PP: 255003/06831 VOLUME 21/ISSUE 1 FEBRUARY 2024

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY www.content-technology.com CELEBRATING 21 YEARS OF PUBLICATION

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ISSN 1448-9554
 VOLUME 21/ISSUE 1 FEBRUARY 2024

Cover Story... page 3.

REGULARS
02 EDITOR’S WELCOME
03 COVER STORY Jonathan Watson explores
the integration of GenAI into the broadcast
industry and what organisations need to know
to start a Generative AI project.

31 INDUSTRY FOCUS
08 07 FEATURES
07 CAMERAS & LIGHTING 24 AUDIO, RADIO, PODCASTING
Sony Enters the Arena with Russell Crowe’s Leading Broadcaster Taps Ferncast for In-
Indoor Garden Party. Plus ARRI’s 360 EVO House DAB+; AES Welcomes Leslie Gaston-
Stabilised Remote Head; the SmallHD Ultra 7 Bird as President; Dante Pro S1 System-on-
Ultra-Bright Monitor; Marshall’s VS-PTC-300 a-Chip; Tieline Dante Card for Gateway and
PTZ Camera IP/NDI Controller. Gateway 4 codecs; PRODIGY.MX Multiformat
Audio Matrix; Shure Expands SLX-D Digital
10 SPORTSCASTING Wireless Family; Neumann’s MT 48 Now an
NRL Sets Sights on Vegas; LiveU Delivers Immersive Audio Interface; Shure ADX3 Plug-
Pacific Games Action; Chyron Streamlines On Transmitter; Dual TX for RØDE Wireless
Data Management; Low Latency Video for ME Microphone; Voice Enhancement for
Sportsbooks; Control System for MEDIAEDGE Podcasters.
QDCAM.
28 CONTENT DELIVERY
10 13 SHOW PREVIEW: SMPTE METEXPO2024 Ross Video to Adopt ‘NDI Advanced’; Cinegy-
powered Appliance for Capture or Playout;
19 NEWS OPERATIONS DASH-IF Conformance Tool Update; Norigin
Media Launches CTV White-label FAST Apps;
Sky News’ “The Jury” Finds in Favour of
Venera CapMate Caption/Subtitle QC Now on
Gravity Media; AI Turns news.com.au Articles
AWS; Avid | Stream IO Production Ingest &
into Podcast Ads; Etere MAM Connects with
Playout Solution Updates.
Ross Newsroom Inception; Quicklink Brings
Skype and Teams into SMPTE ST 2110.
22 POST PRODUCTION
Next Goal Wins’ Makes the Grade with
DaVinci Resolve Studio; RSP’S Launches
REVIZE Machine Learning for VFX; Baselight
Harnesses Machine Language; Animal Logic
Opens Up with OMX and ALab.

19

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 EDITOR’S WELCOME
Prominence or
Providence?
By Phil Sandberg
FOR A NUMBER of years now,
Australian industry group, Free
TV, has asserted that “Global deals
between TV manufacturers and
international streaming giants have
given global subscription services
the most prominent positions on
home screens and remote controls,
while local TV services are difficult
or sometimes impossible to find.”
Following through on an election
commitment to local broadcasters,
the Albanese Government has
released exposure draft regulations
for a “prominence” framework aimed
at supporting access to local and
free TV services in the streaming
era.
18:00
15:00
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17:00
The draft legislation covers both
streamed linear and on-demand
services provided by Australia’s free-
to-air broadcasters. These include
the ABC, the SBS, the commercial
free-to-air broadcasters and over-
the-air community TV broadcasters.
In short, if it’s broadcast free over-
the-air, it’s eligible for prominence.
If it’s a subscription service, it is not.
Therefore, Foxtel, Kayo, as well as
Netflix, Prime, Paramount+, Disney+,
ersburg
etc., are ineligible. Also not eligible
are any free, ad-supported versions
Moscow
16:00 17:00 18:00
Tehran
Mumbai
Bangkok
Jakarta
ASIA
EDITOR’S WELCOME
The C+T (Time) Zone.
2
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of those subscription services.
Applied to “all regulated television
devices”, the minimum prominence
requirements would include:
(a) Applications (apps) for Australian
free-to-air linear and on-demand
services are either installed on the
device before the device is supplied
or installed when the device
connects to the internet for the first
time after the device is supplied;
(b) the application must be able
to be updated when an update is
made available by or on behalf of the
provider of the regulated television
service;
(c) the application must be visible
on the primary user interface of the
device;
(d) the application must be of a
similar size and shape to other
applications that:
(i) are displayed on the primary user
interface of the device; and
(ii) are designed for the purposes of
providing access to a service (other
than a regulated television service)
that makes audiovisual content
available using a listed carriage
service;
(e) the application must be located
in the same area of the primary
user interface as those other
applications.
20:00
22:00
21:00
19:00
There are also additional minimum
prominence requirements for
certain devices. If the device is
capable of receiving a television
broadcasting service that uses the
broadcasting services bands, a user
of the device must be able to access
the ABC, the SBS, and broadcasting
services transmitted in the licence
area in which the device is located.
Each of those services must be
identified and accessible on the
device using the service’s logical
channel number. The user must
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Beijing
Seoul
Tokyo
Shanghai
Hong Kong
‘ASIAPAC’
Sydney
00
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0
be able to access each of those • Requirement for content provided
services on the device by selecting a through FTA Services, including
single icon or visual representation through Free BVOD Services
which must be visible on the primary and delivered online by FTA
user interface of the device. Broadcasters, to be included in
Prominence requirements would the content search function on
also apply to electronic program Regulated TV Devices.
guides (on devices where they are • Requirement for any electronic
used). program guide (EPG) provided
In response to the draft legislation,
Free TV has expressed its qualified
within a Regulated TV Device to
present FTA Services, including
approval, especially the prohibition
of charging FTA Broadcasters
all the primary channels and
multi‐channels of each FTA
Broadcaster, including the
by device manufacturers for
versions of those channels
compliance with the minimum
streamed live over the internet.
prominence requirements, and
Additionally, for each EPG to place
the insertion of advertising not
these FTA Services in the EPG
authorised by FTA Broadcasters.
prominently and ahead of other
It has also welcomed an extension channels.
of the Anti‐Siphoning scheme
In terms of Anti‐siphoning, Free TV
to prevent, not only subscription
has asked that the list be extended
broadcast services, but also so that both the free over-the-air
subscription streaming services, broadcast rights and free digital
from acquiring rights ahead of streaming rights both be acquired
FTA Broadcasters, as well as an by the relevant broadcaster before
expansion of the Anti‐Siphoning the event can be shown by a pay TV
List to include women’s and diverse or subscription streaming provider.
events.
Certainly, global streamers will see
However, the Industry group the legislation as protectionism
is seeking amendments to the while compliance always equals cost
legislation, including: for device manufacturers, even if
it is just a software update. Global
• Reduction of the timeframe
streamers will also wave the flag for
by which compliance with the
03:00
02:00
00:00
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24:00
01:00
requirements commences, from their locally produced productions
18 months connected with date and, while these are an essential
of manufacture and supply, to no development for their presence in
longer than 6 months from Royal this market, they will not devote the
resources needed for local sport and
Assent, with shorter periods to be
news coverage, and that is why this
specified in the regulations for a
legislation is vital.
number of requirements.
• Extension of the requirements
to cover, not only new Regulated
TV Devices, but also existing All the best for 2024.
Regulated TV Devices, where Phil Sandberg – Editor/Publisher
those devices continue to receive papers@broadcastpapers.com
software updates. +61(0)414671811
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 COVER STORY
Generative AI’s impact on the Broadcast industry
Media executives must find innovative
efficiencies with technology, operations, and
content. By integrating AI, media businesses
can work better and faster. Content will be
created and published with fewer operational
assets.
By Jonathan Watson*
GENERATIVE AI will revolutionise multiple
industries worldwide, contributing to a USD$7
trillion increase in global GDP over the next
decade.
In this three-part series, we will explore
integrations of GenAI into the broadcast industry
and what organisations need to know to start a
Generative AI project.
Adopting Generative Artificial Intelligence (Gen
AI) will revolutionise how content is created,
produced, and distributed. I will give my
impressions and examples of how Gen AI will
impact operations and investment in technology.
This first instalment aims to introduce you
to Gen AI and provide relevant context for
broadcasters, exploring its potential benefits
and outcomes for the industry.
The second article will explore Gen AI services
available for broadcasters and what your
business needs to do to prepare. In the third
article, we’ll present examples of Broadcasters
who have deployed Gen AI projects and the
outcomes, look into the future, and imagine
some potential outcomes.
Decision-makers must plan strategically
to embrace Generative AI and harness its
opportunities, such as crucial decisions
about data infrastructure, foundation model
ownership, workforce structure, and AI
governance.
What Generative AI is and how it works
Generative AI captured the public’s imagination
with Midjourney and Chat GPT. Its roots lie
in machine learning, language models, deep
learning, and neural net training. The leap
from Machine Learning to Generative AI was
an invention in how massive amounts of
unstructured data could be analysed using
what’s called ‘Transformers.’
An example of unstructured data in broadcast
would be a video content repository with no
metadata, so the Transformer must extract
context via image recognition and training.
Another example would be to collect all news
scripts from the archives and train a model to
write a script.
Generative AI foundation models take inputs
such as text, image, audio, video, and code
and generate new content in any format. The
key to developing content is called ‘prompt
engineering.’ Prompt Engineering is a new role
that uses various conversational prompts to
extract valuable outputs from the models.
Large Language Models (a foundation Model)
are a considerable amount of textual data that
understands the context of sentences and
documents. Chat GPT is Generative AI, and the
Large Language Model is called ChatGPT. Stable
Diffusion is the FM behind Midjourney, making
those saturated out-of-this-world images.
Stable Diffusion is an Open Source model, and
Open AI owns ChatGPT.
The Rabbit R1 is an AI-powered gadget that can
navigate your apps. It uses a Large Action Model,
which is a model that can interface and click
through web interfaces via voice prompts.
Choosing between closed-source and open-
source models depends on the specific
requirements of a project, the level of
customization needed, and the question
of governance. Closed-source models may
offer ease of use through APIs, while open-
source models provide greater transparency
and adaptability but require more technical
expertise.
Foundation Models are published daily; there are
thousands to choose from. When you speak with
a vendor or project manager about your Gen AI
project, it’s about the suitable foundation models
and data transparency. If AI integration is on the
roadmap, I will start with the data scientists in
your org on what data is collected.
Hybrid models are when a smaller, proprietary
data set is connected to a Foundation Model
that is general purpose. And then ‘tuned’ to a
specific task. Broadcasters would take the
Image: DALL-E
hybrid approach because the industry has very
particular workflows and technology and thus questions about how a Gen AI project will be
must build their proprietary models. secure. Cloud vendors are the possible answer.
An example of an applied data set is PDF Broadcasters may seek a vendor with foundation
documentation. An FM model is connected to a
models specifically tuned for broadcast and
repository of PDFs that the AI would augment media. FMs that assist with writing scripts,
into the queries and analysis; this is called a RAG
software code, marketing, and audience analysis
(Retrieval Augmented Generation). are common. Perhaps the future broadcaster
Broadcasters have teams collecting data to is just one foundation model covering all
create proprietary models to augment the larger broadcasters’ needs. Could the next-generation
FMs. However, the data collected is not in the NRCS system be a Foundation Model?
operational and system data. Broadcasters must
Generative AI will impact these areas of
extract data from vendors’ systems to build
Broadcast: content creation, workflow
operational user models. Automation systems
and production, commercial strategy, and
will have excellent data for an AI engineer to
operations.
make live production foundation models. Start
identifying and collecting operational data from Content Creation and Personalisation:
systems and workflows. Generative AI’s noticeable impact on the
Broadcast executives planning for AI in the broadcast industry is the evolution of how
workflow will also use event-driven AI when data content gets created. AI systems can analyse
streams into the models, and the AI reacts in real vast amounts of data, understand viewer
time. It is beneficial because Live production preferences, and generate personalised
captures dynamic events, like a live cross. content tailored to individuals or groups. The
FM will tailor news, sports, and opinions to the
AI Governance is an important consideration
to be part of the decision-making process. viewer’s profile. This personalization does raise
Managing biases or hacker-inserted malicious ethical governance questions of singular echo
results that tilt the model must be a factor chambers.
in the AI-powered newsroom. ESG is all over Script writing is the easiest and first impact a
Generative AI because the energy consumption newsroom will have with Gen AI. Journalists will
and carbon footprint are immense. have personalised Gen AI editors that do fact-
Part of governance will be security. Chat checking, copy editing, librarian, and source
GPT and Mid Journey are directly connected confirmation.
COVER STORY
to the internet. Broadcasters have strict AI will build video packages; the prompt
firewalls to prevent outside attacks; it raises engineering would be the news story or script in
>> continues p4
3
 COVER STORY
>> continued from p3
the NRCS. As the journalist writes the script, the
video package gets assembled in real-time, with
video clips pulled from sources such as a MAM.
MAMs must have the data hooks that enable a
newsroom FM model to connect via API, extract
the clips, and drop them into a timeline. The
MAMS of the future are foundation video models.
Where footage is unavailable, let’s say an
interview for the story. Then, the newsroom
AI assistant will coordinate the resources
and production assets for the interview. The
journalist does not need to initiate anything; this
happens as ‘event-driven AI.’ I would even go so
far as to suggest that if it’s an online interview,
the Gen AI would book the guest, write and
ask the questions, and record the interview.
Ingesting into the MAM and inserting into the
package or rundown.
Will personal AI assistants make for an ethical
difficulty in what constitutes a source? Was
Image: DALL-E
that Quote from the actual person or their Virtual
AI Assistant? It goes back to governance as
something to consider.
News, opinion, and sports-specific foundation
models will increase the variances of the
automated content. Broadcasters will have
families of foundation models, one for each
Sport. Today, with AWS Gen AI services, Fox
Sports in California is auto-generating sports
highlights using the massive datasets Fox
Sports has already been collecting. Following
Sports highlight clips, news packages will be
automated. GenAI will place the correct CG
and branding, adjust colour correction and
transitions, drop in the VO, create multiple
versions, and publish.
An FM that captures the technical skills of an
experienced live sports or news director will
be an asset. An NHL producer will be different
from an NFL producer. I predict the potential
for the most skilled and expert live production
producers and TDs to licence their ‘abilities’ into
a foundation model. These would be available
to buy for integration. Will personal AI assistants
make for an ethical difficulty in what constitutes
a source? Was that Quote from the actual person
or their Virtual AI Assistant? It goes back to
governance as something to consider.
News and Sports are derived from live events;
I don’t see any requirement to create a video
package from the pixel level, but it could be
possible. As a live production business, I would
not get hung up on the fancy AI tools that
create content from nothing, as broadcast
content must remain authentic.
COVER STORY + PEOPLE
Virtual Sets and other 3D models will eventually
be constructed with Generative AI, with some
fine-tuning by a human technical artist. Virtual
Sets will be designed, assembled, and deployed
in near real-time. OpenAI has unveiled Point-E,
4
a new text-to-3D model that can generate 3D
point clouds from natural language inputs or
Prompt Engineering. These Gen AI deployed
models will be virtual studios or AR studio
graphics rendered on VR/AR devices in your
living or office space.
Virtual Sets will rebuild and assemble
automatically live on air, depending on the
script and prompts from the producers,
scripts, or talent. Imagine watching a live news
program, and the 3D elements in the virtual set
are dynamic, reacting to the piece’s content.
Sports Broadcasters can leverage generative
AI to enhance live sports production by
automatically producing AR virtual overlays of
player stats and CG without an operator. CG
could be an example of event-driven AI. The
type of CG and the information populating it are
triggered by what happens on the Preview. Gen
AI would build a broadcast map from the GIS
data from a live feed.
A trimmed-down Sports OB van, as many
tasks an operator may do, can be AI. A sports
producer will create highlights not by spinning
an edit wheel to find the right clip but by
entering textual prompts.
News graphics are going to become
spectacular! GenAI would create entire
infographic storylines to explain complex
pieces. News Infographics of this complexity
are built by the script and prompts from the
creative team. The future of News stories will
become very infographic-heavy. Existing CG
rendering platforms that are HTML-based have
an advantage.
Digital Rights Management will be AI. Smart
contracts on the blockchain will be the
mechanism to trigger event-driven AI when it
comes to monetization and content rights. I will
write another series on how Blockchain tech
can benefit broadcasters.
Enhanced Live Production Workflows
Generative AI streamlines workflows across
all global industries and will do the same for
Broadcast. Accounting, marketing, scheduling,
research, and other traditional administrative
tasks are more efficient and cost-effective—a
reduced headcount or increased output, most
likely a mix of both.
Real-time feedback into the production pipeline
will speed up the news cycle. The circular news
story, Go-live, clip, publish, feedback, repeat,
etc.…is not new, but an organisation can
manage many more stories in circulation with
Gen AI.
Gen AI will have a more significant impact at
the regional and hyper-local end of Broadcast
networks, lowering and automating the cost
of production for stories relevant to that local
smaller market.
Content will be data-driven, meaning when
content is published, consumer metrics will
flow back in real-time, feeding the foundation
model to impact content creators’ decisions.
The AI will incorporate this data, automatically
providing insights or adjusting the stories.
Broadcasters have virtualized control rooms
since COVID-19, and platforms from switching,
audio, and CG bundled into a single virtualized
solution as an on-demand resource. The next
evolution is an AI control room, which could
become a foundation model. Or at least the TD
and producers will become AI agents. But for
this to happen, broadcasters need workflow
data from live production. Log and user data
must be recorded from the vendor’s platforms
that comprise a control room.
The broadcast journalist could become
a content strategist. Instead of writing a
couple of stories, the journo builds a show
by the prompts and queries that go into the
NewsRoom AI. What comes out the other
end is a series of scripts, video packages,
infographics, social media, and playlists that
get handed off to AI publishing.
Because the cost and volume of live production
will drop, Gen AI Broadcast systems may start
at the hyper-local regional markets. What
would a national broadcaster look like if it had
thousands of neighbourhood-level productions,
all virtualized and automated?
>> continues p6
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 COVER STORY
>> continued from p5

