 3D prompted a number of similar proclamations. Mass-market adoption of VR might still be years away but, crucially, it differs from 3D in a very specific way, one that means it potentially has a better chance of success. Yes, it is another immersive and engaging experience but the applications being touted for VR are focussed on the individual viewer. 3D was always doomed to failure as its success required a significant social and behavioural shift within the home: to everyone siting back and watching a single 3D TV set and all wearing glasses to see the pictures. At IBC the Viaccess-Orca/Harmonic/VideoStitch demo included a consumer-grade head-mounted display connected to a smartphone. ie, it offers a one-to-one personalised experience. 3D didn’t do that. It required everyone to buy-into it. And it offered no element of personalisation. VR has no such problems. It offers something extra for gamers but it also potentially offers a gaming-esque experience for televisual content. It does not need a TV set at all. And that is crucial. VR was undoubtedly one of the big themes of IBC. Akamai showcased VR for example while Jaunt VR (a company backed by Sky) revealed an exclusive partnership with the VR production company 3MERSIV. With Oculus Rift due release its consumer headsets in the new year, VR is happening. “ Whether it will revolutionise television remains to be seen. But it surely has a better chance of doing so than stereo 3D ever did. Audio automation Sound Devices exhibited at IBC its CL-12 Linear Fader Controller, an optional accessory that expands the mixing capability of the 6-Series mixer/recorder line. The CL-12 features 12 100mm linear faders for live mixing of multiple audio signals. It comes in two models: the standard CL-12 and the CL-12 Alaia. The latter has smooth-gliding Penny & Giles faders and custom hardwood side panels. “These linear fader controllers meet a growing demand from production professionals working in cart-based setups, or those who must make quick transitions between cart and over-the-shoulder applications,” said Paul Isaacs, director of product management and design at Sound Devices. The CL-12 will be compatible with the 688 Mixer/Recorder upon shipping. Watch the Future support for both the 664 and IBC interview 633 products will follow, the company said. At IBC Calrec Audio revealed a new automation system for the Apollo and Artemis consoles. Designed to record the movements of a console’s channel and bus controls in real time, Calrec’s implementation operates entirely in the background during a live broadcast. Karl Lynch, product manager at Calrec, said: “Calrec’s broadcast automation system is similar to traditional post-production and music automation systems, but that’s where the similarity stops. The fact that it is user-transparent is what makes it unique.” Once the live element is over and the “fi rst pass” has been recorded, the automation controls can be made visible on the console surface. The system provides an on-screen editor that can be operated from the mix position, allowing the user to quickly locate any part of the show, replay the recording, and make adjustments using the surface controls in combination with editing tools provided. The system comes as a 3U rackmount unit and is connected to a console’s primary and secondary master controllers. Sound mixing 14 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 106 OCTOBER 2015