If you’re teaching creative subjects to HE students, you’ll know how important it is to get them using industry standard tools before they’re let loose in the workplace. Avid know this too, and are lauching a new Media Campus initiative to make it easier for colleges and universities to get access to their industry-leading tech.
The programme is designed to help universities adopt Avid solutions campus-wide, using the Avid Media Central platform to link Media Composer and Pro Tools projects to each other (and Avid NEXIS shared storage) to enable a professional multimedia workflow for production and post.
Media Campus programme
Members of the programme will be eligible for volume licensing on Avid software (to encourage campus-wide deployment), further discounts on Avid solutions including NEXIS storage, MediaCentral | UX, Interplay, PlayMaker, Pro Tools | HDX, Pro Tools | HD Native, Avid DNxIQ, Pro Tools | S6, Avid VENUE | S6L, Maestro, and more. Your Media Campus membership would need to be renewed annually, the same as your software maintenance contract.
As well as providing universities with software and hardware at a discount, the programme would host regional and campus events to help students build links with industry, support student film festivals and music competitions, and promote the university in the Avid Directory to help recruit new students and connect graduates to employment opportunities.
Middlesex University have been trialling the system and Faculty Technical Manager Daniel Sosnowski said: “The Avid Media Campus program will enhance and strengthen students’ experience with the advanced tools and workflows used by real-world production facilities, significantly boosting their employment prospects. Investing in Avid NEXIS and Interplay | Production has enabled us to facilitate remote access to media and we’ve seen notable workflow improvements as a result.”
And if students want to work on their projects at home, the good news is that they can now get a free, slightly slimmed down version of Media Composer – Media Composer | First.
Following the same model as last year’s Pro Tools | First, Media Composer | First gives users access to four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, colour correction presets and titling templates, so aspiring editors can put their projects together using a toolkit virtually identical to the one they’ll see in the workplace.
Media Composer | First also allows easy sharing, with one-click publishing to popular social media channels including YouTube, Vimeo and Facebook.
EditShare, a technology leader in intelligent shared storage and media management solutions, announced the introduction of the XStream EFS 200 and XStream EFS 300 storage products.
Like other XStream EFS products, these new products are based on the EditShare File System and provide dynamic performance and impressive fault tolerance while streamlining administrative tasks and providing a plug-and-play upgrade path. Unlike other XStream EFS products, however, the new EFS 200 and EFS 300 are the first to provide the option of starting with a simple, affordable and scalable single node solution that also includes the Flow Media Asset Management and Ark Media Archive applications.
This combination of complete workflow support, right-sized capacity and cutting-edge scale-out storage features is ideal for equipping small or emerging media operations and can also become their long-term enterprise grade shared storage platform.
“Obviously, developing an easy-to-manage, high-performance, fault-tolerant scalable shared storage platform that scales out to meet the capacity and bandwidth needs of a typical media enterprise isn’t an easy task. Perhaps even more difficult is the task of developing one that also scales in to meet the needs of small or emerging video companies,” comments Bill Thompson, EditShare storage product manager. “Our new XStream EFS 200 and EFS 300 are a great option for the thousands of smaller companies where a multi-node cluster is simply overkill for their needs.”
The premium XStream EFS storage platform is a powerful, distributed, scale-out file system combined with a highly resilient architecture, specifically developed for media intensive workflows. It’s designed from the ground up to support large-scale workgroups requiring high-bandwidth, high-volume media ingest, transcoding, online collaborative editing and multi-platform distribution of HD, 2k, 4k and beyond. Whether a one-node or multi-node system, every XStream EFS model can easily be expanded to increase capacity and bandwidth. For ease of use and administration, all XStream EFS systems present a single namespace, regardless of the system size. And unlike many SAN storage solutions, the performance of XStream EFS does not decrease as storage use increases. Its continual optimal performance and outstanding reliability are backed by RAID 6 technology.
Single Node, all-in-one introductory bundle
For a limited time, EditShare is including a free All-in-One upgrade with the first Single Node EFS system purchased at any site (but only one per facility). A value of up to 13,000.00 USD, the EditShare All-in-One kit includes the extra RAM needed to run Flow, Ark and EFS metadata functions all in one box, plus Flow and Ark software.
