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Pandemic reinforces value of partnerships Posted: 29/07/2020
Pandemic reinforces value of partnerships

Having completed a number of projects in recent months despite the constraints of the global pandemic, SI Media and GB Labs reflect on the underrated value provided by global and regional partnerships.

Based just north of Venice, Italy, SI Media is an international broadcast software solution provider – including its proprietary “.YES!”, an HTML5 web-based and cloud-oriented suite for media asset, broadcast management, newsroom computer, and playout automation system for master control rooms and studios.

Tags: GB Labs | SI Media | software solutions | .YES! | HTML5 | cloud | media asset | broadcasat management | newsroom | playout automation | master control | studios | media storage | intelligent storage | nearline archive | FastNAS | NAS | MCR | production | workflows
Submitted by Manor Marketing
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Portugals Jornal do Centro uses Profuz LAPIS to streamline news processes Posted: 14/07/2020
Portugals Jornal do Centro uses Profuz LAPIS to streamline news processes

IABM-member PBT EU is delighted to confirm the adoption of a Profuz LAPIS system at Portugal’s Jornal do Centro in collaboration with reseller partner Pantalha.

Jornal do Centro selected Profuz LAPIS to centralise their business management processes across their organisation to help manage and control the management and centralisation of content, ensuring quality and file-format compliance towards playout and broadcast. (https://www.jornaldocentro.pt/)

Tags: centralization | business management process | Profuz LAPIS | PBT EU | Streamlining news | remote access
Submitted by PBT EU
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Three Media signs up to DPP Posted: 14/07/2020
Three Media signs up to DPP

Three Media, a specialist technology company, today announced it has joined the DPP, the media industry’s business network, with the aim of expanding its exposure and bringing its distinctive perspective to the forum.

Originally founded by UK broadcasters, including the BBC, ITV and Channel 4, to standardise tapeless programme delivery, the DPP has broadened its scope to become a business hub for the media industry, solving their problems and creating new opportunities.

Tags: Three Media | DPP | Media Consultancy | XEN Pipeline | Media Asset Management | Workflows | AI | ML | Big Data | Automation. Business Processes | ESB | BCMS | CMS | Simulation Tool
Submitted by Page Melia PR
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Digital Nirvana Introduces MediaServicesIQ Custom AI Workflows Portal Posted: 09/07/2020
Digital Nirvana Introduces MediaServicesIQ Custom AI Workflows Portal

Digital Nirvana today announced the launch of MediaServicesIQ™, a comprehensive suite of cloud-based microservices that leverage advanced AI and machine-learning (ML) capabilities to streamline media production, postproduction, and distribution workflows. MediaServicesIQ provides a comprehensive, one-stop portal by which users can access Digital Nirvana's high-performance, AI-powered technology solutions: speech-to-text, content classification, closed caption generation and conformance, and a video intelligence engine that can detect ads, logos, objects, and faces.

Tags: Digital Nirvana | MediaServicesIQ | AI | Workflow | Portal | ML
Submitted by Wall Street Communications
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disguise r17.3 is now live: with New Key Features for More Streamlined and Efficient Workflows Posted: 30/06/2020
disguise r17.3 is now live: with New Key Features for More Streamlined and Efficient Workflows

disguise takes on the new ‘normal’ with the launch of r17.3, its latest software release that delivers an improved workflow for enhanced efficiency and successful completion of projects post-lockdown. New features include Indirections, Multi-layer Editing, Object Assignment Hotkeys, Crossfaded Loop Section Mode as well as a number of improvements and bug fixes to further streamline the user experience.

In addition to the above, r17.3 also has a wide range of other improvements guaranteed to streamline workflows including:

NDI SDK has been updated to version 4.5

The ability to point manager at a template project

Alt-drag in the feed mapping editor

Clicking a tag or note now jumps the exact frame where the tag is placed

Dither parameter added to the gradient texture tool to help reduce banding

You can now pause the playback of a Notch block

Import and Export of feed maps

disguise r17.3 is available to download now from www.download.disguise.one

 

Tags: disguise | software | r17.3 | new features | streamline | efficient workflow | user experience | broadcast | production | live events | creative deliver | visual experiences | Bubble Agency
Submitted by Bubble Agency
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At Jordans Al-Mamlaka TV, IHSE KVM Systems Keep Live Broadcasts Running Smoothly in Landmark New Broadcast Center Posted: 20/05/2020
At Jordans Al-Mamlaka TV, IHSE KVM Systems Keep Live Broadcasts Running Smoothly in Landmark New Broadcast Center

IHSE, the leading manufacturer of high-end KVM (keyboard-video-mouse) solutions for extension and switching of computer signals, today announced that Al-Mamlaka TV, Jordan's first state-funded public service news broadcaster, has adopted IHSE KVM solutions for its all-new, state-of-the-art broadcast facility in the capital city of Amman.