Operations:
I believe that Gen AI will have the most
significant impact on the operations of a
broadcaster. How a vendor is selected, the
way engineers manage technology stacks,
and the management of systems used to put a
production together. Operations will include HR
and talent acquisition and training.
McKinsey Global Institutes projects that
between 2030 and 2050, Gen AI will automate
half of all knowledge tasks. What Microsoft
is about to do to your Office 365 will blow you
away. Gen AI is not replacing roles but simply
making existing roles more time-effective and
removing tasks within the roles. Did I mention a
4-day work week?
Writing code will be faster and more accurate,
as LLMs can now offer real-time feedback
and assistance to programmers. That will
impact service and in-house teams’ levels of
productivity. Vendors that write code for your
business will also have efficiencies, shrinking
project deadlines and delivery costs.
The daily operations of logistics to locations,
booking interviews, and getting the right
people in place. Scheduling OB vans and
technical production crew will be automated.
It may already be if your business is using
a 3rd party vendor. Cloud-based project
management tools already use Gen AI to help
project managers.
Control Rooms are increasingly just software
instances spun up on the cloud. These
virtualized Operational nodes will be part of
the same processes that assist the journalist
in creating the content. The future technical
director will be a Gen AI, ensuring the right
graphic is on air and the right source is used
with the correct audio levels. Once the show
is complete, the control room spins down until
the next Live show. But think about that: what
it means is that broadcasters will produce 1 or
1000 live shows simultaneously with different
branded graphics packages and target
audiences.
Broadcast scheduling will be a monumental
multi-dimensional task that no human can
keep on top of. But this scheduling is across
thousands of targeted personality profiles
and pop-up channels. The entire playout
infrastructure is best handed over to a playout
foundation model.
Vendors supplying the technology that
underpins a complex large broadcast
organisation will open up data and metering
capabilities. A Broadcast Engineer FM will
manage all operations, including systems, SLA,
licences, and commercials.
The above evolutions will create new data sets
so that GEN AI can output a very accurate ROI
on operations and output. Having end-to-end
data, From edit tool to media throughput to live
production, to deployment and feedback and
click rate, will be the ultimate broadcast media
foundation model; this will give the C-suite a
macro ROI view of the entire business, be it a
COVER STORY + PEOPLE
significantly impact operations in terms
of savings, efficiencies, and automation.
Vendors and suppliers to Broadcasters
should be ready to expose system data as
an additional product or feature. Service
providers specialising in integrating
Generative AI into their operations and cloud
service providers will be knocking on the CTO
and Engineering and Operations office doors
if not already.
The interface with this level of AI is
conversational, but it must also be thoughtful.
Your existing workforce will need to learn
‘prompt engineering.’ Prompt engineering is
the process of structuring text that can be
interpreted and understood by a Generative
AI model. Imagine that AI is a genie in a
bottle. How you phrase your wish will be very
important. The sooner you can get these
training sessions on the go, the better.
Gen AI can leverage existing MAM systems
to source and build a video package from
the NRCS story script. Generating a video
from nothing is not a requirement because
of the live video nature of broadcasting.
However, developing compelling infographics
will be a relevant new feature in the news.
In 2024/2025, HTML5 CG vendors will offer
this feature of automated content creation
with Data Storytelling and AI-generated
infographics. The design team in your org will
need to understand that it will not be about
the tools, like After Effects or CG systems, Images: DALL-E
but how news stories will be infused with
of the business to start connecting to a Gen AI
infographics created from prompts.
Foundation Model.
There will not be one Foundation Model
that does it all but a platform of different *Jonathan Watson has spent over 20 years as a
Foundation Models for parts of the broadcast vendor to broadcasters globally working across
production. This article mentioned ChatGPT production, graphics, and the commercial side
and Stable Diffusion, but over 300,000 open- of the business. With a focus on how Blockchain
source Foundation Models are already available
and Generative AI will impact broadcast and
on GitHub, with more added daily.
digital media, he brings an understanding of

The following article in this series will

global brand or a regional broadcaster.
Conclusion:
While the focus of content creation may be
the flashy output, Foundation Models will
look at the existing services and vendors
offering solutions to broadcasters. And how
a broadcaster should prepare for a project,
defining the outcomes desired and which parts
what’s on the horizon to how the broadcast
industry can adapt and work more efficiently
in the future. You can find him on LinkedIn at
https://www.linkedin.com/in/watsonjon

6
 CAMERAS & LIGHTING
Russell Crowe’s ‘Indoor Garden Party’ Shot with Sony Cameras
A LONG-TIME MUSICIAN as well as
an actor, Russell Crowe’s Indoor
Garden Party tour featured 17
shows around the east coast
of Australia, as well as multiple
shows in Malta, Italy, and the
Czech Republic. The venues
ranged from small pubs and clubs
to large theatres and festivals.
These included iconic venues
The Sydney Opera House and
Australia Zoo and events such
as The Karlovy Vary International
Film Festival. The entire tour was
captured exclusively by and shot
with Sony cameras.
Director of photography on the
tour, Joe Machart, explained,
“Russell wanted six or more
cameras on every show, as well
as the ability for us to record
rehearsals, interviews and behind
the scenes footage. Over the years
my go-to camera kit has gone
from the Sony HDR-FX1 to the
NEX-FS100 to the PXW-FS5 to the
ILME-FX6V. When Sony announced
the ILME-FR7, I was very excited
to see what possibilities it would
unlock for the tour. Sony and their
partner distributor, Lemac, kindly
organised a demo of one of the
first units in Australia.”
Before the tour began, Crowe
tasked DoP Jules O’Loughlin ACS
ASC and Machart with organising
the filming of two earlier concerts
he was planning at The Hoey Moey
in Coffs Harbour.
Machart added, “This venue
provided a fantastic experience
for live acts and Russell wanted to
capture that in the footage. On our
recce we discovered that our wide
and mid shots at front of house
would be obstructed by a low
ceiling. The FR7 immediately came
to mind as an elegant solution as
there was a lighting bar over the
mosh pit which we could under-
sling this camera on. This gave
us a clear angle of the stage and
worked flawlessly.”
As Machart mentioned, there were
specific creative requirements
that had to be met by the Sony
cameras on the tour. For example,
all cameras needed to have
a similar look so that colour
correcting would be easy as
content had to be edited quickly
on the road.
To help him on the tour Machart
worked with two old friends and
“amazing cinematographers”, Nick
Hodgskin and Scott Wood.
Machart added, “The Sony Cinema
Line was the only choice that met
all of our requirements. I chose
to utilise an FX6, four FX3s, three
FR7s and an A7RV. They all have
S-Gamut3.Cine/S-Log3 profiles
and can be effortlessly matched
in the grade. The versatility of the
whole Sony Cinema Line meant
that we could use each camera’s
strengths to our advantage.
Russell saw the potential of the
FR7s from the early gigs as a way
that one person could operate
three cameras simultaneously.
The FX3s are extremely compact,
allowing for comfortable and
prolonged shooting. They also
have IBIS for smooth movements.
The FX6 has ergonomic controls
as well as built in variable ND.
The speed and durability of
Sony’s CF Express Type A cards
were essential. We had quick
turnaround times in between
shows and these cards enabled
us to data wrangle footage onto
mirrored SSDs in minimal time.”
On the tour, the FR7 operator
desk typically had three iPads
to monitor and control settings.
Machart described the set-up as
“very intuitive” with the crew able
to use the touch screen to focus,
move the camera, and change
settings.
He continued, “The Sony RM-IP500
allowed for finer tuned controls
with the joystick and dials. The
ability to recall position presets
and determine the speed of the
movements created dynamic,
replayable shots at the touch of a
button. One person could control
one camera with the RM-IP500,
whilst also controlling a second or
third camera simultaneously with
presets or the iPad interface. It
was a treat to use autofocus on a
slow speed setting to rack focus
between subjects on stage with
just a touch on the iPad.”
According to Machart, another
great feature was the live
monitoring page which showed a
full screen live feed, without the
ability to control the camera.
He explained, “This feature
became invaluable for us as we
could use our phones to wirelessly
connect to the FR7 router, allowing
us to remotely view a shot whilst
setting up. We placed an iPad in
Russell’s green room so that he
could direct our shots, as well
as view what was happening on
stage.”
The tour always had a mega deck
riser at the back of the room with
an FX6 and an FX3 on tripods.
The FX3 was a locked off wide
with a 24-70mm SEL2470GM2
and the FX6 was a mid shot with
a 100-400mm SEL100400GM
(sometimes with a doubler
SEL20TC) and operated by one of
the crew. The FX6 also took in left
and right audio channels of the
line mix from the sound desk.
Machart said, “It was very helpful
that the FX6 could also record
scratch audio tracks on channels
3 and 4 just in case anything
unexpected happened with the
“The Sony Cinema Line was
the only choice that met all of
our requirements. I chose to
utilise an FX6, four FX3s, three
FR7s and an A7RV. They all
have S-Gamut3.Cine/S-Log3
profiles and can be effortlessly
matched in the grade. The
versatility of the whole Sony
Cinema Line meant that we
could use each camera’s
strengths to our advantage”
sound desk feed. We used an
FX3 on an Easyrig or DJI RS3 Pro
gimbal to get dynamic shots from
within the crowd and around the
stage. Russell likes movement in
his shots and a feeling of being
part of the audience, which these
setups achieved. We rigged other
FX3s in interesting positions using
magic arms, usually on stage
somewhere or at high vantage
CAMERAS & LIGHTING
points. We could confidently put
these cameras in places which
aren’t possible to access during a
show, thanks to the remote control
function of the Sony Creators’ App.
>> continues p9
7
 CAMERAS & LIGHTING
ARRI 360 EVO Stabilised Remote Head
ARRI HAS ANNOUNCED a new stabilised remote
head, the 360 EVO. Building on the SRH-360,
it features 360-degree rotation on the roll axis
as well as the pan axis, a more robust design,
and remote system integration. A new GUI and
multiple accessories are shared with the TRINITY
2, creating a uniquely integrated lineup of hard
and soft-mounted stabiliser options.
Since the launch of TRINITY 2, operators have
been exploring the creative opportunities
provided by its 360-degree rotation on the roll
axis, revolving around the optical centre of the
lens. Now, the same technology has been scaled
up for the ARRI 360 EVO three-axis stabilised
remote head, opening up new shot possibilities
for dramas, commercials, and music videos. Even
more dynamic roll-axis shots can be achieved by
mounting the head to a crane, for example, or a
cable cam above a live broadcast event.
The 360 EVO runs on the same software platform
as TRINITY 2, with the same intuitive GUI
displayed on its touchscreen remote control
panel. The two products also share cables,
brackets, and SAM plates for mounting different
cameras, and can be controlled by the same
tools, such as ARRI’s Digital Remote Wheels DRW-
1 and new Digital Encoder Head DEH-2. TRINITY
2 customers can therefore invest in the 360 EVO
without having to double up on accessories or
learn new workflows. By offering both systems
professionals can extend their services to a
production, increase their workdays, and reduce
SmallHD Ultra 7 Ultra-Bright Monitor
SMALLHD HAS ANNOUNCED Ultra 7, a new
ultra-durable and ultra-bright flagship monitor
in its Smart 7 Series. Ultra 7 features a next-
generation platform powered by the same
technology that drives SmallHD’s elite 4K
production monitors, and integrates with
Teradek’s new Bolt 6 wireless platform.
Ultra 7’s colour-accurate touch screen can
display up to 2300 nits full-screen luminance,
enabling visibility in any environment, and
SmallHD has provided the powerful I/O required
by the dynamic needs of cinematic productions.
6G-SDI inputs allow ingest and passthrough of
up to 4Kp30 video signals, enabling critically-
accurate focus and detail when zoomed in
pixel-to-pixel. Dual 2-pin power connectors
enable users to output power for accessories,
Marshall VS-PTC-300 PTZ Camera IP/NDI Controller
Marshall Electronics has released the VS-
PTC-300 PTZ camera controller, providing the
ability to manage multiple protocols, including
NDI, RS232/RS422/RS485 and IP, VISCA over IP
and ONVIF.
The VS-PTC-300 IP POE PTZ controller allows
users to control multiple cameras using the
same or different protocols, which is beneficial
while migrating to a larger set-up. It can control
up to seven RS232 cameras, fourteen RS422
cameras and up to 255 NDI/IP cameras. It also
CAMERAS & LIGHTING
allows easy NDI/IP set-up utilising the NDI/IP
discovery set-up.
“The VS-PTC-300’s layout provides 10 ‘instant
access’ camera control buttons, which reduces
8
setup times, which is also of great benefit to the
production itself.
LBUS connectivity enables efficient digital and
metadata workflows, while the new software
and GUI are focused on long-term Unreal Engine
integration to facilitate virtual production.
Plug-and-play control of the 360 EVO over the
internet will be possible in future when using
an authorised repeater cloud service, providing
exceptional flexibility of control options.
With its remote system integration, 360-degree
SmallHD’s PageOS software can be controlled via
touchscreen or joystick, and large tactile buttons
offer customisation and functionality.
This is SmallHD’s first IP-Certified monitor at
IP53, which is defined by protection against
ingress of liquids and fine particles, and a sealed
heat management system allows the Ultra 7
to operate in variable temperatures ranging
from 0ºC to 40ºC. The machined chassis is
strengthened by a new design that includes
raised edges protecting the front-glass of the
display and shock-absorbing silicone bumpers.
Also available is a quick-release sunhood (sold
separately). This new design clips securely into
the front of the monitor without tools or screws,
using hidden magnets for quick conversion to a
3- or 4-sided hood.
fumbling when quick action is required,” says
Greg Boren, Product Marketing Engineer
at Marshall Electronics. “In addition, the
information display screen doubles as a video
monitor for NDI and RTSP streams. Also, there
is no need to type in the camera number before
operating the camera; just select the camera
button and you’re in control.”
The VS-PTC-300 is designed to operate
seamlessly across multiple camera protocols on
a single network. Used in live event production
and content creation, the VS-PTC-300 offers
detailed operation through a high-quality PTZ
joystick, professional zoom rocker and individual
fine-tune adjustment knobs. Settings include
iris, white balance, exposure, red/blue, shutter
roll-axis rotation, payloads up to 30 kg, compact
size, versatile connectivity, high-capacity
12/24 V camera power supply, and rock-steady
stabilisation even at long focal lengths, the 360
EVO offers an unparalleled price-performance
ratio that makes it a budget-friendly product for
the cine and broadcast markets.
First customer shipments of the 360 EVO, as well
as upgrades for SRH-360 owners, will begin in Q1
2024.
Visit https://arri.com/360-evo
Ultra 7 can be purchased with a fully-integrated
Teradek Bolt 6 transmitter or receiver inside the
same-size chassis as the standard model. These
integrated wireless monitors will feature a new
rugged antenna cap to reduce antenna damage
and will be available in Bolt 6 750 and 1500 range
models. Ultra 7 RX kits will ship with handles,
a padded strap, and a Wooden Camera Micro
Battery Plate (GM, VM, or B-mount).
An integrated Ethernet and 5-Pin USB port
enable flexible and intuitive PageOS-integrated
camera control options–anchored to every
page–for ARRI, RED, and Sony VENICE cameras,
while TX and RX models will support wireless
camera control over the clear airwaves of the
6GHz spectrum.
Visit https://smallhd.com/pages/ultra-7
speed, focus, pan/tilt speed and zoom speed.
The VS-PTC-300 can store up to six selectable
ASSIGN function keys and save up to 256
camera presets with memory of image setting
parameters. Dedicated knobs and control
buttons simplify direct access to frequently used
functions without needing to use on-camera
menus. The VS-PTC-300’s joystick allows “one
hand” PTZ/Focus or use the convenient rocker
for Zoom. Its solid construction ensures that
the controller will not slide while operating the
joystick. The built-in display also allows the crew
to easily check framing/focus, the team can
store presets and also practice camera moves.
Visit https://www.marshall-usa.com/