XStream EFS 200 configuration options
The XStream EFS 200 is a single-node configuration with 12 enterprise-grade HDDs offering 24, 48, 64, 96 or 128 TB of raw storage capacity in a 2U space saving form factor. The XStream EFS 200 is “EFS Native Client” compatible. Client workstations connect via a lightning-fast, multi-threaded client to achieve a performance boost of 20% or more compared to legacy SMB and AFP network protocols. In addition to media management capabilities like advanced project sharing, the XStream EFS 200 ships with five Flow production asset management licenses and an Ark archiving application. For a full description of the XStream EFS 200 model, please visit http://www.editshare.com/products/xstream-efs-200.
XStream EFS 300 Configuration
For customers who need greater capacity and lower cost per TB (usable) than is available with XStream EFS 200, they can step into the XStream EFS 300. Equipped with 16 drives, the XStream EFS provides 28, 56, 84, 112 or 140 TB of usable capacity in a 3U chassis. Along with increased capacity, the EFS 300 has additional processor power delivering increased bandwidth capability and stream counts. Like the EFS 200 series, the EFS 300 is “EFS Native Client” compatible and benefits from a performance boost of 20% or more compared to legacy SMB and AFP network protocols. In addition to media management capabilities such as advanced project sharing, the XStream EFS 300 ships with 10 Flow production asset management licenses and an Ark archiving application. For a full description of the XStream EFS 300 model, please visit http://www.editshare.com/products/xstream-efs-300.
NAB 2017 attendees can book a private demonstration with an EditShare expert to discuss their shared storage needs and how EditShare solutions can help at: http://www.editshare.com/book-nab-demo.
JVC will showcase its end-to-end live production workflow, as well as a number of product enhancements and technology demonstrations, at the 2017 NAB Show (Booth C4315).
With the ProHD Mobile Bridge and the new ProHD Portable Bridge, JVC has created robust bonded cellular solutions for ENG and multi-camera live productions. The technology has been successfully deployed in several challenging frequency environments, from the PGA National Resort during the Honda Classic to the streets of Philadelphia during the Hot Chocolate 15k/5k race earlier this month.
At NAB, JVC will demonstrate the JVC Command Center, a command and control workstation, which can access all the active “Bridge” cameras in an organization and superimpose their locations over a street map with live image previews. The workstation will also allow the operator to access each Bridge camera on the network, take control, or manage settings.
JVC is also unveiling the ProHD Studio, a portable, four-channel live production and streaming system. Designed to support HD-SDI, HDMI, or IP cameras, the ProHD Studio offers integrated camera control and ISO recording for each camera, full PTZ control of JVC KY-PZ100 cameras, and HD program recording and simultaneous RTMP and MPEG-TS output. The ProHD Studio also supports external signals with keying for PowerPoint and other sources.
Other features include an integrated audio mixer, CG, four key layers, dual-monitor support with PIP and split-screen layouts, built-in encoder for live streaming, and direct streaming integration for JVC VIDEOCLOUD and Facebook Live. When combined with the optional SCOREPLUS real-time sports CG software, the ProHD Studio becomes a complete multi-camera sports production system with professional overlays, scores, and slow-motion replays.
“The ProHD Studio is the component that completes JVC’s complete end-to-end news and multi-camera live production workflow,” said Craig Yanagi, product marketing manager, JVCKENWOOD. “Our ProHD and 4KCAM cameras deliver the industry’s best acquisition options for ENG and multimedia journalists, while our ProHD Bridge products transmit the signals back to the studio. The ProHD Studio can handle the production and stream live programming, while our ProHD Broadcaster can deliver live, time-shifting, or on-demand playout. Our JVCVIDEOCLOUD delivers the final program to any number of viewers around the world using the robust Akamai network. ”
Camera and control upgrades
New upgrades to JVC’s GY-HM850 and GY-HM890 cameras include integrated IFB channels. Introduced last year for the 600 Series of ProHD mobile news camcorders, the IFB upgrade allows field reporters and camera operators to communicate with the studio while streaming live HD reports. Other improvements include support for JVC VIDEOCLOUD, JVC’s new online video and live streaming platform, as well as additional live streaming formats. The free firmware upgrade for all GY-HM850 and GY-HM890 customers is available now.