Launched in 2018, Al-Mamlaka TV operates from a greenfield, futuristic new broadcasting center in Amman, with a 24/7 lineup of HD news and public affairs shows airing on both linear and OTT platforms. Al-Mamlaka TV worked with an IHSE systems integrator to design the landmark broadcast center, which boasts several firsts in the region: one of the first facilities to embrace virtualization, one of the first to feature a motorized video wall, and the first to make extensive use of augmented reality (AR). The centerpiece of the Al-Mamlaka TV facility is a 400-square-meter, seven-camera studio with five sets and an open design connecting it to the newsroom one floor below. A second, four-camera studio features three predesigned sets, and a third smaller studio looks out on an impressive view of the Amman skyline.

Tags: IHSE | KVM | Live | Al-Mamlaka TV | Broadcast
Submitted by Wall Street Communications
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Berlin Film Festival winners finished with Baselight Posted: 15/04/2020
Berlin Film Festival winners finished with Baselight

There is No Evil and Delete History prize winners completed at Optical Art in Germany and Color in Paris

 

At the 70th Berlinale, the 2020 Berlin Film Festival, the Golden Bear was won by There is No Evil, directed by Mohammed Rasoulof; the Silver Bear special prize went to Delete History, directed by Benoît Delépine and Gustave Kerven. Both movies depended on detailed grading and finishing on Baselight.

 

Tags: FilmLight | Baselight | Berlin Film Festival | colourist | colour grading | Berlinale | Golden Bear | Mohammed Rasoulof | Silver Bear | Benoît Delépine | Gustave Kerven | Jochen Hinrichs-Stöldt | MKM Marketing Communications
Submitted by MKM Marketing Communications
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Pixel Power software enhancements bring real-world efficiencies in integration and amp; implementation Posted: 16/03/2020
Pixel Power software enhancements bring real-world efficiencies in integration and amp; implementation

To underline its strengths in moving users from legacy architectures to software-centric, fully virtualized solutions for multi-platform playout and graphics production, Pixel Power is launching major new versions of its core software technologies: Gallium Workflow Orchestration and StreamMaster Media Processing. Gallium 3.0 and StreamMaster 2.0 each add significant enhancements covering usability, operational efficiency and connectivity through widely recognised standards.

Through its functional-block architecture, the Gallium workflow orchestration platform allows system architects to build carefully tailored solutions to meet precise customer workflow requirements. Version 3.0 adds more than 50 enhancements with significant new functionality and usability improvements. That includes both live and file-based open and closed subtitling; audio watermarking; live, scheduled and delayed recording and scripted configurable triggering of external systems. In line with Pixel Power’s policy of supporting open systems in a flexible way, these triggers can use REST, UDP and XML based integrations.

Pixel Power’s media processing platform, StreamMaster, also sees a significant new version which adds capabilities that are driven by real-world requirements. StreamMaster 2.0 adds UHD support; uncompressed I/O over SMPTE ST-2110; OP47 and SMPTE 2031 subtitle insertion and flexible recording of the main output, input sources or clean feeds including playback whilst recording. As well as scalable multi-channel master control playout, Gallium and StreamMaster can readily be configured to produce fast turnaround live content for VOD distribution, for example for catch-up and time-delayed channels, while retaining the flexibility to change elements of the output such as advertising.

Tags: Pixel Power | integration | virtualizqtion | multi-platform playout | graphics production | Gallium Workflow Orchestration | StreamMaster Media Processing | Gallium 3.0 | StreamMaster 2.0 | Subtitling | auido watermarking | REST UDP XML | UHD | SMPTE 2110 | OP47
Submitted by Manor Marketing
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Top Sound Designer Matt McCamley Insists on PMC Monitoring For His Studio Posted: 17/02/2020
Top Sound Designer Matt McCamley Insists on PMC Monitoring For His Studio

Sound Designer Matt McCamley has installed a 5.1 surround sound system based on PMC result6 compact nearfield monitors at Focus Audio, his studio in Brisbane, Australia.

“They definitely sound like PMC's, and not a PMC 'Light' series, that’s for sure,” he says. “A lot of manufacturers claim their monitors are being honest and translate to the real world, but there aren't too many around that can back-up that claim. PMC can.”