>> continued from p7
This app enabled us to remotely
access and view an FX3.”
Sometimes, Crowe would have
interviews to do for live broadcast,
radio or Zoom where the crew
would then use their FX6 with an
iPad teleprompter rigged to it. The
iPad was a mirrored display for
Machart’s MacBook Pro via Sidecar
so that Crowe could see the live
studio feed on the teleprompter
while he maintained his eyeline
down the lens of the camera.
Machart added, “We either used a
LiveU, cellular hotspot or Starlink
dish to send and receive data with
low latency, even in remote areas.
The S-Cinetone picture profile
was perfect for these situations
as the colours and skin tones look
accurate and cinematic.”
Crowe also wanted to film
rehearsals and the recording of
new songs in his music studio.
After musicians and instruments,
there wasn’t much room left for
camera operators. Again, Machart
saw the FR7s as the solution.
He explained, “We placed three
FR7s around the studio and ran
Ethernet cables to an operator’s
desk in an adjacent room. Not only
did this reduce our footprint in
the room, but it also allowed the
musicians to not feel pressured by
the presence of cameras. The FR7’s
full frame sensor allowed us to
achieve cinematic, shallow depth
of field shots with amazing low light
performance and 4K resolution.”
In terms of workflow on the tour,
Machart and the crew started by
using the FX6 to jam timecode
into all cameras. They then
chose positions for the three FR7
cameras. With the Progl+Gerlach
PGX FR7 mounting plates, they had
a variety of mounting points and
an easy 4mm safety chain solution.
They also travelled with a selection
Proudly distributed in Australia
by Blonde Robot Pty Ltd
of grip gear which
gave them flexibility
to mount the FR7s in
different ways.
He continued, “We
decided that the most
versatile way to mount
the FR7s at venues
would be with half
clamps because they
gave us the option to
mount the camera
upright or underslung.
In this way, we could
rig FR7s onto existing
lighting bars in venues,
or onto our own scaff
posts and steel stands
with T speed rails.
We plugged our FR7s,
iPads and RM-IP500
into a network switch
and router. All cameras
then appeared on the network
and could be controlled without
much setup. Over the duration of
every four-hour show we did not
have a single issue with an FR7
not responding. The dual slots on
the FR7 allowed for ample storage
space. After the show concluded
a roaming FX3 followed the band
back to the green room to capture
behind the scenes.
“Sony is a market leader in its
colour science, autofocus and low
light performance. It was invaluable
to have a family of cameras, each
with different strengths to meet
every situation. When we filmed
at large venues we sometimes
attracted a small crowd at the
back of the room trying to get a
glimpse of our FR7 iPad screens to
watch the performance. The FR7s
truly gave unique and impressive
angles of the stage. The low light
performance, dual base ISOs and
the ECS shutter mode of the FX6
and FR7 were crucial with the
dynamic and challenging stage
lighting.
“The high dynamic range of these
cameras in CineEI mode also gave
us the confidence of knowing
that the shadows and highlights
were protected. Typically, there
were areas on stage with bright
follow spots and other areas of
deep shadows. Preserving all
these details was essential in
producing the best image possible.
The autofocus on these cameras
is truly remarkable. The facial
recognition continued to lock focus
to a subject’s eye in the constantly
changing lighting and movement
of the musicians. The autofocus
allowed us to concentrate on
controlling the PTZ functions and
composing the shots. Likewise,
the facial recognition autofocus
became an essential part of a
one-person gimbal setup for these
concerts. Without worrying about
focus, the operator was free to
compose the shot. The FR7 was
also small enough that it could
offer angles and perspectives
which would previously have been
impossible to get with a large
V-RAPTOR
LARGE FORMAT
8K 120FPS
THE FRAME RATES, LIGHT SENSITIVITY, AND
RESOLUTION OF THE V-RAPTOR LINE COMBINED
WITH THE GLOBAL SHUTTER OF KOMODO.
CAMERAS & LIGHTING
sensor cinema camera.”
The high frame rate options of the
Sony cameras additionally enabled
Machart and the crew to capture
emotion and energetic movements
in engaging slow motion. The ability
to take all camera angles into
the edit and have minimal colour
correcting before the grade was
also a great time saver for the tour.
The tour finished with a
performance at the Karlovy Vary
International Film Festival in the
Czech Republic. With the help of
local production companies and
crew the final show was filmed
with 19 cameras in front of 15,000
people.
To see a full behind the scenes of
the Sony cameras in use on Russell
Crowe’s Indoor Garden Party tour
go to: https://www.youtube.com/
watch?v=PsHA6I5J9dU
Visit https://pro.sony/en_AU/
CAMERAS & LIGHTING
9
 SPORTSCASTING

NRL Poised to Take on US Audiences

FOR THE FIRST time ever, the NRL
Telstra Premiership rugby league
season will kick off on American
soil (Saturday 2 March 2024 local
time) at Allegiant Stadium, Las
Vegas.
Round 1 matches in Las Vegas will
see two matches take place - the
Sea Eagles vs the Rabbitohs and
the Roosters vs the Broncos. The
first match will be televised in
Australia via subscription services
Kayo and Foxtel, while the second
tussle will be available via the Nine
Network, Nine Now, Kayo and
Foxtel.
As the Las Vegas venue would
suggest, however, the target
audience for this year’s opening
NRL is the American sports fan.
In terms of stadium audience, the
NRL is aiming for some 60,000
attendees. US television viewers,
meanwhile, will be able to catch the
NRL doubleheader live on the Fox
Sports’ FS1 channel and the FOX
Sports app. The matches are also
available to other foreign territories
via www.watchnrl.com
Speaking at a recent Business
Sydney function, chairman of
the Australian Rugby League
Commission, Peter V’landys,
outlined the NRL’s strategy to
overcome the limitations of scale
with current audiences.
“I went overseas to try to sell the
NRL broadcast,” said V’landys.
“We wanted to
get competitive
attention, naturally,
to maximise the
return on the
broadcast. And we
went to Amazon, we
went to Facebook,
we went to Twitter,
we went to all of
them. And they
all said, ‘what’s
the population of
Australia?’ And, I’d
say 26 million. They
said, ‘see you later’.
I said, what do you
mean? They said,
‘You’re so small-
scale, there’s 40
million in California.
Why would we
be bothered with [L-R] NRL players Campbell Graham, Billy Walters, Spencer Leniu and Aaron Woods in Las Vegas to promote
somebody with the historic 2024 Telstra Premiership doubleheader at Allegiant Stadium. Photo: NRL Photos.
26 million that’s
$650 million in additional broadcast try other big populations like
just not in our market? We’ll do
revenue. Even if we got half, that’s India or China or those places
a revenue share, you pay for
300 million. Now, in order to do where there is scale. Australia
production.
that, you need a good partner, is a very small population, so if
“But, they made me think they’re which we do with Fox. And if we
right. We’ve got no scale in you want a big market, you need
can get Fox to show us on Fox One
Australia. And then I looked at the to look elsewhere, and that’s
in America every week after we’ve
population in America, it’s 340 why we’ve looked at the US. And
promoted it at Vegas, I think it’s
million people. And we have an app I’m very confident that if we do
got an unlimited potential, not just
in America that we sell, which is an it right, and it all comes back to
for rugby league but for all sports
NRL app that you can watch every implementation, if we do it right in
in Australia, to sell to a scale that’s
game. It’s a $160 subscription. And America, we can be talking billions
I worked out that if we could get much bigger than what Australia
will ever be. of dollars in 10 or 20 years.”
0.1% every year of the population
in America, we would generate “And, if it works, then you can Visit https://www.nrl.com/

Sportscasting Giants to Launch Joint Streaming Service

ESPN, A SUBSIDIARY of The Walt Disney
Company, Fox and Warner Bros. Discovery have
reached an understanding on principal terms
to form a new joint venture (JV) to build an
innovative new platform to house a compelling
streaming sports service. The platform brings
together the companies’ portfolios of sports
networks, certain direct-to-consumer (DTC)
sports services – including content from all
the major professional sports leagues and
college sports. The formation of the pay service
is subject to the negotiation of definitive
agreements amongst the parties. The offering,
scheduled to launch in 3Q of 2024, would be
made available directly to consumers via a new
app. Subscribers would also have the ability to
bundle the product, including with Disney+, Hulu
and/or Max.
SPORTSCASTING
exclusive basis.
The service would have a new brand with an
independent management team.
The platform would aggregate content to
offer fans an extensive, dynamic lineup of
sports content, aiming to provide a new and
differentiated experience to serve sports fans,
particularly those outside of the traditional pay
TV bundle.
By subscribing to this focused, all-in-one
premier sports service, fans would have access
to the linear sports networks including ESPN,
ESPN2, ESPNU, SECN, ACCN, ESPNEWS, ABC,
Fox, FS1, FS2, BTN, TNT, TBS, truTV, as well as
ESPN+.
Bob Iger, Chief Executive Officer of The Walt
Disney Company said, “The launch of this
new streaming sports service is a significant
ESPN channels will be available to consumers
alongside the sports programming of other
industry leaders as part of a differentiated
sports-centric service.”
Lachlan Murdoch, Executive Chair and Chief
Executive Officer of Fox said, “We believe the
service will provide passionate fans outside of
the traditional bundle an array of amazing sports
content all in one place.”
David Zaslav, Chief Executive Officer of Warner
Bros. Discovery, said “At WBD, our ambition
is always to connect our leading content and
brands with as many viewers as possible, and
this exciting joint venture and the unparalleled
combination of marquee sports rights and
access to the greatest sporting events in the
world allows us to do just that.”
More details, including pricing, will be announced

Each entity would own one-third of the JV, have moment for Disney and ESPN, a major win for
equal board representation and license their sports fans, and an important step forward for at a later date.
sports content to the joint venture on a non- the media business. This means the full suite of Visit https://thewaltdisneycompany.com/