The Version 4.0 firmware upgrade for the popular GY-LS300CH 4KCAM Super 35 handheld camcorder will bring significant improvements. The free upgrade, which will be available in late May, increases color resolution to 4:2:2 in 4K mode recording and expands Ultra HD (3840×2160) output to include 60/50p. The upgrade also provides 4:2:2 (8-bit) 4K recording at 24/25/30p onboard to SDXC media cards. Plus, the GY-LS300CH can output Ultra HD at 60/50p via its HDMI 2.0b port. It will operate seamlessly with the new Atomos Ninja Inferno and Shogun Inferno monitor recorders, triggering recording from the camera’s start/stop operation.
With a free firmware update available in September, JVC is upgrading its RM-LP100 remote camera controller to act as a virtual CCU for any JVC ProHD or 4KCAM camera with integrated IP technology. The upgrade creates a CCU for several camera models that do not have a CCU option. With support for up to 100 cameras, the RM-LP100 will perform white balance and painting adjustments, plus provide color bars, tally control, and more. The RM-LP100 upgrade can save thousands of dollars for studios, particularly for installations where PTZ cameras and studio cameras are used together.
JVC is also expanding its on-board customized titling solutions, which are helpful for single-camera productions. In late 2015, the company introduced the GY-HM200SP 4KCAM camcorder with embedded score panel graphics for sports coverage, and last fall added the GY-HM200HW, which features integrated graphics and congregation-specific text for houses of worship. In response to customer recommendations, both cameras will be upgraded through a free firmware upgrade in July to allow full-screen graphic overlays.
Users can add graphics (.JPG and .PNG formats) via an SD card and store them in the camera for future use. As a result, live events can open and close with full-screen graphics, which creates a more polished production, and GY-HM200SP users can create graphic loops that present advertising during halftime or other extended breaks in the action. The firmware upgrade will also include hockey-specific scoring for the GY-HM200SP. JVC will also have a technology demonstration that combines its sports overlay technology with a KY-PZ100, potentially for use in gymnasiums and other permanent installations.
A new partnership with IBM is central to a unique technology demonstration of real-time multilingual captioning within a single camera. During NAB, JVC will show how the integration of JVC PTZ cameras and IBM’s “cognitive-over-IP” cloud computing can revolutionize real-time captioning.
Audio from the KY-PZ100 PTZ network video production camera is transmitted via IP to the IBM supercomputer in the cloud, which automatically provides speech-to-text conversion and sends the data back to the camera (translated in multiple languages, if requested). Users can create a text overlay in the camera for recorded footage or for live captioning during streaming of lectures, worship services, or government meetings.
NAB attendees will also have a technology demo of JVC’s virtual reality (VR) glasses and its 360-degree camera. The camera outputs live, distortion-free 360-degree panoramic video, and detects and tracks objects and motion.
Ahead of the National Association of Broadcasting (NAB) conference, Adobe today announced a major update for video in Adobe Creative Cloud to help filmmakers and video producers collaborate and streamline video workflows.
The Creative Cloud release, available today, delivers new features for graphics and titling, animation, polishing audio and sharing assets; support for the latest video formats, such as HDR, VR and 4K; new integrations with Adobe Stock; and advanced artificial intelligence capabilities powered by Adobe Sensei. Announced at Adobe Summit 2017, Adobe Experience Cloud also allows brands to deliver connected video experiences across any screen at massive scale, while analyzing performance and monetizing ads.
Technology advancements and exploding consumer demand for impactful and personalized content require video producers to create, deliver and monetize their video assets faster than ever before. From the largest studio to next generation YouTubers, a scalable, end-to-end solution is required to create, collaborate and streamline video workflows with robust analytics and advertising tools to optimize content and drive more value.
