disguise’s response to the COVID-19 impact on the live events industry has earned the company a spot in the Sunday Times Tech Track 100, marking the third consecutive year it has made it in the publication’s Fast Track league.

Anevia, a leading provider of OTT and IPTV software solutions, announces a large-scale extension of its NEA-DVR® video streaming platform at POST Luxembourg, the premier supplier of telecom services in Luxembourg. This extension builds on POST Luxembourg’s five-year success with Anevia’s NEA-DVR®.

Antenna Hungária has commenced technical trials of what is considered to be the world’s most advanced digital terrestrial television service. It is working with UK industry pioneer Dr Arjang Zadeh and Azdio’s mediaClass product division along with sister company Liberate AI to launch the service across Hungary.

Anevia, a leading provider of OTT and IPTV software solutions, announces the appointment of Paul Molinier as a member of its Advisory Board, starting from today.

In this role, Paul Molinier will help Anevia define its product and business development strategies. He joins Eric Baron as well as the five members of the Board of Directors – Alexis Delb, Laurent Grimaldi, Valéry Huot (LBO France representative), Laurent Lafarge (CEO) and Tristan Leteurtre (Anevia co-founder) – who are already members of the Advisory Board.

The next version of Grass Valley’s renowned and award-winning editing solution EDIUS will be released on 15th September 2020. In three EDIUS X Preview livestream events the expert EDIUS teams from Grass Valley and EDIUS.NET reveal top features of EDIUS X. The first session, part I presenting the new core of EDIUS, took place mid-June 2020. The recorded livestream, with more than 10,000 views, can be found at www.edius.net/x.

Polygon Labs, an innovative studio pushing the boundaries of interactive data applications and visual branding, is today announcing the launch of its centralized web-based weather data management and curation solution, Ipsum Weather. This announcement follows the recent release of Ipsum 2.0, the company’s data aggregation and visualization platform for broadcast news, sports, weather and branding.

Ipsum Weather, a data aggregation, management and playout scheduling solution for on-air weather presentations and sponsorship graphics, aggregates and curates weather data (point-data, satellite, radar, isobars, wind conditions, etc.) and weather alerts from a number of different providers. For gallery and studio weather graphics, the real-time weather data solution is fully integrated with Viz Trio and Viz Director for Viz Engine playout control, as well as newsroom templates in Viz Pilot. It can also provide database management and automated playlist control of master control weather graphics played out on Unreal Engine or Viz Engine.

Mo-Sys Engineering, a global leader in real time camera tracking and remote systems, today announced the launch of U50. Designed and manufactured during the lockdown period, the U50 is a heavy-duty remote head that enables camera operators to safely return to work and control the biggest box lenses and heaviest broadcast camera set-ups remotely.

Offering the ultimate for camera remote control and remote production, U50 combats the current challenges and unique requirements in the Covid-19 affected world. Making it possible to operate large box lenses and cameras remotely, U50 achieves the same precision and agility when camera operators are controlling manually and on-site. With no other remote head capable of smoothly and quickly operating box lenses and with on-site production crews dramatically decreasing, this innovation offers a new solution to tackle current challenges.

Danny Zemanek, Freelance Camera Operator explained, “Previously remote production technology was an additional cost for broadcasters, but now it is essential to ensure camera operators can work safely. The U50 remote head from Mo-Sys represents a new way that operators can control big box lenses with the same precision and agility that we have come to expect.”

Anevia announces the addition of multi-tiered storage to its Cloud DVR storage offering, Embedded Distributed Storage (EDS). This new feature makes EDS even more cost-efficient and scalable while also enabling storage in the cloud – meaning the solution becomes both flexible and elastic.

TV service providers are increasingly enriching their VOD content and need to expand their storage capacity without a commensurate increase in the number of users. The original hyper-convergent design of the scalable, high-performance EDS calls for more servers to be added to increase streaming and storage capacity in parallel. Multi-tiered storage means it is now possible to also increase storage capacity independently of streaming capacity.