10

LiveU Delivers Pacific Games Action
THE 2023 PACIFIC GAMES in the Solomon
Islands were successfully broadcast live to
viewers in numerous participating countries
and beyond using LiveU’s IP-video EcoSystem.
LiveU’s technology was selected for its cost-
effective and flexible technology, underpinned
by LRT (LiveU Reliable Transport), enabling live
broadcasts to be distributed with the highest
resiliency to a disparate array of broadcasters
and other takers across the Pacific Islands as
well as Australia and New Zealand.The LiveU
team was present on-site throughout the games,
providing engineering and operational support.
Historically, the world feed for the Games was
transmitted via satellite and produced centrally
with selective content. The organisers turned
Control System for MEDIAEDGE QDCAM
VIDEOSYS BROADCAST has launched a new
control system for MEDIAEDGE’s QDCAM high-
speed box camera that allows broadcasters to
incorporate the high-quality camera into their
production workflows.
The fibre-based plug and play system, which fits
seamlessly into a standard equipment rack, uses
intuitive software that automatically configures
all the camera and CCU features for the user’s
chosen format. By adopting this simple to use
solution, broadcasters can now deploy the
QDCAM box camera for 4K productions or high
speed (x4) SloMo shots.
Colin Tomlin, Managing Director of Videosys
2024
to LiveU for cost-effective and reliable IP
distribution over the open internet using LiveU
Matrix’s fully managed service with multiple
feeds, encompassing all the content, produced
at the different venues.
In addition, LiveU’s compact 5G LU300S
encoders were deployed for point-to-point
transmission, LiveU Ingest for cloud recording
on-site and the rackmount LiveU Transceivers
for uplinks and point-to-point transmission.
Paul Vunituraga, Broadcast Manager, Pacific
Games 2023, said, “We were looking for a
cost-effective and efficient alternative to
satellite and were excited by the opportunities
enabled using LiveU’s IP technology. The results
speak for themselves! Despite the challenging
Broadcast, says the company’s new Remote
Control Panel (RCP) for MEDIAEDGE’s QDCAM
will increase the camera’s appeal to broadcast
users, particularly those producing sports
programming where there is a need for high-
resolution 4K shooting and high-speed shooting
for slow-motion playback.
Features offered by QDCAM include excellent
image quality; remote camera/lens control using
micro 4/3 lenses allowing access to the vast
range of off-the-shelf lens options. Also, a Global
Shutter CMOS Image Sensor allows for precise
imaging without the distortion associated
with rolling shutter devices. The QDCAM has
SPORTSCASTING
environments on the island, the quality and
scope of the live production remained at the
highest level throughout the games. We could
focus on covering all the different sports with
engaging live content, while expanding our reach
to new takers with full peace of mind.”
Chris Dredge, Country and Sales Manager – LiveU
Pacific, said, “It was an honour for us to be
involved in these historic Pacific Games. This
major production demonstrates how LiveU can
replace traditional broadcast methods for major
sports events across the whole spectrum, from
live contribution on the ground and cloud ingest
to a variety of distribution methods.”
Visit https://www.liveu.tv
an Optical Transmission system that utilises
standard SMPTE fibre optic camera cables
installed in many stadiums and other facilities
frequently used for sports broadcasting.
According to Colin Tomlin, “Its one drawback was
its complicated set-up system and awkwardly-
shaped boxes that were not weatherproof and
didn’t fit standard equipment racks. By working
closely with MEDIAEDGE, we have succeeded
in creating a new RCP system and fibre
implementation that resolves all these issues
and brings the camera firmly into the broadcast
domain.”
Visit https://www.videosys.tv/
SPORTSCASTING
11
 SPORTSCASTING

Chyron Streamlines Data Management for Sports Users

CHYRON HAS INTRODUCED PRIME 4.9,
the newest release of the company’s
live production engine. Designed to
drive the world’s most demanding data-
driven sports and news production
workflows, Chyron PRIME 4.9 boasts
an array of updates, both large and
small, that significantly enhance the
operator experience — and improve
operator efficiency — in designing
and playing out complex graphics
that pull information from real-time
data sources. Along with control
panel and focus improvements, the
platform offers even more extensive
data integration and management
capabilities, faster and more
convenient workflows for creating and
modifying large tables, and a series of
features that combine to streamline
and accelerate workflows built on SMT
real-time sports data.
“Version 4.9 is a great representation
of the two-pronged approach the
process of arduous cell-by-cell data-binding enable efficient control of multiple graphic
PRIME development team is following to deliver
when building table graphics with multiple rows channels without having to use a mouse. To
new innovations and address feedback from
and columns linked to data. This new feature further accelerate operations during fast-paced
close conversations with customers,” said
Nikole McStanley, Product Portfolio Director recognizes links between a graphic element productions, PRIME can import/export play out
of PRIME at Chyron. “Our new features — such and an entry in a data set, allowing designers to configuration settings to quickly shift to a new
as the Duplicate Effect and expansion of the duplicate that graphic element multiple times show.
Table Resource to integrate with the full range with links to the subsequent data values in your Beyond the PRIME user experience, Version
of industry-preferred data sources — provide connected source. The Duplicate Effect is a huge 4.9 also brings new opportunities to streamline
uniquely efficient tools for tackling time- time-saver for designers who need to create production workflows. A new GPI IN functionality
consuming, complex graphics. Meanwhile, the leaderboards and other data-driven list graphics. enables third-party control of PRIME playout
fine-tune adjustments we’ve made to the design For designers, new adaptability features from third-party devices — such as a video
and playout interfaces yield major time-savings enable zoom-in on keyframes, easily organised switcher — via a general-purpose interface.
and quality-of-life improvements for day-to-day keyframe control actions, and rapid renaming Meanwhile, hardware bypass workflows no
users.” of objects throughout the scene tree — making longer require external hardware, with support
With PRIME 4.9, the table resource can integrate it far easier to manage scenes with multiple, for direct bypass through supported Matrox I/O
with the full range of industry-standard data precisely timed animations. Additionally, new cards with PRIME. Finally, a major improvement
sources — such as text files, standard Excel files, frame quality settings for PRIME’s preview for top-tier broadcasters leveraging real-time
web-based JSON data, online databases, and channels enable designers working with media- SMT data. PRIME 4.9 delivers new features to
much more — enabling designers to leverage heavy graphics or demanding 4K monitor wall provide reliable, direct connections to SMT data
and customise their preferred data all within the environments to prioritise system performance applications, ensure accurate collection, and
PRIME application. on the primary program output. filter out unwanted values from integration with
Another significant feature addition is PRIME Meanwhile, PRIME playout operators will find graphics.
4.9’s new Duplicate Effect, which eliminates the that new control panel keyboard improvements Visit https://chyron.com

DRM-Protected, Ultra-Low Latency Video for Sportsbooks and iGaming

VIDEO PLAYBACK and real-time streaming
technology provider, THEO Technologies,
and EZDRM, the provider of Digital Rights
Management as a Service (DRMaaS), have
announced a strategic partnership which aims to
provide sportsbooks and iGaming providers with
secure ultra-low latency video streaming.
Both iGaming providers and sportsbooks benefit
from ultra-low latency video streaming. For the
iGaming sector, real-time streaming is pivotal in
elevating player-dealer engagement, maximising
the number of hands that can be played.
Sportsbooks leverage ultra-low latency video
streaming to maximise the betting window for
micro-betting experiences, ultimately boosting
revenues.
Robust DRM is critical to enforce the streaming
SPORTSCASTING
for new countries. In the case of sportsbooks,
comprehensive DRM ensures adherence to
contractual obligations with rights holders,
particularly pertinent for large-screen streaming
in venues like betting shops.
THEO’s real-time video API at scale, THEOlive,
already delivers advanced security features such
as geoblocking and token-based security. Now,
with the seamless integration of the EZDRM
multi-DRM solution into THEOlive, iGaming
providers and sportsbooks can effortlessly
initiate DRM-protected ultra-low latency
streaming cross-platform. This integration
ensures that they do not need to compromise
on latency, video quality, and scalability while
ensuring top-notch security measures for their
content.
of experience for audiences of any size — be it
ten, hundreds, thousands, or even millions of
viewers,” said Steven Telemans, CEO of THEO
Technologies. “Our collaboration with EZDRM
not only ensures content protection across
platforms but also fortifies our commitment to
delivering exceptional ultra-low latency video
experiences worldwide.”
“The growing commercial applications for
low-latency streaming services are an exciting
backdrop to our technical collaboration with
THEO,” stated Olga Kornienko, COO and Co-
Founder of EZDRM. “Service providers need a
robust, seamless approach to secure delivery
to realise their commercial goals. THEOlive is
a significant advance in providing a complete
solution to meet the new demands of this

business model, and proves additionally valuable “Through THEOlive, we simplify real-time market.”
for legal and compliance teams in live dealer streaming for iGaming providers and Visit www.theoplayer.com and
casinos, streamlining the onboarding process sportsbooks, ensuring a high viewer quality https://hs.ezdrm.com

12

–––––––––––––––––––––––––––
ATEME
https://www.ateme.com/
At SMPTE METexpo 2024, Ateme
is set to unveil a comprehensive
array of solutions aimed
at enhancing audience
engagement, maximizing
content monetization, and
revolutionizing operational
efficiency.
Audience Engagement: Sports
events are the litmus test of the
ability of a content or service
provider to engage its audience.
When millions of viewers watch
the same event simultaneously,
Ateme’s cutting-edge solutions
deliver the best Quality of
Experience, efficiently. At
METexpo, content and service
providers can discover Ateme’s
TITAN range of encoders and
transcoders. Ateme’s pure
software solutions for video
distribution enable the future
with huge scalability, so you
can integrate new codecs and
optimize your bandwidth usage.
They provide a unified, future-
proof, innovative, and scalable
solution to manage secure
transmission across video-
distribution platforms.
Content Monetization: In the
fiercely competitive media
landscape, Ateme offers
solutions that empower content
and service providers to boost
monetization. This is achieved
by leveraging targeted offerings,
including FAST channels and
personal channels to monetize
existing content libraries
while engaging audiences and
creating new revenue streams;
and personalized or regional
advertising through Server-Side
Ad Insertion.
Operational Efficiency: Ateme
will highlight its software-based,
cloud-native solutions that
enable content and service
providers to transform their
video-delivery operations,
bringing a new level of flexibility
and efficiency with full-IP
operations. These efficiencies
in both quality and density
of processing reduce power
consumption and carbon
footprint, enabling sustainable
operations.
Ateme’s solutions collectively
promise engaged audiences,
increased revenues, and
streamlined operations,
ultimately translating into higher
profits for content and service
providers
–––––––––––––––––––––––––––
D2N - TECHNOLOGY SOLUTIONS
https://www.d2n.com.au/
D2N - Technology Solutions
will be exhibiting at the SMPTE
METExpo show in March 2024
at Randwick Racecourse. We
will be exhibiting kit from the
following partner’s, Calrec,
Matrox, AIDA, RF Optic, and
Raytalk. D2N specializes in
solutions across the Audio,
Video, and Communications
platforms, for several Industries
including Broadcast and Event
Production, Sporting Federation
& Motorsports, Construction,
Government & Education, and
House of Worship.
Our team will include our
Managing Director Jason Owen,
BDM Phil Goulden and Marketing
Assistant Mackenzie Owen.
We will also be joined by two
representatives from Calrec to
support the Argo S console we
will have on display. If you would
like a personal demonstration of
any of the kit, we will have on the
stand please contact our office
to secure a time.
–––––––––––––––––––––––––––
EDITSHARE
EditShare, in collaboration
with local reseller Digistor,
introduces groundbreaking
solutions at METExpo to
optimize collaborative media
workflows. The focus is on
enhancing production and
post-production efficiency,
particularly for remote work
and seamless cloud integration.
The challenge addressed is
the need for storage solutions
that connect multiple facilities
and integrate with the cloud,
catering to users working
remotely or from home.
PREVIEW metexpo.com.au
Swift Link significantly improves
remote client speeds over VPNs
or high-latency connections,
boosting throughput up to
10 times. This technology
allows users to preview and
edit proxies and high-res
media, optimising connections
for remote work without
altering existing equipment or
workflows.
EditShare One, a new user
experience, streamlines
creative processes, with initial
applications like Producer View
facilitating task assignments
and feedback delivery across
dispersed teams. Producers can
mark key points in transcriptions
for editors through the FLOW
panel, enhancing collaboration.
AI-driven services, such as
speech-to-text transcriptions,
integrate seamlessly into FLOW,
expediting work and enabling
automatic creation of rough
cuts or integration of selected
clips into Adobe Premiere
sequences. This can be
extended even further with the
new integration between FLOW
and MediaSilo, allowing users to
share links, create presentations
and collaborate throughout the
production team.
EditShare’s booth will also
host Adobe, showcasing the
seamless workflow integration
between EditShare’s media
management and Adobe
Premiere Pro.
–––––––––––––––––––––––––––
EVS
https://evs.com/
Celebrating 30 years of
innovation at METexpo
For its 30th anniversary EVS
will be showcasing at METexpo
in Sydney its cutting-edge
solutions, including LiveCeption
for live production replays
and highlights, MediaCeption
for content management,
MediaInfra for broadcast
control and processing,
and PowerVision for video
assistance enabling swift
decision-making.
At the show visitors will
be able to experience live
demonstrations including:
• LSM-VIA, for advanced live
replays and highlights and
controlling both XT-VIA and XT-
GO live production servers
• Neuron for all audio and
video processing needs in IP
infrastructures
• Cerebrum, EVS’ broadcast
control and monitoring system
• Xeebra, our FIFA-certified
multi-camera review system and
AI-based Offside Technology for
video officiating in a wide range
of sports
Nestor Amaya, SVP Solutions
Architecture at EVS, will take
the stage for two insightful
presentations on the
transformative impact of AI in
live sports production and the
critical importance of a unified
control and monitoring system in
both IP and hybrid facilities.
–––––––––––––––––––––––––––
LIVEU
https://www.liveu.tv
2024 is set to be a major year
for the broadcast industry with
the Summer of Sports and over
70 elections worldwide. At
SMPTE METexpo, LiveU will be
presenting its complete IP-Video
EcoSystem for agile live remote
and on-site production across
news, sports, and other events.
The LiveU EcoSystem – spanning
contribution, production
and distribution – enables
broadcasters, sports and other
organizations to add efficiency
and shorten their workflows,
while keeping their costs and
carbon footprint to a minimum.
By removing complexity with
easy-to-use, high-quality solutions,
producers can fully focus on
creating dynamic, engaging
content.
LiveU will share tangible ways
that customers can meet
MET EXPO
the increased demand for
>> continues P14
13