“I’ve been using all of the Adobe creative programs as part of my visualization process since the early days in movies including ‘The Aviator,’ ‘Avatar’ and ‘Hugo,’” said Rob Legato, a three-time Academy Award winner and VFX supervisor of “The Jungle Book.” “Over the years, technology has improved steadily, largely due to Adobe’s groundbreaking innovations such as Dynamic Link between Adobe Premiere Pro and After Effects, Cinema 4D integration with After Effects, and native workflows. I rely on Creative Cloud to help me pre-visualize and freely experiment on all my films, creating an opportunity to take our creative process to the next level.”
“Our heritage is taking complex challenges and simplifying them so you can concentrate on storytelling and professional, quality work,” said Steven Warner, vice president of digital media at Adobe. “The newest Creative Cloud video release integrates the advanced science of Adobe Sensei to make common tasks faster and easier. All video producers – whether they’re part of the major media companies or up and coming YouTubers – can now bring their creative vision to life without having to be motion graphics or audio experts.”
Attendees at this year’s NAB can get a closer look at the newly available features and hear from industry experts at the Adobe booth (#SL4010, South Hall in the Las Vegas Convention Center) and at over 140 partner booths from April 24–27.
New Capabilities Power Creativity From Start to Finish
The new capabilities in Creative Cloud video tools include:
Motion Graphics Templates now bring the power of After Effects to Premiere Pro through easy to use templates, allowing creators to add beautiful titles, animations and lower thirds to their videos and create custom motion graphics templates which can be shared via Creative Cloud Libraries.
Essential Sound Panel in Premiere Pro lets users make audio mixes and sound improvements that in the past would have required a dedicated session by an audio engineer.
Camera Shake Deblur in After Effects rescues unusable footage by reducing motion blur that often occurs with camera shake.
Character Animator (beta) continues to invent the future of live animation with new technology that now animates multiple puppets created in Adobe Photoshop CC or Adobe Illustrator CC, and embraces full body animation with new walk cycles.
Team Projects (beta) allows Creative Cloud for teams or enterprise members to have a secure cloud-first collaborative workflow with new support for Dynamic Link and Adobe Media Encoder to streamline collaboration.
Ambisonic audio in Premiere Pro expands on its best-in-class native support for VR with positionally-aware audio for VR enabled platforms like YouTube and Facebook.
Hundreds of third-party integrations including Apple Touch Bar support for MacBook Pro and new Microsoft Surface Dial functionality in Premiere Pro with shuttle control in the timeline as well as changing hot float and text values.
Powered by Sensei
Leveraging Adobe Sensei, Adobe’s artificial intelligence and machine learning framework, users can now automatically normalize audio loudness across an entire timeline with a single click in Premiere Pro or Audition. In Character Animator, Sensei applies complex algorithms in real time to ensure a puppet’s lip synch is perfect. Within Adobe Experience Cloud, a video recommendation engine learns from hundreds of billions of online video consumption points to surface for audiences the most relevant content.
Integration with Adobe Stock
Deeply integrated into Creative Cloud workflows, customers have access to millions of Adobe Stock video assets, including 4K and HD, and the ability to search and scrub through video directly in the application. New to this release, editors looking to sell their work can now effortlessly contribute to Adobe Stock through the Destination Publish workflow inside Premiere Pro and Adobe Media Encoder, and reach millions of creative buyers. Adobe’s Destination Publishing already supports the world’s top social video sites, publishing to YouTube, Facebook, Twitter and Behance in one easy step.
“I have been shooting, editing and uploading stock footage for over a decade. The new ability to contribute to Adobe Stock straight from Premiere Pro is an incredibly valuable tool that makes uploading and selling stock much quicker and easier to do. This new feature is a true game-changer for stock footage producers,” said Robb Crocker, CEO of Funnelbox and author of “Stock Footage Millionaire.”
Introducing Pond5 for Adobe Stock
Additionally, Adobe today announced a partnership with Pond5 further expanding the video offering in Adobe Stock. Sourced from an international community of artists across a mix of modern, highly sought after content themes, such as lifestyle, recreation, sports, cinematic and aerial footage, the addition of Pond5 video library will give video producers and designers access to one of the industry’s largest and fastest-growing collections – all natively integrated into Creative Cloud applications. As part of the Adobe partnership, Pond5’s contributors will also be able to reach an even bigger market of creative buyers. (See blog post for more details).