With only a small fraction of the VOD catalogue being consumed regularly, long-tail content can be stored more efficiently and cost-effectively on general-purpose ‘cold storage’ support used by the IT departments. This eliminates the need to buy new servers and the related software licences, cutting both the complexity and the cost of scaling for a given number of users.

The newly introduced feature also enables object storage, which opens up the possibility of storing in the public or private cloud. This brings the advantages of scalability, flexibility and elasticity.

Mo-Sys Engineering, a global leader in real time camera tracking and remote systems, is proud to announce a collaboration with Panasonic. The AW-UE150 and the Mo-Sys StarTracker module will empower AR and virtual studio graphics by together creating engaging content with natural depth and changing the perspective of the virtual background.

Previously planned to launch at NAB, the webinars will be co-hosted by Panasonic and Mo-Sys and will showcase the new Panasonic AW-UE150 - a 4K, wide-angle lens, PTZ head with absolute camera tracking for AR and virtual studio application. With Mo-Sys StarTracker, the venue or event is no longer restricted to a fixed camera position and can be more creative using the PTZ head on a jib, crane or a dolly for unlimited camera motion.

American singer Halsey kicked off her Manic World Tour 2020 in Madrid in February supporting her just released studio album, also called Manic. The Manic World Tour spans 48 shows, and kicked off in Europe, with the next legs currently being planned for Asia and North America later this year. disguise gx 2c media servers were selected by All Of It Now to drive the show’s video and Notch IMAG real-time effects.

Numerous features of the disguise solutions came into play for the tour starting in pre-pro. “The show’s video design used a multi-layered frame, and the 3D workflow of disguise Designer allowed us to create parallel maps that placed content on the screen spatially without requiring specific renders for certain songs,” explains Danny Firpo of All of It Now, a disguise Rental Partner and Workflow Specialist based in San Francisco, who did the tour’s video programming with Cade Moore. “This gave us the creative flexibility to move content around the screen and explore different approaches for certain songs.

Polygon Labs, an innovative creative studio pushing the boundaries of interactive data applications and visual branding, has today launched two work at home service initiatives, Creative Hub and Training Lab.

A cost-effective, multi-disciplined, on-demand broadcast design and developer subscription-based service, Creative Hub allows news publishers and broadcasters to book any size project for virtual studios, augmented reality, branding, real-time graphics packages, interactive story-telling graphics, video walls, multi-screen tickers, downstream channels, using a flexible utilization plan with no blackout dates. The subscriber simply purchases a number of creative service hours per month and uses them as and when desired.

Training Lab is the company’s new expert remote training service, which specialises in Vizrt real-time graphics, workflow solutions and products for channel branding, template creation, virtual production, data visualisation and interactive story-telling.

As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition.

Under the hood of the new MD8000-100G is an integrated 100Gb/s Switch and Network Interface Controller, representing a 10X bandwidth increase from 10Gb/s to 100Gb/s. The Network Interface function supports both long range and extended range optical QSFP28 (Quad Small Form-factor Pluggable) 100Gb/s transceivers.

Existing MD8000 customers can install this new solution in field-deployed chassis’ and it is fully backward compatible with the MD8000 platform’s extensive portfolio of line card products.

The new generation MD8000-100G Edition will allow broadcasters and sports/entertainment producers across the globe to transport more media channels than ever before. Whether its uncompressed or compressed video, audio, and/or data over IP from remote sporting and entertainment venues to distant production studios, the MD8000-100G addresses the ever increasing need for more and more bandwidth at the network edge.

Even at 100Gb/s, Media Links‘ solutions can all be hitlessly/seamlessly protected, providing disturbance-free, uninterrupted media (video, audio, data) transport across wide area networks.

As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition.