>> continued from P13
quality content and optimise
monetisation opportunities
– leveraging its 5G bonding
solutions and cloud-based
workflows.
LiveU will showcase its latest
IP-video solutions, including
its LU4000 ST 2110 receiver,
supporting the transition towards
end-to-end IP workflows. All
LiveU solutions are built on its
field-proven LRT (LiveU Reliable
Transport) protocol for rock-solid
resiliency.
Other highlights include:
1. Dynamic content contribution
solutions with LiveU’s reliable
and flexible field units,
Including the 5G multi-cam
LU800, and the powerful-yet-
compact HD/4K LU300S with
5G capabilities.
2. Our award-winning cloud
solutions, including: LiveU
Ingest: ingest cloud solution
for automatic recording and
story metadata tagging of
live video.; LiveU Studio: first
cloud IP live video production
service to natively support
LRT; and LiveU Matrix: IP
cloud video management and
distribution service.
Our experienced team will be
ready to meet you, so please
schedule a meeting or guided
EcoSystem tour here: https://
www.liveu.tv/company/contact-us
–––––––––––––––––––––––––––
MAGNA SYSTEMS &
ENGINEERING
https://magnasys.tv/
sales.au@magnasys.tv
Get ready for NAB 2024 by
visiting the Magna stand at
METexpo 2024!
Whether you are going to NAB
or viewing it from afar, you can
get a heads-up on the latest
trends, products and what to
expect at the Las Vegas show in
April by visiting the Magna stand
in Sydney at METexpo 2024 in
March.
At METexpo 2024 Magna
will be demonstrating Actus
Digital’s Intelligent Monitoring
Platform, manifold CLOUD and
BLADE//runner live broadcast
production software and COTS
FPGA hardware from Arkona
Technologies, the Chyron
LIVE end-to-end, cloud-
MET EXPO
native live video production
14
platform, Enensys digital media
distribution chain solutions, the
unique IPconneX contribution,
distribution and delivery
solution, Panasonic 4K and IP
PTZ cameras and switchers,
Pebble playout automation, RTS
intercoms, Synamedia video
experience solutions and TAG IP
monitoring.
The Magna Systems team
along with product specialists
from Actus Digital, Arkona
Technologies, Chyron, Enensys,
IPconneX, Panasonic Connect,
Pebble, Synamedia and TAG will
be on METexpo stands 46 - 49 in
the Kensington Room at Royal
Randwick Racecourse from 5 - 7
March 2024
–––––––––––––––––––––––––––
QVEST
https://www.qvest.com/au-en/
More choice, changing needs,
faster decisions: The enormously
accelerated processes due to
digitalisation require a strategy
that transforms people and
technology in harmony.
We help you harness the
enormous potential of media
change, take your organisation
to the next level, and give you the
competitive edge.
Visit our stand and find out
more about our industry-
leading practices, services, and
products, including: Broadcast
Transformation ; Cloud ; Digital
Product Development ; IP &
Rights Management ; OTT ;
Systems Integration ; makalu
cloud playout automation; and
Remote Editing.
Product partners: Stage Tec,
Direct Out, Merging, Glensound,
Voice Interaction, DHD Audio,
Bolin, DataMiner, and many more!
–––––––––––––––––––––––––––
ROSS VIDEO
https://www.rossvideo.com/
Ross Video is poised to leave a
lasting impression at the SMPTE
MET Expo 2024 by offering
attendees a unique opportunity
to interact with their expert
team and explore the latest
advancements in broadcast
production technology.
A key highlight for attendees is
the opportunity to personally
meet the Ross team and
participate in discussions
regarding their end-to-end
solutions. Attendees can engage
in conversations covering
Hyperconverged solutions,
production switchers, and
graphics technologies, gaining
valuable insights and in-depth
knowledge directly from
the Ross experts. Discover
how these ground-breaking
solutions have the potential to
transform broadcast production
workflows.
Be sure to visit the Ross Video
booth to connect, learn, and stay
updated on the latest trends in
the industry!
–––––––––––––––––––––––––––
SYNCHRONISED TECHNOLOGY
sales@syntec.com.au
www.syntec.com.au
This year Synchronised
Technology (Syntec) will
showcase a wide range of
products across their portfolio
of represented brands at
SMPTE.
Each of the showcased brands
have a range of products that
offer unique solutions to a wide
range of applications; including,
but not limited to Headphones,
Headsets and Microphones for
both broadcast; pre and post-
production applications.
Several of the headphones on
display offer a multitude of
plug-n-play connectivity and
flexibility, via either a traditional
stereo jack connection, or
USB-C connection capability.
A range of monitor speaker
solutions for broadcast and
studio applications will also
be on display, offering Analog,
Digital and Dante capability.
The monitor options range
from traditional freestanding
speakers to small compact rack-
mounted monitors.
Rounding off the products on
display will also be a wide range
of industry-leading innovations,
for microphone shock mounting
and wind protection solutions
for both live location recording,
and studio applications.
–––––––––––––––––––––––––––
SMPTE MET EXPO
WASABI TECHNOLOGIES
https://wasabi.com/
Wasabi Technologies will
be exhibiting at the SMPTE
METexpo 2024 where media and
entertainment organisations
can learn about Wasabi’s recent
acquisition of Curio AI, an AI-
based intelligent data platform.
With Curio AI, Wasabi will soon
introduce the industry’s first AI-
powered intelligent cloud storage
designed specifically for the M&E
industry.
With hundreds of exabytes
of archives existing on aging
tape systems, and many more
exabytes generated every
year from film, television,
sporting events, news, and
advertising, including countless
hours of valuable raw footage
and outtakes, the growing
demand for content means
M&E organisations are one of
the largest generators of data.
However, a video archive without
detailed metadata is like a library
without a card catalog. Finding
exact segments requires tedious
and time-consuming manual
effort. Searching and tagging
video content is now easier with
Curio AI from Wasabi, using
metadata to manage troves of
digital assets with lightning-fast
speed. With Curio AI, Wasabi
users will be able to create a
second-by-second index of video
stored in Wasabi’s affordable,
high-performance cloud storage
using rich, searchable metadata
for media libraries. Curio AI
enables editors and producers
to instantly search and retrieve
specific media segments based
on people, places, events,
emotions, logos, landmarks,
background audio and more.
Curio AI can also detect and
transcribe speech in over 50
spoken languages.
Visit Wasabi at METexpo to
learn more about how Wasabi is
revolutionising media storage
by enabling the M&E industry to
quickly deliver relevant content
to market and unleash the value
of their archives.
Welcome We aim to bring alive
such themes as diverse
as cyber security,
to the SMPTE media sustainability,
automation and Al,
broadcast tech, 5G,
Co11fere11ce 2024 unleasl1ing tl1e power
of cloud and the
remote revolution.
Paul Whybrow, Chair SMPTE, The Third Floor are
Live from Los Angeles
Australia, New Zealand, with a sneak peek
at the design magic
and South Pacific that makes them tl1e
world's leading visualisation studio. We will link live with the
HollywoodSMPTE section, IBC and IABM will give theirtakes
I am so excited and proud to invite you to be part of the on the state of the industry, and you can ask anything you like
amazing conference we have planned forTuesday March the to David Grindle ourSMPTE Global Executive Director.
5th till Thursday March 7th.
The ever-popular EmpowerHER breakfast is back along with
As our industry keeps evolving the need to stay in touch our 'RisingStars' sessions aimed at those about to enter or
with tl1e continuing changes in technology and business early into tl1e industry.
is becoming more rapid and difficult to do. SMPTE is a
100+ year old organisation tl1at was born out of the needs I am thrilled that we can offerthis and at a fantastic value
of standards of the movie business and has evolved to price. SMPTE members can come to all three days for
become the global standard maker across media, broadcast, just l> 15 o. For 11011-members (or as I prefer to say future
production and digital and so evolving technology is at the members!) it is great value at \>850 and includes the first year
heart of what we do. ofSMPTE me111bersl1ip.
OurSMPTE conference is a three-day opportunity for you to On a personal note, a huge thanks to the speakers,
listen to the best in our industry, gather insights that will make volunteers, theSMPTE programming team and organisations
a practical difference to your professional role and mix with supporting the METexpo experience.
your peers and engage in meaningful conversations. Looking forward to seeing you there!
All our speakers and panellists are giving tl1eir time to this Paul Whybrow
event as tl1ey are passionate to sl1are tl1eir knowledge and Chair
support our industry community. SMPTE Australia, New Zealand and South Pacific

ConfereI1ce sI1apshot
Tuesday -Day One Thursday - Day Three
Themes: Keynotes, Security, Themes: EmpowerHER breakfast, Rising
Sustainability, automation, and Al. stars new and emerging professionals,
Hollywood visualisation and remote
• Opening and keynote from revolution.
Barbara Lange, CEO Kib □ 121 • EmpowerHer - Engaging stories and
advice from inspiring women in media
• Keynote -Marc Zorn, Head of technology
Security at Marvel • The Third Floor - CEO and Founder
• Cyber shields for media and Chris Edwards sharing the secrets
entertainment of awe-inspiring and entertaining
visualisation.
• Sustainability in media - when will
it arrive? • Virtual branding and the role of
graphics in production
• Keynote -Ian Taylor, Founder ARL
• Remote Revolution - insights into how
-The Americas Cup and beyond. Remote is rocking the sports world.
• Industry Insights, Michael Crimp, • Rising Stars - sessions with
CEO IBC Exhibition - Amsterdam prospective and emerging
professionals in mind and
Technology Papers include Media opportunities to meet young
Assurance APl's, media supply professionals and ask how did they get
chains, sports streaming, and their job?
accessibility. Technology Papers include video over
IP and VQA for ABR streams.
 9.30-10.30

1330 - 1400 Papers 4

Ankit Gautam (Presentation)
TBS Media Assurance A Pis Broadcast and Media
Technology Part 2
1130 - 1200 Papers 2 Sharing the latest l<nowledge and
Bill Admans (Presentation) trends
The Agility of Cloud-native Media
11.00 -12.30
Supply Chains

Cyber Shields
"Ensuring Security in Media
Technology"

1100 - 1130 Papers 1

Scott Favelle (Keynote)
Scaling a streaming platform to
breaking levels - Lessons from
FIFA WC & Tokyo Olympics

Media & sustainability

- Panel discussing Media
13.30-14.30
sustainability in our region
AWS
1400 - 1430 Papers s (30mins)
Fiona Habben
Al Media

Afternoon Tea Break

Beyond our shores

1500 - 1600 Keynote - Ian
Taylor - Animation Research
Limited
15.00 -16.30
our Industry
Today The IBC perspective -
Michael Crimp - CEO IBC
A discussion on how to
go beyond the Australian
Marketplace and the
Rise of The Machines challenges
"Automated and Al in Media
Production"
Evolving with SMPTE
Fireside chat Local Chair Paul
Whybrew and Global Execcutive
Director of SMPTE - David
Grindle

Evening events Social Drinks 011 show floor

Gala Dinner
 9.30-10.30

1330 - 1400 Papers 4

Ankit Gautam (Presentation)
TBS Media Assurance A Pis Broadcast and Media
Technology Part 2
1130 - 1200 Papers 2 Sharing the latest l<nowledge and
Bill Admans (Presentation) trends
The Agility of Cloud-native Media
11.00 -12.30
Supply Chains

Cyber Shields
"Ensuring Security in Media
Technology"

1100 - 1130 Papers 1

Scott Favelle (Keynote)
Scaling a streaming platform to
breaking levels - Lessons from
FIFA WC & Tokyo Olympics

Media & sustainability

- Panel discussing Media
13.30-14.30
sustainability in our region
AWS
1400 - 1430 Papers s (30mins)
Fiona Habben
Al Media

Afternoon Tea Break

Beyond our shores

1500 - 1600 Keynote - Ian
Taylor - Animation Research
Limited
15.00 -16.30
our Industry
Today The IBC perspective -
Michael Crimp - CEO IBC
A discussion on how to
go beyond the Australian
Marketplace and the
Rise of The Machines challenges
"Automated and Al in Media
Production"
Evolving with SMPTE
Fireside chat Local Chair Paul
Whybrew and Global Execcutive
Director of SMPTE - David
Grindle

Evening events Social Drinks 011 show floor

Gala Dinner
 NEWS OPERTAIONS
OPERATIONS

Sky News’ “The Jury” Finds in Favour of Gravity Media

AUSTRALIAN NEWS CHANNEL (operator of Sky
News Australia) and Gravity Media Australia have
confirmed Gravity Media’s Production Centre in
Sydney as the hub for the complete television
production for Sky News Australia’s new weekly
programme: The Jury.
The Jury, hosted by Sky News Australia
Presenter Danica De Giorgio, is filmed with a
studio audience. The ten-week series, which
premiered on Sunday 4 February, sees De
Giorgio moderate a discussion between guest
debaters on the biggest hot topics of the week.
After each debater pleads their case, a 12-person
jury joins in on the action and votes for who they
believe has won the argument.
Mark Calvert, Australian News Channel, Head of
Programs, said: “We couldn’t be more excited
to work with the professionals at Gravity Media.
Their creativity and commitment have made a
real difference to this new format. We can’t wait
to share the program with our viewers.”
Mike Purcell, Head of Production, Gravity Media
Australia, said: “We are delighted to be working
with Mark Calvert and the team from Australian
News Channel on the production of this new
program. We appreciate their decision to select
Gravity Media Australia to work with them
in delivering the complete studio television
production of The Jury.”
According to Gravity Media, Australian News
Channel’s decision to create and deliver the
production of The Jury at Gravity Media Australia
confirms the company’s increasing presence in
broadcast technology and facilities provision
for major television production companies
and complements Gravity Media’s complete
“turn-key” production for major projects across
broadcast and subscription television and
streaming services.
Gravity Media’s Production Centre in Sydney is an
integrated full-service broadcast and television
and film production centre comprising two
large studios and complete in-house production
services and facilities. To oversee every shoot,
there are two control rooms, taking care of
audio mixing, graphics, EVS playback, post-
production, encoding, and distribution. And
with Telstra fibre connectivity in and out of the
building, content can be sent to or received from
anywhere in the world at a moment’s notice. The
Production Centre Sydney also has 11 editing
suites, and an architecturally designed and
Host of “The Jury”, Sky News Australia Presenter Danica
acoustically engineered audio post studio.
De Giorgio.
Visit www.gravitymedia.com/au

AI Turns news.com.au Articles into Podcast Ads

IN AN AUSTRALIAN FIRST,
Artificial Intelligence (Ai) will
transform content from news
website, news.com.au, into content
marketing placements for inclusion
in Acast’s content catalogue.
Acast, one of the world’s leading
independent podcast companies,
hosts and distributes some of
Australia’s most popular podcasts
across categories including Sport,
Business, Lifestyle.
Listeners to the Acast network will
receive real-time news headlines
advertising news.com.au.
Aaron Matthews, Head of Creative
at Creative Fix, said the technology
will not only deliver news content
to listeners in real time, but that
news categories can be paired with
relevant podcast genres.
“This is the next step towards
a truly integrated and tailored
content experience where listeners
receive relevant news updates,
in real time, about topics of most
interest to them,” said Matthews.
“It also overcomes the traditional
barriers faced by audio producers,
with most audio ad production
being time-consuming, making
this ideal for productions with tight
timelines.”
Gina McGrath, Head of Marketing
for news.com.au, said the
relationship allows news.com.
au readers to be on top of the
latest news, wherever they are.
“This activity embodies our brand
promise to ‘be on it’, delivering the
news that matters to our audience
in the way they want to consume it.”
The initiative is a collaboration
between Acast, news.com.au,
audio agency Creative Fix, and
tech company Audiostack, and will
use Audiostack’s scalable AI audio
production to convert news articles
into audio while also augmenting
the voiceover with music and
sound design.
Dr Timo P Kunz, Co-founder and
CEO of AudioStack.ai said: “We’re
really excited about the massive
innovation Creative Fix has brought
to the audio advertising sector.
Using news headlines is exactly
the type of use case we built
AudioStack for: creating audio fast
and at scale.”
The news audio ads will be
delivered as 30-second news
bulletins across Acast’s full network
which started on 13 November,
2023.
Visit https://www.acast.com and
https://audiostack.ai/

LeadStory Teams with Volvo on In-Car Video News.