Integration with Adobe Experience Cloud
As the needs of video creators – from creative agencies to media companies – change to reflect a data-driven future, Adobe Experience Cloud benefits the entire video journey, from delivery, to measurement and monetization across screens. Through Adobe’s TV Media Management platform, media companies and broadcasters can leverage analytics to give advertisers true audience-based targeting and more accurate forecasting. Adobe Analytics Cloud enables the measurement of performance video content published to social media channels within Premiere Pro and ensures video ads are targeted and forecasted with a high degree of accuracy.
Adobe Advertising Cloud bridges the gap between traditional TV and digital video advertising, streamlining the ad planning and buying process, enabling deeper collaboration with creative agencies through dynamic creative optimization (DCO), and ensuring maximum brand safety for video ads with the most third party integrations in the industry.
Pricing and Availability
The new features for Adobe Creative Cloud announced at NAB are now available with the latest version of CC 2017, which is available for £708 ex VAT per user per year. You can find out more about Creative Cloud here, and more about Adobe Stock here.
At NAB 2017, Sony is highlighting innovations in imaging, High Dynamic Range (HDR), IP and media solutions that enable the creation of dynamic content and increase workflow efficiencies for a range of applications and productions.
“In addition to driving the latest technological trends and innovations, Sony is honing our focus on the customer experience to become a long-term, strategic partner for our customers,” said Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe. “At NAB we will be displaying new products, updates to current products and a range of workflow solutions that meet the ever-changing needs of customers – from 4K live to HDR to IP live production, media solutions, asset management and everything in between – allowing them to be in control of their future.”
At NAB, Sony will show products and technologies covering image capture including system cameras, handheld acquisition, ENG camcorders, motion picture cameras, interchangeable lens cameras, event production and compact production; HDR including select professional cameras and monitors: IP Live Production including live, high frame rate production servers and production switchers; and media solutions including storage, cloud and media asset management.
At NAB this year, Sony further evolves its 4K live solution adding metadata workflow to provide efficient content management over a Share Play-enabled network, allowing users to save significant time from production to on-air.
For HDR, Sony offers systems, workflows and choices of recording formats that deliver unprecedented flexibility in every HDR production. Sony has already established its SR Live for HDR workflow, a straightforward system enabling an efficient workflow for simultaneous production of 4K HDR and HD SDR.
Sony is highlighting its IP Live Production workflow. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. At NAB, Sony is highlighting its IP end-to-end capabilities, as well as its compatibility with industry standards such as SMPTE ST2110, ST2059 and NMOS IS-04.
For NAB 2017, Sony will introduce a range of new workflow solutions including:
– XDCAM Air – Cloud-based ENG subscription service. This comprehensive ENG workflow platform bridges the field assets with the station infrastructure enabling speed to air. From shooting to post-production, XDCAM Air harnesses the power of cloud computing and XDCAM.
With XDCAM Air, camera operators and news crews now have the ability to work more quickly and efficiently, concentrating on the story at hand, with the camera directly integrated into the workflow.
Version 1.0, releasing in June, will provide intelligent functions such as live streaming, XDCAM mobile compatibility, and metadata workflow. XDCAM Pocket is XDCAM Air’s mobile application which can turn a smartphone into a small ENG camera by transmitting a quality live stream through the mobile device’s LTE network using QoS stream mode.
XDCAM Air will be interoperable with most of major systems, both from Sony and 3rd parties. Sony will continue to develop new features and workflow for XDCAM Air, with further versions planned to support content management, enhanced device control as well as edit integration with NLEs.
– Media Backbone Hive orchestrates all phases of the familiar, tried and trusted news workflow that thousands of broadcasters depend on. Powerful yet intuitive applications are provided for planning, ingest, browsing, editing, publishing, playout, archive and management functions. Its outstanding technical achievement won the prestigious IABM Peter Wayne Award for Design and Innovation.