Under the hood of the new MD8000-100G is an integrated 100Gb/s Switch and Network Interface Controller, representing a 10X bandwidth increase from 10Gb/s to 100Gb/s. The Network Interface function supports both long range and extended range optical QSFP28 (Quad Small Form-factor Pluggable) 100Gb/s transceivers.

Existing MD8000 customers can install this new solution in field-deployed chassis’ and it is fully backward compatible with the MD8000 platform’s extensive portfolio of line card products.

The new generation MD8000-100G Edition will allow broadcasters and sports/entertainment producers across the globe to transport more media channels than ever before. Whether its uncompressed or compressed video, audio, and/or data over IP from remote sporting and entertainment venues to distant production studios, the MD8000-100G addresses the ever increasing need for more and more bandwidth at the network edge.

Even at 100Gb/s, Media Links‘ solutions can all be hitlessly/seamlessly protected, providing disturbance-free, uninterrupted media (video, audio, data) transport across wide area networks.

As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition.

Under the hood of the new MD8000-100G is an integrated 100Gb/s Switch and Network Interface Controller, representing a 10X bandwidth increase from 10Gb/s to 100Gb/s. The Network Interface function supports both long range and extended range optical QSFP28 (Quad Small Form-factor Pluggable) 100Gb/s transceivers.

Existing MD8000 customers can install this new solution in field-deployed chassis’ and it is fully backward compatible with the MD8000 platform’s extensive portfolio of line card products.

The new generation MD8000-100G Edition will allow broadcasters and sports/entertainment producers across the globe to transport more media channels than ever before. Whether its uncompressed or compressed video, audio, and/or data over IP from remote sporting and entertainment venues to distant production studios, the MD8000-100G addresses the ever increasing need for more and more bandwidth at the network edge.

Even at 100Gb/s, Media Links‘ solutions can all be hitlessly/seamlessly protected, providing disturbance-free, uninterrupted media (video, audio, data) transport across wide area networks.

As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition.

Under the hood of the new MD8000-100G is an integrated 100Gb/s Switch and Network Interface Controller, representing a 10X bandwidth increase from 10Gb/s to 100Gb/s. The Network Interface function supports both long range and extended range optical QSFP28 (Quad Small Form-factor Pluggable) 100Gb/s transceivers.

Existing MD8000 customers can install this new solution in field-deployed chassis’ and it is fully backward compatible with the MD8000 platform’s extensive portfolio of line card products.

The new generation MD8000-100G Edition will allow broadcasters and sports/entertainment producers across the globe to transport more media channels than ever before. Whether its uncompressed or compressed video, audio, and/or data over IP from remote sporting and entertainment venues to distant production studios, the MD8000-100G addresses the ever increasing need for more and more bandwidth at the network edge.

Even at 100Gb/s, Media Links‘ solutions can all be hitlessly/seamlessly protected, providing disturbance-free, uninterrupted media (video, audio, data) transport across wide area networks.

As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition.

Under the hood of the new MD8000-100G is an integrated 100Gb/s Switch and Network Interface Controller, representing a 10X bandwidth increase from 10Gb/s to 100Gb/s. The Network Interface function supports both long range and extended range optical QSFP28 (Quad Small Form-factor Pluggable) 100Gb/s transceivers.

Existing MD8000 customers can install this new solution in field-deployed chassis’ and it is fully backward compatible with the MD8000 platform’s extensive portfolio of line card products.

The new generation MD8000-100G Edition will allow broadcasters and sports/entertainment producers across the globe to transport more media channels than ever before. Whether its uncompressed or compressed video, audio, and/or data over IP from remote sporting and entertainment venues to distant production studios, the MD8000-100G addresses the ever increasing need for more and more bandwidth at the network edge.

Even at 100Gb/s, Media Links‘ solutions can all be hitlessly/seamlessly protected, providing disturbance-free, uninterrupted media (video, audio, data) transport across wide area networks.

As demand surges for higher bandwidth at the network edge in order to transport more and more media channels, Media Links, manufacturer and pioneer in Media over IP transport technology, is introducing its new MD8000-100G Edition.