AUSTRALIA-BASED personalised
news service LeadStory is
collaborating with Sweden’s Volvo
Car Group on bringing video-
based news to the screens of the
Price, Co-Founder and CEO with
LeadStory. “That’s why we’re
excited to be working with Volvo
Cars to create an industry-defining
product for the automotive screen
news feeds to Volvo drivers, in any
language -,meeting all road safety
guidelines, of course.
“Myself, (Co-Founder and CTO)
Cheyne Wallace and our team are
algorithm controlled by the viewer,
content featured on LeadStory
is done so with permission from
the Publisher, or under licence
from Content Aggregators such
NEWS OPERATIONS

company’s connected cars. in 2024. as Reuters (Thomson Reuters

excited about what comes next,” (Australia) Pty Ltd) and Video
“The future of content Price recently visited Volvo’s
consumption in the car isn’t Göteborg Headquarters to discuss said Price. Elephant Limited.
just radio. It’s video,” said Cam the delivery of personalised video Employing a personalisation Visit http://www.leadstory.com/

19
 NEWS OPERATIONS

Etere MAM Connects with Ross Newsroom Inception

ETERE HAS ROLLED OUT a new
integration that connects its
Etere MAM with Ross Newsroom
Inception, resulting in an all-
encompassing solution that the
company says revolutionises news
production.
Etere Media Asset Management
(MAM) empowers users to send
assets directly from the Etere
database to the Ross Newsroom
as MOS objects. This streamlined
process eliminates the need for
constantly switching between
screens, allowing users to preview
files and search segments and
virtual assets seamlessly. This
collaborative synergy ensures
the smooth data flow between
both systems and significantly
reduces content delivery delays,
all made possible through Etere’s
partnership with Ross Video.
Etere Media Asset Management
is a media content management
software designed to streamline
content handling: ingest, index,
storage, and retrieval of digital
assets. Etere MAM simplifies the
management of digital
media files, production
workflows, and distribution
channels. The heart of this
system lies in its central
database, which accelerates
content delivery, streamlines
content administration,
and ensures fast,
frame-accurate content
distribution.
Key features of Etere Media
Asset Management include:
• Modular Solutions: Etere
manages the entire media
lifecycle, from ingest and
transcoding to content • Multiformat, Multipurpose File expanding your reach.
retrieval, metadata association, Generation: Create versatile • NLE Editing Integration:
and asset distribution. files compatible with multiple Seamlessly integrate with NLE
• Automated Content Processing: platforms, enhancing content editing software such as Adobe
Etere MAM can detect new accessibility. Premiere and Blackmagic
content assets automatically.
• High Availability and Fault DaVinci.
• Efficient Ingest with Integrated Tolerance: Etere MAM is built • User Rights Integration: Etere
QC Workflows: Etere offers
for reliability and continuity, MAM offers seamless integration
automated ingest processes
minimising downtime. with Etere User Rights,
coupled with effective quality
control workflows and MD5 • Multi-Language Content enhancing security and access
checksums to deliver the highest Management: Easily manage control.
content quality. content in various languages, Visit https://www.etere.com

Quicklink Brings Skype and Teams into SMPTE ST 2110 Workflows

QUICKLINK, the provider of remote production
solutions, has announced the launch of the
Quicklink TX (Skype TX) 2110, bringing the
integration of Skype and Microsoft Teams
callers into ST 2110 media workflows. This new
support enables the Quicklink TX solution to
integrate seamlessly with uncompressed IP
video workflows conforming to the SMPTE ST
2110 specification.
The SMPTE ST 2110 suite defines standards
for transporting video, audio, and metadata
essences as separate streams over professional
IP networks. Quicklink says its support for ST
2110 empowers broadcasters to unlock new
efficiencies in live production.
“We have seen a rapid growth of demand for IP
video and adoption of the ST 2110 standard,” said
Richard Rees, CEO of Quicklink. “By introducing
ST 2110 support to the Quicklink TX, our products
now align perfectly with customers transitioning
their facilities to IP.”
The Quicklink TX is offered in a number of
channel configurations for complete workflow
flexibility and is relied upon by leading
broadcasters worldwide to integrate remote
Skype and Microsoft Teams guests into live
productions with exceptional full HD quality.
Since its launch in 2015, the Skype TX platform
has been adopted by the world’s largest brands,
including Aljazeera, BBC, ITV, NBC Universal,
CNN, COMCAST, CBS, and many more.
The announcement of SMPTE ST 2110 support
bolsters Quicklink’s reputation for supporting
the latest IP standards including NDI, SRT and
Dante. The Quicklink TX IP-3 and Quicklink TX
IP-6 are offered in addition to the established
HD-SDI options. The interoperability with ST
2110 infrastructure simplifies workflows and
expands possibilities for remote contribution
over modern IP networks.
Visit www.quicklink.tv

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 NEWS OPERATIONS

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21
 POST PRODUCTION

‘Next Goal Wins’ Makes the Grade with DaVinci Resolve Studio
BLACKMAGIC DESIGN has
announced that the feature film
“Next Goal Wins” was graded
by FotoKem’s David Cole using
DaVinci Resolve Studio editing,
grading, visual effects (VFX) and
audio post-production software.
Directed by Taika Waititi (“Jojo
Rabbit,” “Thor: Ragnarok”), “Next
Goal Wins” follows the infamously
terrible American Samoa soccer
team, known for a brutal 2001
FIFA match they lost 31-0.
With the 2014 FIFA World Cup
qualifiers approaching, the team
hires down on his luck, maverick
coach Thomas Rongen (Michael
Fassbender) hoping he will turn the
world’s worst soccer team around
in this humorous and heartfelt
underdog story.
Australian Cinematographer
Lachlan Milne, who worked
with Waititi on “Hunt for the
Wilderpeople,” had also worked
with Cole on two back-to-back
films, “Love and Monsters” and managing the diverse lighting after they didn’t tear and look too digital. Cole enjoyed working with such
“Minari.” Working with Milne and the shoot. A custom film emulation was also a visionary filmmaker as Waititi.
Cole, Waititi focused on creating “Wrestling with the constantly created within Resolve and applied “Taika is a filmmaker who is always
a unique feel for the film’s two changing weather conditions, to the entire movie. The film’s LUTs busy and has many plates spinning
distinct sequences. which happens when you film open were also developed within the at once,” said Cole. “We began
exteriors in Hawaii with seemingly grading package.” grading the film, then stopped for a
“One of Taika’s main directives was
four seasons in four minutes, was With a wide variety of beautiful year or more while he went off and
that American Samoa needed to
very challenging,” he continued. imagery, Cole particularly enjoyed shot ‘Thor: Love and Thunder.’ We
lean into the world of ‘hyper-real’
grading the team mountain run. then came back to an editorially
or ‘postcard idealised,’” said Cole. Cole leaned into DaVinci Resolve
refined version of the film and
“In comparison, at soccer HQ, we Studio’s toolset throughout the “I really loved the scene and
completed the movie. Judicious
were attempting to have a feeling project. following montage of the team
use of Taika’s time during grading
of the more ‘normal/formal’ world of “We used the full arsenal of Resolve running up a mountain where a
sessions and meetings allowed us
organised sports, and in particular, tools, including keys, animated delirious Rongen delivers a speech.
to get inside his head and realise
to enhance the ‘interrogation’ of Power Windows and curves to have Lush vegetation, beautiful skies,
his vision on the screen.”
Fassbender’s character Rongen.” a consistent feel over the course low sun and enticing beaches all
With extensive work on LUT of the movie,” he added. “Custom added up to a beautiful couple of “Next Goal Wins” is now in theatres.
development for production, Cole DCTLs were used to handle gamut scenes,” he noted. Visit
found the greatest challenge was mapping of police car lights so that While challenging schedule wise, https://www.blackmagicdesign.com

RSP’S Launches REVIZE Machine Learning for VFX

OFF THE BACK OF a plethora of
successful projects, Rising Sun
Pictures (RSP ) has launched
REVIZE, its toolkit for Machine
Learning.
Leveraging cutting edge Machine
Learning (ML) technologies and
advanced VFX workflows, REVIZE
produces the highest quality VFX
output for feature film, series,
and entertainment. REVIZE
has been used for a variety of
POST PRODUCTION
and other likeness adaptations.
The REVIZE toolkit now includes
REVIZE Face and REVIZE Body,
with future developments already
in development.
“We recognised the potential of ML
early on and invested in talent and
resources to develop a premium
toolset. Our studio clients report
that, with respect to the rest of
the industry, we are miles ahead
of the curve, the best in the world,”
said Tony Clark, RSP Co-Founder &
Tony has helped put the
Australian VFX industry on
the map and has inspired a
generation of creative artists and
technologists. An Emmy award
winning cinematographer, Tony
co-founded RSP in 1995 and has
innovated throughout his career
including the creation of cutting-
edge motion control camera
system, the Australian broadband
network Cinenet and the colour
management tool cineSpace. His
Award in 2010.
“RSP’s differentiation is evident
with our experience in problem
solving for the variety of creative
and technical challenges that are
faced in VFX production. It is our
mission to be the Trusted Creative
Partner of studios and filmmakers
worldwide. REVIZE was created to
do just this, to solve problems and
puts the tools into the hands of our

digital ML augmentation, most

notably face replacement, facial
performance modification,
de-aging, body replacements,
Managing Director.
Clark is no newcomer to
innovation. A 30-year veteran,
most standout creation is the
world-renowned cineSync which
he won an Academy SciTech
artists,” said RSP President Jennie
Zeiher.
Visit https://revize.ai/

22
 POST PRODUCTION

Baselight Harnesses Machine Language

FILMLIGHT’S LATEST version of its Baselight
grading software, Baselight 6.0 benefits
from several years of machine language (ML)
development and new features designed to bring
gains in productivity and creativity to today’s
increasingly demanding and competitive post-
production environment.
Many of its beta testers are already relying on
the new tools, which include an improved and
modernised timeline, a new primary grading
tool, X Grade, a unique new look development
tool, Chromogen, plus a new ML-based tool,
Face Track.
Using an underlying ML model, Face Track finds
and tracks faces in a scene, adjusting smoothly
as each face moves and turns. It attaches
a polygon mesh to each face, which allows
perspective-aware tools such as Paint and
Shapes to distort with the mesh. The colourist’s
productivity is further boosted by the ability to
copy corrections and enhancements made in
Face Track to the entire timeline ­– with a simple
copy and paste, these previously
repetitive corrections can be
applied to the same face across an
entire sequence or episode.
FilmLight’s Face Track technology
has been developed from scratch
internally, but the company has also
ensured Baselight 6.0 is fully ML-
ready. By developing a framework,
which it calls Flexi, FilmLight is now
in a position to integrate future ML-
based tools into Baselight quickly
and easily – allowing FilmLight and
its customers to access the best
grading tools and stay on top of
cutting-edge technologies now and enhanced colour tools such as Sharpen Luma, a
in the future.
built-in Lens Flare tool, Bokeh for out-of-focus
In Baselight 6.0, colourists will also find the camera effects, Loupe magnifying for fast and
RIFE ML-based retimer, a reworked Curve
accurate adjustments, an upgraded Hue Angle,
Grade, integrated alpha for easy compositing,
and much more.
a new sophisticated Gallery for improved
searching and sorting, plus a wealth of new and Visit https://www.filmlight.ltd.uk/baselight6

Animal Logic Opens Up with OMX and ALab

AS PART OF ITS ONGOING commitment to
the open-source community, Animal Logic has
announced the open-source release of OMX,
a user-friendly and performant extension to
Autodesk Maya Python API.
OMX is a thin Python wrapper around the Maya
Python API 2.0, which aims to make the power
and performance of the API more accessible to
Artists, Technical Directors, and Developers.
OMX makes it easy to work with Maya nodes and
attributes, giving direct access to API objects
for more advanced use cases while making
writing undoable code a breeze.
“OMX has been a fantastic library to work
with and I know it will be useful to the rest of
our industry,” said Chiara Licandro, Rigging
Technical Lead, Animal Logic. “OMX provides a
more user-friendly introduction to OpenMaya,
especially for anyone who hasn’t had much
experience with the API.”
“We wrote OMX to encourage our rigging TDs
to use the Maya API in their Python scripts and
avoid the heavy performance cost incurred by
existing alternatives,” explains Valerie Bernard,
Animation and Rigging R&D Engineering
Manager, Animal Logic. “It quickly became
popular among all our Maya developers,
including API experts from R&D and Production
Technology. We’re very excited to be able to
share it with the whole Maya community.”
Animal Logic has also announced the release
of an update to its open-source project, ALab,
with fixes and enhancements that will improve
the wider community’s overall experience when
using the dataset.
ALab, the first open-sourced complete USD
production scene, has over 300 production-
quality assets, two animated characters, and
baked procedural fur and fabric. Since its
release in 2021, ALab has provided the wider
community with the tools to foster further
exploration and adoption of the open-source
USD ecosystem, with over 2600 downloads in
2023 by vendors and studios.
The idea behind the ongoing open-source
project, says Animal Logic, was to grow and
develop the dataset with regular updates
to the suite of assets. This release includes
improved, interactive viewing components,
fixes for several bugs reported by the growing
ALab community, and the addition of the shot
cameras used to produce the previously open-
sourced ALab trailer.
Visit https://github.com/AnimalLogic/AL_omx
and https://animallogic.com/alab

Next Generation Video I/O with Streaming DMA

Cutting Edge Connectivity

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AI and AR workflows, KONA X is a 4-lane, PCIe 3.0 video I/O
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Video I/O for AI/AR Medical Devices
KONA X lets users achieve as low as sub-frame latencies with Streaming DMA
(Direct Memory Access), which enables powerful real time workflows with no KONA XM represents a new generation of I/O technology from AJA that allows
perceptible delay on I/O and processing crucial for implementations such as live medical OEM developers to ensure ultra-low latency for the most mission-critical
POST PRODUCTION

sports and virtual production*. KONA Xpand, an optional PCIe card that expands video applications, including surgical and medical video hardware devices.
the connectivity on KONA X and connects to KONA X over internal ribbon cable.
Questions? KONA XM is designed and certified to be the heart of the next generation medical
*Application dependent Shoot us an email. video technology solutions. Available in Active (with fan) and Passive (fanless).