McCamley specialises in Sound Design for the computer games industry, working for both AAA and Independent publishers. After 10 years in the UK where he was an in-house Senior Sound Designer at Rocksteady Studios (London), Ninja Theory (Cambridge) and Creative Assembly (Horsham), McCamley returned to Australia and set up Focus Audio, a games audio outsourcing company. Recent projects include sound design for Total War: 3 Kingdoms and the upcoming Troy. He has also worked on franchises such as Devil May Cry, Alien and Batman, as well as multiple Total Wars and new IP's.

Tags: PMC Speakers | result6 monitors | surround sound | computer games audio | sound design | Matt McCamley
Submitted by White Noise Public Relations Ltd
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VITEC Announces New Multicast-to-the-Edge HTML5 IPTV Player and Offers Early Adopter Program for Existing Enterprise IPTV Platform Customers Posted: 06/02/2020
VITEC Announces New Multicast-to-the-Edge HTML5 IPTV Player and Offers Early Adopter Program for Existing Enterprise IPTV Platform Customers

VITEC, a worldwide leader in advanced video encoding and streaming solutions, today announced it has launched an early adopter program for its enterprise customers to deploy and test its latest radical innovation, EZ TV Player Lite™. The new EZ TV Player Lite HTML5 browser-based player is a central component of the company's award-winning EZ TV IPTV & Digital Signage Platform, serving more than a million users in the corporate, government, military, and sports venue sectors.

HTML5 has become the technology of choice in the enterprise video industry, despite significant compromises in infrastructure costs, latency, and duplication of video streams due to the absence of multicast video support. VITEC's latest patent-pending technology uniquely enables multicast delivery of live and recorded video streams, all the way to enterprise users' computers, without going through multi-unicast distribution servers. The innovative EZ TV Player Lite solution is an intuitive HTML5 application that enables organizations to scale live multicast video services to any size user base without the major costs associated with traditional on-premise transcoding equipment, CDN subscriptions, and costly seat-licenses that result in compromised network bandwidth utilization.

 

Tags: VITEC | Multicast-to-the-Edge | HTML5 IPTV Player | Enterprise IPTV Platform | ISE 2020 | advanced video encoding | EZ TV Player Lite
Submitted by InGear
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FilmLight teams up with ARRI in Paris creative community Posted: 24/01/2020
FilmLight teams up with ARRI in Paris creative community

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

Tags: FilmLight | ARRI | Paris | Colour Day | Matthieu Straub | workshop | Thomas Eberschveiler | Stéphane Azouze | colourist | colour science | BLG format | Baselight | Prelight | Daylight | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
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Baselight helps to polish Uncut Gems Posted: 14/01/2020
Baselight helps to polish Uncut Gems

Uncut Gems is the latest movie from directing duo, the Safdie Brothers. The movie tells the story of a charismatic New York City jeweller and gambler (Adam Sandler), and is set in the diamond industry of New York. So it is appropriate that the colour palette was created at The Mill NY by colourist and director of DI, Damien Van Der Cruyssen.

Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me. “At that point I got a good understanding of their relationships and how I could fit into the equation.”

Visually, Uncut Gems has a classic New York City look, but with a modern twist. “The Diamond District hasn’t changed much over the last forty years, so it automatically had that 70’s ‘noir’ feel,” commented Van Der Cruyssen. “But we wanted to break away from the steely, gritty New York to a more real-life aesthetic – less forced and contrived.”

Around half of the movie was shot on 35mm film to give it a more natural look, which meant Van Der Cruyssen had to treat the digital footage to match. “Marrying the film footage with the digital scenes was quite challenging,” he explained. “So I asked the crew to shoot some grain elements that could be overlaid in Baselight and adjusted per scene.”

 

Tags: FilmLight | Baselight | Uncut Gems | Safdie Brothers | Adam Sandler | The Mill NY | colourist | Damien van der Cruyssen | Darius Khondji | Diamond District | New York City | BLG metadata workflow | colour grading | Netflix | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
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Bannister Lake and Maple Leaf Sports and Entertainment Extend Real-Time Data to Fuel Fan Engagement Posted: 20/12/2019
Bannister Lake and Maple Leaf Sports and Entertainment Extend Real-Time Data to Fuel Fan Engagement

Bannister Lake announced today that long-time client Maple Leaf Sports and Entertainment (MLSE) has enhanced its real-time data offerings to sports fans using Bannister Lake's data management solution. Real-time NBA, NHL, and MLSE-generated in-house data is now being displayed in all the suites located in Scotiabank Arena.