Under the hood of the new MD8000-100G is an integrated 100Gb/s Switch and Network Interface Controller, representing a 10X bandwidth increase from 10Gb/s to 100Gb/s. The Network Interface function supports both long range and extended range optical QSFP28 (Quad Small Form-factor Pluggable) 100Gb/s transceivers.

Existing MD8000 customers can install this new solution in field-deployed chassis’ and it is fully backward compatible with the MD8000 platform’s extensive portfolio of line card products.

The new generation MD8000-100G Edition will allow broadcasters and sports/entertainment producers across the globe to transport more media channels than ever before. Whether its uncompressed or compressed video, audio, and/or data over IP from remote sporting and entertainment venues to distant production studios, the MD8000-100G addresses the ever increasing need for more and more bandwidth at the network edge.

Even at 100Gb/s, Media Links‘ solutions can all be hitlessly/seamlessly protected, providing disturbance-free, uninterrupted media (video, audio, data) transport across wide area networks.

Mo-Sys Engineering, a global leader in real time camera tracking and camera remote systems, can now remotely operate cameras on the other side of the world, without perceived delay, with the launch of TimeCam.

TimeCam represents a triple benefit to production companies. First, there is the saving in cost and environmental impact in sending camera operators to site. Second, it means that the most in-demand operators can be much more productive, providing excellent coverage at a live event each day rather than losing time through travel. Third, it means that you can add cameras to your coverage without adding headcount: for instance, a downhill ski race might have eight cameras along the course, with one operator controlling cameras 1, 3, 5 and 7 and a second controlling 2, 4, 6 and 8.

“’Traditional’ remote production puts the control back at base, but still needs camera operators to travel to the location,” explained Mo-Sys CEO Michael Geissler. “By compensating for latency in transmission and compression/decoding, TimeCam means that operators too can stay at base and be much more productive by operating on several events, when normally they could only be on one.”

As well as unveiling TimeCam, Mo-Sys will also demonstrate its flagship virtual studio technology StarTracker, which uses a constellation of dots on the studio ceiling as a camera tracking system. This is now extensively used by many prestige broadcasters to provide the tracking for augmented reality studios and is increasingly being built-in to studio cameras.

Whereas most virtual studios use a proprietary graphics system which in turn uses the Unreal gaming engine from Epic Games, StarTracker Studio (in a 19” rack) now features the plug-in Mo-Sys VP which we like to call Unreal Unleashed, a direct interface between the camera tracking and the UE4 render engine. Through the plug-in, control is direct, and no other software layer is wrapped around the Unreal Engine allowing full access to the latest UE4 features.

“Both TimeCam and StarTracker with Unreal Unleashed are transformative technologies, capable of bringing new creativity and productivity to the broadcast and movie worlds, allowing sophisticated productions around the globe,” Geissler said.

www.mo-sys.com

IABM-member DejaSoft is delighted to present for the first time at NAB2020, its "must have" file sharing and synchronisation tool for editors – DejaEdit

DejaEdit is a revolutionary collaborative editing film tool. It offers editors working on Avid Nexis, Media Composer and EditShare workflows, across studios, production companies and post facilities, a vital application that ensures media files, bins and timelines are kept up to date across multiple remote edit stations.

DejaEdit has already successfully been tried and tested on real-world projects, and well-established in Scandinavia and parts of Europe. Following its global launch earlier this year, Swedish-based DejaSoft owners Nikolai Waldman and Clas Hakeröd, both accomplished Avid editors themselves, will be available to meet and demonstrate DejaEdit’s capabilities at NAB.

DejaEdit plays an essential role in increasing productivity. It allows editors to transfer media files and timelines automatically and securely to co-workers around the world, without having to be online continuously.

DejaEdit makes it possible to work with multiple remote Avid systems virtually anywhere on earth. With global warming issues , and people encouraged to minimise unnecessary travel, industry professionals can take advantage of DejaEdit’s powerful file synchronizing capabilities without restrictions.