RTV Oost, a regional broadcaster in the Netherlands has selected Media Backbone Hive to streamline and future-proof its news operations, becoming the first European regional broadcaster to introduce the end-to-end media production solution from Sony.
– Media Backbone NavigatorX delivers easier, quicker and more efficient asset and workflow management. Designed to suit multiple modern workflow environments, it allows users to manage assets in a range of formats, with flexible options for production, archiving and workflow automation.
– Optical Disc Archive Generation 2 provides a secure long term archive based on Sony’s proven optical disc format, rated with a 100 year shelf life, and designed to achieve 3.3TB capacity on a single cartridge.
Acceptance of Optical Disc Archive has been steadily growing with the following new customers including Christian Broadcasting Network, Embassy Row, Golf Channel, National Film Board of Canada, The Voice, and Wells Fargo. Developers and vendors can incorporate Optical Disc Archive Generation 2 into their own compatible products, with Sony ready to provide technical support to facilitate product development. The latest partner products for Optical Disc Archive include: NLTek for Avid Interplay, QStar Archive Manager, SGL FlashNet, StorageDNA DNAfusion, Object Matrix, XenData.
Other new Sony products at NAB include:
– Monitors – Sony is highlighting a range of new and upgraded OLED and LCD HD monitors.
Version 2 firmware update allows new enhancements for on-set, Cinematography, Broadcast and graphics application, such as the new ITU-R BT.2020 and Adobe RGB colour spaces, and more. Applicable models are:
– TRIMASTER EL OLED HD picture monitors: The PVM-A250/A170
– LCD HD production monitors: LMD-A240/A220/A170
The new LMD-B240 is an affordable LCD basic grade full HD production monitor, with a lightweight and slim body for easy installation with natural ventilation (no cooling fan). The monitor is equipped with two HD-SDI, one composite and one HDMI inputs, as well as HD, SD formats, different frame rates, interlace, PsF, and progressive modes. The monitor uses the same video processing as the PVM-A series providing similar accuracy and low video latency. It also shares the same user interface with a unique Sync-Free Side by Side function.
– AXS-AR1 – AXS memory and SxS memory card reader using a Thunderbolt 2 interface. The Thunderbolt 2 connector also enables daisy-chain operation. This new reader is Sony’s first card reader to have a card slot which can be used for both AXS Memory A-series and SxS Memory card slots. The versatile reader supports simultaneous recording workflow, i.e., RAW (or X-OCN) and XAVC (or MPEG50) files recorded by F55/F5 and AXS-R7. The new AXS-AR1 offers ultra-fast transfer speeds to reduce time on set or during Ingest of the recorded material.
– DVF-EL200 – The DVF-EL200 is a high quality full HD (1920×1080) OLED viewfinder for the F55 and F5 that offers easy focusing and framing. With nearly twice the brightness of Sony’s DVF-EL100 and enhanced usability, the viewfinder is durable and resistant and can be quickly and easily attached to the CBK-55AT viewfinder stay for use with the F5 and F55 cameras. It features an improved eye sensor for increased sensitivity and better positioning, along with enhanced brightness, contrast and peaking level settings.
– UMC-S3CA – This new model is an Ultra high sensitivity 4K interchangeable lens video camera with a full frame sensor. Its Genlock support enables users to operate multiple cameras in synchronisation and widens the camera’s range of applications, such as shooting from multiple points or Virtual Reality use. Its small and light weight size make the camera easy to install on cranes and sliders ideal for crash cam use to capture exciting images from different angles and height.
– Ruggedised HDDs – PSZ-HC1T (1TB), PSZ-HC2T (2TB) – Improving on Sony’s previous HDDs, the redesigned 1TB and 2TB shuttle drives feature an extremely durable USB Type-A tethered cable and Type-C port, ideal for memory card backup in the field. The new bus powered HDDs, come pre-formatted in exFAT, are highly shock, splash and dust resistant and come packaged with a sturdy library box for additional content protection during shipping or storage. High speed data transfer has also been increased to up to 138MB/s (read/write) making any backup or storage operations even more efficient.