23
 AUDIO, RADIO
AUDIO RADIO, PODCAST
Digital soundwaves

Leading Broadcaster Taps Ferncast for In-House DAB+

A LEADING AUSTRALIAN BROADCASTER
has been collaborating with AVW Group to
incorporate Ferncast’s aixtream - a software
solution tailored for diverse live audio
applications - to elevate in-house DAB+ radio
service monitoring and distribution capabilities.
aixtream enables broadcasters to design a
customised main control hub. Its Smart Control
Applets allow for the creation of trigger-based
scripts, automating various system behaviours.
With advanced user role management, the
software ensures a streamlined and efficient
workflow. Prioritising security, the software
boasts features such as VPN for secure audio
streaming and file encryption for safeguarding
sensitive audio recordings.
In pursuit of distributing DAB+ radio services
within its in-house IP-based monitoring network,
the Australian broadcaster sought expertise
from AVW Group Australia. The recommendation
to integrate Ferncast’s aixtream is part of
a broader in-house IPTV network upgrade,
catering to hundreds of radio and television
services.
Ferncast’s aixtream solution is designed for
scalability, functionality, and redundancy. This
integration not only addresses the broadcaster’s
immediate needs but also ensures adaptability
to the ever-evolving broadcasting landscape – as
the broadcaster’s needs change it’s just a matter
of dragging and dropping some icons.
Stefan Hunt, AVW Group’s Australian Business
Development Manager, remarked: “Ferncast’s
ability to provide a bespoke software solution,
working closely with AVW, within a constrained
delivery timeframe, was commendable.
Navigating the intricacies of DAB+ signal
delivery, especially when juxtaposed with
traditional FM/AM broadcast services, was
challenging. However, the collaboration’s
outcome was a testament to the expertise of all
parties involved.”
Detlef Wiese, Ferncast CEO, commented:
“Based on our long-term relationship with
AVW, we are glad to now service the Australian
broadcast market with our aixtream solution
and we are honoured to have received such
positive feedback from our valued partners in
broadcasting.”
Visit https://www.ferncast.com/ and
https://www.avw.com.au/

AES Welcomes Leslie Gaston-Bird as President

THE AUDIO ENGINEERING SOCIETY (AES) has
welcomed Leslie Gaston-Bird CAS, MPSE, as
president, effective January 1, 2024. Gaston-
Bird will serve as the first African-American
president in the organisation’s 76-year history.
An AES Fellow, Gaston-Bird currently serves
on the AES Board of Directors and has served
in the past on the Board of Governors: first as
Vice President Western Region & Canada and
then as a Governor-at-large. She co-founded
the Diversity & Inclusion Committee alongside
fellow AES member Piper Payne, and provided
valuable expertise as part of the AES Technical
Council’s Technical Committee for Broadcast
and Online Delivery’s “Guidelines for Over-The-
Top Television and Video Streaming.”
Trained in classical piano, Gaston-Bird is founder
and director of Immersive and Inclusive Audio,
CIC, which provides training in Avid Pro Tools and
Dolby Atmos certification for underrepresented
groups, and she performs freelance work as a
sound editor and re-recording mixer through her
production company, Mix Messiah Productions.
She is the author of Women in Audio (Routledge)
and Math Fundamentals for Audio (A-R Editions).
She is a Pro Tools | Dolby Professional Avid
Certified Instructor and Dante Level 3 Certified
audio engineer. She is also a member of the
Cinema Audio Society (CAS), Motion Picture
Sound Editors (MPSE), and a voting member of
the Recording Academy (the GRAMMYs).
Gaston-Bird became a tenured professor at
the University of Colorado, Denver in 2012
where she also served as Chair of the Music and
Entertainment Industry Studies Department.
Early in 2024, she will be awarded with a
Doctorate from the University of Surrey’s
Institute of Sound Recording (IoSR). She is
currently a senior lecturer at City, University of
London.
Visit https://www.aes.org/

Dante Pro S1 System-on-a-Chip

AUDINATE GROUP LIMITED, developer of the AV-industry Dante AV-over-
IP solution, has announced the Dante Pro S1, which the company says is a
compact and cost-effective system-on-a-chip (SoC) for professional audio
and AV equipment manufacturers to integrate industry-leading Dante
network functionality in low channel count devices.
The chip solution will be a focus of Audinate’s new innovations and provides
a platform for new features such as media encryption. Dante Pro S1 offers
an alternative to the Ultimo chip for OEMs building low channel count
devices. New designs are encouraged to use Dante Pro S1 as it will provide
future features and capabilities that may not be supported by Ultimo-based
products.
Dante Pro S1 is designed for compact and power-efficient audio
equipment solutions requiring Dante network interoperability. The chip
is a versatile TFBGA100 package (8mm x 8mm) and requires minimal
external components to complete system integration. The underlying
microcontroller is more power efficient than previous Dante solutions,
resulting in low heat dissipation for space-constrained equipment designs.
Dante Pro S1 is offered in multiple package configurations to meet the
AUDIO, RADIO, PODCAST

exacting requirements of OEMs. The configurations announced support up

to 2×2 channels at 96kHz or up to 4×4 channels at 48kHz audio encoding.
An evaluation kit is available for equipment manufacturers to prototype
system designs using Dante Pro S1. The kit is based on the Dante Pro
S1 reference design and includes XLR connectors for analogue I/O and
swappable network interface modules for a range of PHY and switch ICs.
A full suite of technical documentation is also available.
Visit https://www.audinate.com/pros1

24
AUDIO, RADIO, PODCAST

AUDIO, RADIO, PODCAST

proudly distributed by

jands.com.au

25
 AUDIO, RADIO, PODCAST
Tieline Dante Card for Gateway and Gateway 4 codecs
CODEC MANUFACTURER Tieline has
announced that customers can now order its
Gateway or Gateway 4 codec with optional
Dante card fitted, delivering compatibility
with Dante devices. Dante Controller software
facilitates simple stream management, as well
as discovery of devices and streams.
Gateway and Gateway 4 codecs include
native support for AES67, ST 2110-30,
ST2022-7, AMWA NMOS IS-04 and IS-05,
Ember+, RAVENNA and Livewire+. An optional
WheatNet-IP card, or the new Dante card, can
also be installed.
Tieline codecs specialise in streaming low
latency, high quality audio over the internet
using a range of wired and wireless IP
transports. They are suitable for STLs, network
audio distribution, and multiple remote
broadcasts. Interoperability between multiple
AoIP protocols delivers greater flexibility when
integrating IP audio streams into the broadcast
plant from a range of sources.
Tieline MPX II Codecs Shipping
Tieline has also announced that its new MPX
II codec will ship from January 2024. Tieline
PRODIGY.MX Multiformat Audio Matrix
DIRECTOUT, the provider of high-quality
audio networking, converting, and processing
solutions, is shipping PRODIGY.MX Multiformat
Audio Matrix.
PRODIGY.MX offers up to 1664 inputs and 1668
outputs granularly handled by a single-channel
routing matrix. This compact 2RU device
converts, connects, or even isolates various
digital audio formats, including MADI, Dante,
RAVENNA/AES67, SoundGrid, and AVB/MILAN.
Optional HD SRC technology bridges different
clock domains seamlessly. With this versatile
internal structure, PRODIGY.MX excels as a
Shure Expands SLX-D Digital Wireless Family
SHURE, IN PARTNERSHIP with Jands, the
exclusive distributor of Shure products in
Australia, has announced the expansion of
the SLX-D Digital Wireless family with the
introduction of SLX-D Portable Systems,
including the new SLXD5 Portable Digital
Wireless Receiver and SLXD3 Plug-On Digital
Wireless Transmitter.
SLX-D Portables are designed to deliver
the scalability, high-performance wireless,
superior digital audio, reliable RF performance,
and convenient power management of
SLX-D in new, durable form factors designed
specifically for film, electronic newsgathering
(ENG), broadcast, and video industries.
The SLXD5 Portable Digital Wireless Receiver
is an SLX-D wireless receiver in a flexible,
miniaturised form factor and can be installed
on-camera through the provided cold shoe
AUDIO, RADIO, PODCAST
mount as well as in an audio bag, enabling
full-featured use in any location. With IR Sync,
users can easily pair receivers to transmitters
for instant single-channel configuration.
SLXD5 offers Multi-Mic Mode, which facilitates
26
MPX codecs deliver composite FM multiplex
(MPX) codec solutions for real-time network
distribution of FM-MPX or compressed
MicroMPX (µMPX) signals to transmitter sites.
The MPX II can effortlessly transport two
discrete composite FM-MPX
signals from the studio to
transmitters with return
monitoring in real-time.
The codec supports analog
MPX on BNC, MPX over
AES192, and multipoint
signal distribution, to deliver
a wide range of flexible
composite encoder and
decoder solutions for unique
applications.
“The MPX II streamlines
FM radio broadcasting
by allowing broadcasters
to maintain baseband
audio processing and RDS data insertion at
the studio,” said Charlie Gawley, VP Sales
APAC & EMEA. “This slashes capital and
operational costs by eliminating equipment
from transmitter sites. And support for both
powerful infrastructure device that enables
any signal flow while acting as an “audio
firewall” between independent audio networks,
if needed.
The introduction of PRODIGY.MX has also
brought a complementary globcon update.
Enhancements include new Factory Templates
designed for PRODIGY.MP, streamlining and
easing deployment in Festival and Touring
applications. These templates, when loaded
via globcon, automate the setup of internal
DSP routing, Layouts, and Snapshots
configurations on the PRODIGY.MP device.
management and monitoring of multiple sound
sources from a single receiver.
The SLXD3 Plug-On Digital Wireless
Transmitter transforms any XLR source
into a wireless one—including dynamic and
condenser microphones. The SLXD3 provides
phantom power and is ideal for wireless
transmission from boom-mounted shotgun
mics. Paired with the SM63L or SM58 (available
separately), SLXD3 is suitable as an interview
microphone.
With SLX-D Portables, users will not be
required to change the gain setting on their
transmitter, saving time and simplifying the
path to crystal-clear audio. The portable
systems achieve this with 24-bit digital audio
and >118db dynamic range, providing the
award-winning sound experience of the SLX-D
Wireless platform to mobile productions.
SLX-D Portables provide assurance with
high spectral efficiency and UHF-band RF
performance - 32 channels per 44MHz band
and 330-feet (100-metre) transmission range.
With quick, out-of-the-box installation and
analogue and digital composite MPX signals
allows broadcasters to transition from analog
to digital exciters over time and maximise the
value of their MPX investment.”
The MPX II supports sending the full
uncompressed FM signal,
or high quality compressed
µMPX at significantly lower
bit-rates. An optional
satellite tuner card with
MPEG-TS and MPE support
can receive DVB-S or
DVB-S2 signals.
Composite MPX over
IP signals can be easily
replicated and distributed
using multicast and multi-
unicast technologies and
take advantage of rock-
solid redundancy features
like redundant streaming, RIST, FEC, and
automated SD card file failover.
A shipping date for the MPX I codec will be
announced in the near future.
Visit https://www.tieline.com/
This time-saving feature allows users to focus
solely on physical input and output patching
and PA tuning.
In addition, the entire PRODIGY series has
received a maintenance update. The new
system build includes some customer requests
such as zeroConf (link local address support)
for the Management interface, AES output
dark to disable the AES output signal for
downstream failover detection and a MIDI
tunnel for SG.IO, and more.
Visit https://www.directout.eu/ and
https://qvest.com/au-en/
intuitive setup features, SLX-D Portables
enable users to start recording immediately.
The SLXD5 Portable Digital Receiver
automatically scans for the best frequency
and pairs it to the transmitter with IR Sync in
seconds.
Both SLXD3 and SLXD5 feature a high-
luminosity OLED screen where users can
monitor battery life, meter audio and RF
quality, as well as frequency tuning. The SLX-D
Setup Guide offers easy access to additional
education and instructional content from any
mobile device.
SLX-D Portables are also compatible with
the full ecosystem of rechargeable Shure
accessories, including the SB903 Lithium-Ion
(Li-ion) battery and accompanying charging
bays. Both SLXD5 and SLXD3 can be powered
and charged by USB-C.
Available separately, the SBC-DC-903 battery
eliminator integrates with SLXD5 for use with
mobile power distribution setups.
Visit https://www.jands.com.au/