Screens in the suites display real-time game statistics providing fans with a deeper understanding of the game and allowing them to track the performance of their favorite teams and players. MLSE ingests the data directly from the leagues, aggregates and manages the content through Chameleon, and then distributes it to the venue's signage system. Fans are exposed to targeted advertising along with game statistics populated within an overlaid L-Bar graphic.

"Bannister Lake now helps our venue effectively manage real-time data content and make it readily available in Scotiabank Arena," said David August, director of venue technology, MLSE. "Chameleon makes it easy to ingest, aggregate, and customize all kinds of data feeds without the need to write custom code."

 

 

Tags: Bannister Lake | Maple Leaf Sports and Entertainment | Chameleon Solution | Aggregate Data Content | Scotiabank Arena | MLSE
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Technicolor uses Baselight to create light and shade in His Dark Materials Posted: 18/12/2019
Technicolor uses Baselight to create light and shade in His Dark Materials

One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armoured polar bears and ever-present “daemons” – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colourist, Jean-Clément Soret.

“Over the eight episodes of series one there were four directors and DoPs,” Soret explained. “Justin Brown was DoP for the first two episodes, and I had worked with him a lot in the past on commercials so we had a strong understanding of where we wanted to go. I was really happy to be able to collaborate with him again.

“Justin shot some tests – with the real locations, actors and costumes – in both 35mm and digital,” he continued. “It always surprises me how different film looks! What the tests did was allow us to create a core feel. The decision was also made to add a bit of subtle film grain throughout the episodes. The Technicolor colour science team in LA then created a LUT for Baselight, which gave us that same film feel with the digital footage.”

One of the challenges of the story – based on a trilogy of novels from Philip Pullman – is that each human character has a daemon, and humans are rarely seen on screen without their daemons around them. That meant a large number of VFX shots to insert the CGI daemons. “I found that when it came to the integration of the VFX, contrast and colour was key. The film LUT, together with the control of sharpness and softness from Baselight, was a great help.”

The first series – based on Northern Lights, the opening novel of the trilogy – moves from an Oxford college bathed in warm sunshine to “The North”, Pullman’s name for the Arctic, where the first battles take place. “We may have set the feel in the first episode, but the story develops through different worlds and different eras, so the grade naturally develops,” Soret said.

“With different directors and DoPs across the series, the colourist has to provide the backbone of the look, to create consistency while respecting each cinematographer,” he added. “Baselight allowed me to set the key looks then develop them naturally, freeing me from a constrained palette and allowing us to create a convincing visualisation of this rich and complex story.”

As well as remarkable creative control, the Baselight grading facilities at Technicolor also provided critical support in the workflow, by giving free access to all the raw footage from the series as well as the VFX shots as they developed. The practicalities of creating eight hours of premium drama in a television timescale meant that grading on specific episodes took place when directors and DoPs were available for supervision. That meant that Jean-Clément Soret could be working on three or four episodes at any one time.

The result is an engaging, enthralling drama that looks ravishing and chilling in turn. This first series is broadcast on BBC1 and HBO in November and December, while the second series is already in production.

Tags: FilmLight. Technicolor | Baselight | His Dark Materials | colour grading | Jean-Clément Soret | Justin Brown | Philip Pullman | colour science | creative control | colour consistency | convincing visualisation | MKM Marcomms | MKM Marketing Communications
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Imperial College London and Three Media implement near real time platform optimisation Posted: 12/11/2019
Imperial College London and Three Media implement near real time platform optimisation

Three Media, media specialist and product provider of XEN:Pipeline, today announced the completion of an 18-month project in conjunction with Imperial College London. The goal of the project was to make media supply chain processing more affordable by identifying ways to reduce costs and maximise workflow, process and resource efficiencies.

The project, called Digital Media Data Analytics (DMDA), was initiated and led by Three Media in conjunction with an Imperial College London team headed by Performance Engineering expert Dr Anthony Field. The combined team applied its expert knowledge of data analytics and optimisation techniques to Three Media's XEN:Pipeline development programme.

XEN:Pipeline enables users not only to evaluate and optimise existing workflows and business processes in near real time, but also to model new and changing virtual revenue streams either as stand-alone or alongside the existing. It also provides opportunities to identify, model, and prove new and innovative services and chargeable functions. XEN:Pipeline is a highly configurable, scalable, storage agnostic and performant system that can operate across multiple company and supplier locations and departments, identifying and resolving often-hidden bottlenecks, pinch points and under-utilisation from existing workflows and processes.

Tags: Three Media | Imperial College London | XEN:Pipeline | Digital Media Data Analytics (DMDA) | media supply chain processing | workflow | business process | simulation modelling | AI | ML | optimisation
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