The Future Group, provider of live photo-realistic virtual production system, Pixotope™, has revealed its key involvement in the stunning production and delivery of the NFL’s ground-breaking Super Bowl LIV, mixed reality pre-game presentation. The complex, seven-minute production combined live action from multiple moving cameras with augmented virtual stages and graphics. The 2020 Super Bowl was watched by an estimated domestic audience of 100 million people, plus international viewers.

The Future Group provided six installations of its virtual production platform, Pixotope, along with essential technical expertise to liaise with all other aspects of the multi-faceted production.

As an opener to the Super Bowl LIV, NFL planned to reveal its “100 All Time Team”. They approached fan experience company– coincidently named, The Famous Group – to design and choreograph the pre-show content. The brief was to celebrate the history of the sport and the contribution of those 100 players and 10 coaches, using graphics, historical film and live shots of attendees. The Famous Group looked to achieve this through extensive use of mixed reality virtual elements, and selected Pixotope, with expertise from The Future Group, as their technological solution.

The complexities of such a project cannot be overstated. Multiple virtual assets such as stages and screens needed to be designed to exactly match the stadium environment to which they would be augmented. Cameras needed to be tracked in real time and have their lenses aligned so that the virtual elements would be generated at precisely the right angle to accurately match real-world positions. Lighting needed to be measured so that it could be simulated in the virtual world to ensure correct shadows and highlights.

In-stadium screens, which would show the augmented content to the crowd, had to be accurately marked out in the virtual scene so that they could be blocked out to avoid visual “feedback”. All this had to take place under precise time control to synchronise with the voice-over and contributing performers in the stadium.

Pixotope product specialist, David Stroud, was part of a team of experienced mixed reality technicians, helping to specify and install the required technology, and bring together all the constituent departments. The Future Group team were involved from the outset, initially collaborating using a shared virtual project to provide technical assistance for The Famous Group creatives. Then later, the team positioned themselves at the Hard Rock Stadium, Miami FL, where the main event would take place 11 days later.

David Stroud recalled, “Although the virtual scene had been set up “offline” from scans and measurements from the stadium, there are inevitably adjustments that can only be done on site. We used our Pixotope virtual production platform to receive images and tracking data from each of the cameras, one of which was a Skycam “wire-camera”, and augment onto those the virtual elements designed by The Famous Group. This allowed everyone to see the results in real time, making adjustments and improvements as we rehearsed the show in the days leading up to the Super Bowl.”

Stroud continued, “We helped the camera operators visualise how the preshow would come together, as understandably, they were more used to following the unscripted action of a football game than reacting to very specific time cues. Pixotope has the capability to continuously output the final result, even while editing the graphics – a great tool for directors following rapid changes and updates because it’s always live.

“We also worked closely with camera tracking specialists SMT, and in fact, we were able to improve our data exchanges to further perfect the virtual camera motion. And we worked with both the broadcaster (Fox) and the companies providing in-stadium displays to ensure the very highest visual quality possible.”

Andrew Isaacson, Executive VP Business Development for creative agency The Famous Group affirms, “Needless to say, the best creative ideas rely on solid technological platforms and expertise to deliver them. This could not be truer for a live event on the scale of The Super Bowl. We needed to know, without any shadow of a doubt, that what we planned would be delivered faultlessly, accurately and to the highest quality. This is why we chose Pixotope as our platform for delivering cutting edge mixed reality for the Super Bowl.

“Having used Pixotope on previous productions, we know that the system, and expertise from The Future Group, allow our creative ideas to be unleashed to the great benefit of our clients like the NFL. We look forward to working on many more productions with Pixotope.”

All hardware was provided by Quince Imaging and camera tracking was completed by SMT. The final mixed reality sequence can be viewed online, here: https://www.youtube.com/watch?v=FqXBKweKQ9U