Neumann’s MT 48 Now an Immersive Audio Interface
NEUMANN.BERLIN has released a feature
upgrade for the MT 48 audio interface. The
Monitor Mission transforms the MT 48 into
a freely configurable monitoring controller.
In addition to mono and stereo, the Monitor
Mission can also handle surround formats such
as 5.1 as well as highly sought-after immersive
audio formats such as Dolby Atmos 7.1.4.
The Monitor Mission includes flexible bass
management and complex alignment
functions to adjust the frequency and time
domain characteristics of loudspeakers to the
Shure ADX3 Plug-On Transmitter with ShowLink Technology
SHURE, IN PARTNERSHIP with Jands, has
introduced the Axient Digital ADX3 plug-on
transmitter, the latest addition to the Shure
Axient Digital Wireless System. ADX3 is
suitable for audio professionals in broadcast
television and location sound who are seeking
an industry-standard transmitter that enables
real-time remote control of key parameters.
ADX3 transforms any XLR-terminated
microphone into an advanced, portable Axient
Digital ADX Series wireless microphone,
delivering the same transparent audio quality,
RF performance and wide tuning of the AD3,
with the addition of Shure’s proprietary
ShowLink technology.
ShowLink allows comprehensive, real-time
control of all transmitter parameters, including
interference avoidance, over a robust 2.4GHz
Dual TX for RØDE Wireless ME Microphone
RØDE HAS ANNOUNCED a dual transmitter
version of the Wireless ME “grab-and-go”
wearable wireless mic for content creators.
The Wireless ME will be released in a limited-
edition dual set, featuring two transmitters
and one receiver, available in either black or
white.
The Wireless ME combines the same sound
quality and features that RØDE wireless
microphones are known for with ease of
use. In addition to its Series IV 2.4GHz digital
transmission and universal compatibility
Voice Enhancement for Podcasters
NATIVE INSTRUMENTS has announced
iZotope VEA, a new AI-powered Voice
Enhancement Assistant for podcasters and
content creators.
VEA features AI technology that listens first,
then enhances audio so creators can feel more
confident with their voice and deliver better
sounding content. VEA increases clarity,
sets more consistent levels, and reduces
background noise on any voice recording.
VEA features three simple controls that are
intelligently set by iZotope’s AI technology.
Those that are more familiar with editing
listening position. The downmix feature allows
multichannel audio to be monitored in either
mono or stereo.
The range of connectivity options makes
it possible to connect studio monitors in a
variety of ways, whether analogue or digital via
S/PDIF or ADAT. It is even possible to combine
several connection types for one speaker
group. Using the four analogue monitor outs
and an external ADAT converter, systems of
up to 7.1.4 can be realised. A built-in AES67
interface also allows the connection of
diversity wireless connection - directly from
the convenience of the receiver.
The ADX3’s compatibility with Wireless
Workbench supports efficient control and
configuration, optimal spectrum management,
and frequency coordination. With real-
time monitoring via the AD600 Spectrum
Manager, sound engineers can neutralise
RF interference by manually switching the
signal to a clear backup frequency, or by
programming the system to do it automatically.
Additionally, the ADX3 seamlessly integrates
with Axient Digital AD4D and AD4Q rack
receivers as well as the Cinema Audio Society’s
ADX5D Dual-Channel Portable Receiver.
The ADX3’s selectable modulation modes
optimise performance for spectral efficiency.
Users can select High Density mode to
with cameras, smartphones and computers,
the Wireless ME features RØDE’s GainAssist
technology, which uses intelligent algorithms
to automatically control audio levels on-
the-fly, ensuring pristine audio in almost
any recording application. This delivers
professional sound quality with no setup or
tweaking required. It is also equipped with
a mic built into the receiver for recording
audio from in front of and behind the camera
simultaneously, making it suitable for
capturing interviews or voice overs for video
content.
vocal recordings will find a new way to finish
productions quickly by consolidating their
effects chains and saving on CPU.
A Shape control ensures audio sounds
professional and audience-ready, without
having to worry about an EQ. Shape is tailored
to each voice, and matches the sound of top
creators or podcasts with the free iZotope
Audiolens tool.
A Boost control adds loudness and
compression as it’s turned up. Easily boost
the presence and power of voice recordings
without spending time struggling with
AUDIO, RADIO, PODCAST
professional multi-channel converters such as
the Merging Hapi MKII and/or Neumann studio
monitors in the AES67 version.
The Monitor Mission does not require a
download but is part of the MT 48 firmware
from version 1.6.x, which will be released in
February. The Monitor Mission is activated via
an individual software key. Users who register
their MT 48 with the manufacturer before July
1, 2024, will receive their activation key for the
Monitor Mission free of charge.
Visit https://bit.ly/3Uij7rN
dramatically increase their maximum system
channel count or run ADX3 in standard mode
for optimal, low latency coverage. Moreover,
the ADX3 features automatic input staging
and equips users with AES 256-bit encryption
for secure transmission over a line-of-sight
operating range of 300 feet (100 metres).
The ADX3 ships with two SB900 lithium-ion
rechargeable batteries, with each battery
providing up to six and a half hours of
continuous use, precision metering, and zero
memory effect. The SB900 battery can be
charged over a USB-C port. Alternatively, the
transmitter can be powered externally via
USB-C or by two AA batteries.
Visit https://www.jands.com.au/
The dual Wireless ME allows seamless
recording of two subjects simultaneously,
or even three when the in-built receiver mic
is activated. The option to get the Wireless
ME in white instead of the original black also
makes it suitable for creators who are looking
for a discreet solution when working with
talent who typically wear lighter coloured
clothing.
Visit https://rode.com/en
settings. Boost delivers a smooth and even
sound to speech for a more engaging listening
experience.
A Clean control takes background noise out
of the spotlight so every voice can shine. VEA
learns the noise in the room automatically and
preserves speech for light, transparent noise
reduction.
VEA works as a plugin within major digital
AUDIO, RADIO, PODCAST
audio workstations (DAWs) and non-linear
editors (NLEs).
Visit https://www.izotope.com/vea/ and
https://www.native-instruments.com/en/
27
 CONTENT DELIVERY
Terrestrial, Mobile, Broadband
Ross Video to Adopt ‘NDI Advanced’
ROSS VIDEO AND NDI, the connectivity
tech company, have announced a strategic
partnership for Ross to broadly licence and
adopt the most advanced NDI technology across
its portfolio, extending and enhancing existing
support for the NDI standard.
This collaboration will allow Ross to incorporate
the most up-to-date AV networking features of
NDI across its portfolio through NDI Advanced,
ensuring enhanced video connectivity, flexibility,
and workflow efficiency across the ecosystem.
“Ross Video has supported the NDI standard
for many years and is excited to be taking this
next step in supporting enhanced versions of
NDI, NDI Advanced, and the evolution of NDI
connectivity,” commented Jeff Moore, Executive
Vice President, and Chief Marketing Officer at
Ross Video. “We’ve found NDI incredibly useful
and look forward to being on the forefront as
things advance.”
“NDI is excited to have Ross Video on board as
a flagship adopter of NDI Advanced,” said Nick
Mariette, Director of Product Management at
Cinegy-powered Appliance for Capture or Playout
CINEGY GMBH, the provider of software
technology for digital video processing, asset
management, video compression, automation,
and playout, has worked together with its French
channel partner Broadcast Architech to create
XGESTORE, a configurable, all-in-one, ready-to-
roll hub for broadcast and streaming operations.
Depending upon configuration, XGESTORE can
provide a powerful capture server or a broadcast
playout device.
The device combines powerful and compact
hardware, including a customisable local
SSD RAID in a 3U rack, with industry-leading
software including Cinegy Capture for ingest and
DASH-IF Conformance Tool Update
AN UPDATE to the DASH-IF Conformance
Tool is now available. The tool validates the
conformance of DASH content to relevant media
specifications. It is available as either an online
service or open-source software.
DASH is a streaming technology that allows
receivers to automatically choose the best
quality video stream based on the device’s
capabilities and the speed of the internet
connection, allowing viewers to enjoy the best
possible video quality without buffering or
OWN THIS SPACE!
CONTENT DELIVERY
28
NDI. “A cornerstone company in the broadcasting
industry adopting our most advanced technology
and formats is the best demonstration of
how NDI has grown to become a pervasive
industry standard, capable of performing to the
benchmark set by leaders in the segment.”
NDI, a proprietary connectivity standard,
supports a range of video codecs and
enables seamless interoperability for devices
and software across standard IP network
infrastructures. NDI Advanced offers product
developers all the benefits of NDI technology, like
seamless device discoverability, bi-directional
remote control, and embedded metadata
streaming, but also unlocks an additional set
of features for enhanced video connectivity,
including:
• Sending and receiving all NDI formats, from
NDI High Bandwidth toNDI HX3, the most
advanced format yet, which allows for visually
lossless, low-latency video with minimal
bitrates.
management, Cinegy Air for automated playout
control, and Cinegy Multiviewer for monitoring. It
supports resolutions up to 8k Ultra HD, including
HDR; all the popular canonical and delivery
codecs; and I/O as SDI, SMPTE ST2110, NDI and
SRT.
Broadcast Architech designed the system to
be flexible, so it can be configured for multiple
applications. As an ingest server, for example,
it can capture an unlimited number of channels
simultaneously, generating high-quality proxies
on ingest for immediate distribution. The
on-board SSD storage provides high-capacity
storage and XGESTORE can be connected
interruptions. While the MPEG DASH (Dynamic
Adaptive Streaming over HTTP) specifications
describe client behaviour, conformance of DASH
content is important for interoperability.
The Conformance Tool was launched by the
DASH Industry Forum over a decade ago and
has been continuously updated and extended
to test against relevant specifications from
other bodies. A joint project undertaken over the
past two years has improved the tool, making it
more reliable and accessible. Along with DASH
Get your products on the desks of
key industry decision makers in print and online.
• Access to the NDI Certified program, enabling
products to be certified by the NDI team for
guaranteed interoperability, performance, and
reliability
• Custom-packaged SDKs for Hardware or
Software, including reference designs for
major FPGA models from Intel or AMD.
• Extended personalization of connection
settings for each sender, finder, and receiver.
• AV Sync, Genlock APIs, and KVM Support.
Ross Video will incorporate NDI Advanced
features broadly across its portfolio, including
the following product lines: XPression graphics
solution; Ultrix hyperconverged platform; PTZ
broadcast video cameras; Media I/O capture and
playout solution; softGear Streaming Gateway;
Vision[Ai]ry Ft facial tracking and recognition
solution; PIERO sports graphics analysis system;
and the DashBoard production and facility
control solution.
Visit https://www.rossvideo.com/
directly to additional NAS storage such as
XSTREAMSTORE, over ethernet to external
capacity, or even to USB disks and sticks.
The OBCast version of XGESTORE plays during
ingest for live and delayed broadcasting and
incorporates multiple dynamic graphics layers for
applications like sport as well as branding. The
Cinegy Air software includes complete playlist
management including remote scheduling and
operation, and the system is designed for non-
stop operation where required.
Visit https://broadcast-architech.com/xgestore
and https://www.cinegy.com/
(including DVB-DASH) content conformance,
the new tool has options to check for CMAF and
WAVE requirements, and for HLS (HTTP Live
Streaming) requirements as well.
The updates to the tool were funded by the JCCP
(Joint Content Conformance Partners), a group
of five organisations including the DVB Project,
DASH-IF, the Consumer Technology Association
WAVE (Web Application Video Ecosystem)
Project, the HbbTV Association, and ATSC.
Visit https://conformance.dashif.org/
FOR OUR ADVERTISING
RATES AND OPTIONS
Contact Adam Buick
adam@broadcastpapers.com
or +61 (0) 413 007 144
 CONTENT DELIVERY

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The KAIROS live production platform is a revolution in how live video content is created.
Achieving flexibility in all levels of production unlike any existing hardware-based systems,
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CONTENT DELIVERY

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29
 CONTENT DELIVERY
Venera CapMate Caption/Subtitle QC Now on AWS
VENERA TECHNOLOGIES, a provider of audio,
video, and caption QC solutions for the media
and entertainment industry, has announced the
availability of CapMate, its advanced caption and
subtitle QC and correction cloud-native solution
on the AWS Marketplace.
CapMate, with its machine-learning engine and
advanced verification algorithms, contains a
long list of caption QC capabilities. Some of
Avid | Stream IO Production Ingest & Playout Solution Updates
AVID HAS ANNOUNCED enhancements to its
Avid | Stream IO software subscription platform
for broadcast production ingest and playout,
including additional channel count, playlist
building, closed captioning and new codec
support.
To improve performance, Avid | Stream IO’s
channel count has doubled to now support
up to eight channels in a single system, with
the flexibility to configure inputs and outputs
freely. This is in addition to the existing four
channel configuration available since launch.
Enabling eight channels in a single solution
delivers greater value to customers by reducing
the overall cost per channel.
Alongside the increased channel count, content
teams are now able to build media playlists
ready for playback during production directly
from the Avid | Stream IO web remote console.
Amagi and Nevion Simplify Pop-Up Channel Creation
AMAGI, THE PROVIDER of cloud-based SaaS
technology for broadcast and connected
TV (CTV), has announced a partnership with
Nevion, a Sony Group company and provider
of virtualised media production solutions, to
enable broadcasters to be more flexible, swift,
and cost-effective in creating and delivering
live content to their viewers, especially
premium, high-quality, and time-limited events
like sports.
The combined solution allows production
teams, wherever they are located, to spin up
and tear-down pop-up channels in the cloud
and use them seamlessly in combination with
their ground production — overcoming the
Norigin Media Launches CTV White-label FAST Apps
STREAMING TV UI/UX specialist company
Norigin Media has announced a brandable
Connected TV product for Linear or FAST TV
channels. The White-label solution is offered to
content owners who want to effortlessly launch
direct-to-consumer (D2C) applications across
platforms including Samsung Tizen, LG webOS,
and other Android TV OS based Smart TVs.
The newly designed White-label CTV Apps will
CONTENT DELIVERY
enable FAST or Linear TV channel providers
to launch their D2C apps directly on the App
Stores of leading device manufacturers.
Consumers will be able to access content
30
these capabilities are the detection of audio/
caption sync issues, caption overlap on burnt-in
text, missing captions, caption overlap, spelling,
and profanity. These capabilities are provided
for a large number of frequently used languages
such as English, German, French, Spanish,
Italian, Portuguese, and many more.
CapMate provides the user with the ability to
not only detect a variety of caption/subtitle
Ideal for manual operation, this also offers a
solution for business continuity by providing a
back-up should studio playback automation be
unavailable for any reason, meaning shows can
stay on air in the event of such a failure.
With this release, Avid | Stream IO now supports
closed captioning on playout, giving teams the
option to preserve and include closed captions
on both ingest and playout – an essential
content accessibility requirement. Increased
codec support is also now available, with AVC-
LongG12 and 25 formats added.
Avid | Stream IO runs on COTS hardware and
is available through subscription. Together
with the Avid FastServe family of video server
solutions, Avid | Stream IO provides a range of
options for media content producers seeking
to upgrade from their existing Avid AirSpeed
systems.
latency issues typically associated with such
hybrid workflows.
This Amagi-Nevion partnership brings together
the cloud-based master control room (MCR)
functionality of Amagi CLOUDPORT and the
orchestration capabilities of Nevion VideoIPath.
It makes it easy for production teams to
integrate cloud-based MCR capabilities into
ground-based production workflows without
relying on technical specialists.
Amagi CLOUDPORT’s newest support for VSF
TR-07 (JPEG XS over TS) enables high-quality,
ultra-low latency video transportation between
the ground and the cloud as if they were in
the same truck or facility — a key requirement
within a single brandable and turnkey
application across a range of Smart TVs. The
solution’s ready-made plug-ins also support
integrations towards leading ad-servers to
maximise ad-revenue. Traditional Linear TV
providers will also benefit from using this
product from Norigin Media to launch services
specifically targeting growing CTV audiences.
The React.js-based (a modern web technology)
TV app will feature a new and privately
researched UI/UX that is intended to enhance
consumer viewing experiences. The Live
TV Player UI will showcase an innovative
issues but also to provide an intuitive interface
to review the result as well as automatically or
manually correct the issues and generate a new
caption file.
Offering CapMate on the AWS Marketplace
provides other benefits to the users, including
simplified procurement, unified billing, and built-
in security.
Visit https://www.veneratech.com/
With a flexible architecture that can be
configured to ingest or play out SDI streams
today and in the future various IP-based
formats, Avid | Stream IO allows production
teams to migrate from legacy workflows and
on-premises deployment to cloud and IP
workflows at their own pace. It also allows them
to increase efficiency by combining different
ingest sources in a single configuration.
Ideal for live entertainment and multi-camera
productions, Avid | Stream IO supports all
common production formats, including SDI.
Compressed IP streams SRT / RTMP are coming
soon, while NDI and then SMPTE 2110 will follow
later next year.
Visit https://www.avid.com/products/avid-
stream-io
for premium live production and a superior
end-viewer experience. The integration
with VideoIPath, a key component of Sony’s
Networked Live offering, further simplifies the
workflow (including connectivity) for production
and master control operators, who can now
seamlessly synchronise on-screen graphics,
digital video effects, and commercial breaks
with minimal retraining effort. By putting the
production team in control of hybrid workflows,
the solution optimises operational efficiency
and significantly reduces costs.
Visit http://www.nevion.com/ and
http://www.amagi.com/
metadata-rich channel zapping feature, and the
Electronic Program Guide (EPG) will facilitate
smooth navigation for consumers looking to
discover content across channels. The entire
application is brandable with the ability to
change colours, logos, and icons, while offering
custom integrations for authentication and
video playback formats, as well as a multitude
of ad-server integrations including Google Ad
Manager, Freewheel, Invidi and others.
Visit https://noriginmedia.com/
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See more photos at

www.facebook.com/phil.sandberg
INDUSTRY FOCUS

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32
 Get ready for NAB 2024 by visiting the
Magna stand at METexpo24

Whether you are going to NAB or viewing it from afar, you
can get a heads-up on the latest trends, products and what to
expect at the Las Vegas show in April by visiting the Magna
stand in Sydney at METexpo 2024 in March.
At METexpo 2024 Magna will be demonstrating Actus Digital’s
Intelligent Monitoring Platform, manifold CLOUD and BLADE//
runner live broadcast production software and COTS FPGA
hardware from Arkona Technologies, the Chyron LIVE® end-
to-end, cloud-native live video production platform, Enensys
digital media distribution chain solutions, the unique IPconneX
contribution, distribution and delivery solution, Panasonic 4K
and IP PTZ cameras and switchers, Pebble playout automation,
RTS intercoms, Synamedia video experience solutions and
TAG IP monitoring.
The Magna Systems team along with product specialists
from Actus Digital, Arkona Technologies, Chyron, Enensys,
IPconneX, Panasonic Connect, Pebble, Synamedia and TAG
will be on METexpo stands 46– 49 in the Kensington Room
at Royal Randwick Racecourse from 5–7 March 2024.
To book a demo for any of the above email
sales.au@magnasys.tv or call +61 2 9417 1111 today.

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