Sony’s free Memory Media Utility software download available at www.sony.net/mmu extends the value proposition by providing a record / rewrite life indicator, simultaneous content backup to multiple destinations, a re-formatting tool and much more.
At NAB, Sony Professional Services announced it is delivering a 4K Outside Broadcast (OB) Van for media centre HDResources (HDR). The partnership cements Sony’s position as a trusted business partner and its commitment to delivering innovative technology and solutions for turnkey projects in the industry.
The latest truck delivered to HDR is the tenth to be provided by Sony and was turned around in record time, with initial contract to delivery completed in less than 3 months. Sony offered the customer a one-stop shop for the strategic project, working together with external System Integrators to provide a full solution and ensure total confidence and peace of mind for HDR.
Sony has previously developed hundreds of OB trucks for important turnkey projects, in addition to equipping on premise studios. These include developing the world’s first purpose-built 4K/IP OB truck for TV Globo, and providing a custom design Enhanced Live Production Control System for Netherlands broadcaster RTL. Flexibility, long standing expertise, and the ability to provide full 360 degree project management made Sony the ideal partner for HDResource’s project.
The 4K truck supplied for HDR is the latest in an ongoing relationship between the media centre and Sony. The truck is an evolution of the HD trucks provided last year, future proofing the company by allowing for 4K OB capability. Technology included in the truck includes an XVS-7000 Switcher and a number of Sony monitors, as well as third party technology.
Mats Dahlström, CEO at HDResources, commented: “We see Sony as a reliable and responsible project partner, which is why we have now partnered with Sony in the delivery of 10 trucks to date. They were our first point of call for developing this 4K OB truck, which will be the most technologically advanced truck in our fleet. We’ve been particularly impressed by the speed with which Sony turned around this project, as well as how Sony dealt with all the system integrators themselves to provide us with a single, full solution. We look forward to continuing to develop our relationship with Sony in the future.”
Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe, added: “We are proud to act as the prime contractor for turnkey projects such as with HDR’s latest 4K OB truck. With over 30 years’ experience in the broadcasting industry, Sony prides itself in being open and flexible to work as the prime supplier of technology for our trusted industry partners.”
Sony Professional Services employees over 70 people, from solutions architects, bid managers, project managers to support engineer’s right across Europe. Able to act as a prime contractor based on customer preference or due to a particular ground breaking technical innovation, Sony continues to deploy its long standing expertise and ability to work alongside independent systems integrators to equip and mobilise OB units for production partners globally.
From products, to workflow and format, Sony offers users end-to-end HDR production capabilities from acquisition to display, for cinema, live production, online video and event production. These solutions meet the industry’s growing demand for a wider colour gamut and increased dynamic range that creates more realistic viewing experiences with enhanced levels of detail.
As previously announced, Sony’s expansion of HDR production includes the addition of HD HDR Live broadcasting and instant HDR workflow in products ranging from live camera systems, servers, monitors and camcorders, via updates to software or firmware.
Along with the accelerated trend of HDR content, series of Sony 4K/HD live cameras, including the HDC-4800, HDC-4300 and HDC-P43 with HDR capability, are widely adopted by broadcasters world-wide. To enhance its Live HDR production offering further, Sony added a new XAVC recording mode to optimise encoding for HDR into its PWS-4500 4K/HD live server, available to users through a software upgrade. This new recording mode improves HDR image quality in XAVC with detailed complexity, bright skin tone, colour reproduction and more. It enables the PWS-4500 to record and replay superior HDR images at the same time maintaining the smooth XAVC file workflow that is already well known in the production industry.
Furthermore, Sony offers RAW and X-OCN recording formats. RAW is recommended for premium productions and high-end cinema, where large volumes of data can be managed and supported. X-OCN (eXtended Tonal Range Original Camera Negative) is an optimised format with a fine balance between the picture quality and data size. It can be recorded using the AXS-R7 portable memory recorder, together with PMW-F55 and F5 motion picture cameras. The X-OCN format retains everything the sensor sees, delivering tonal gradation with 16-bit precision ideal for HDR image grading. To help extend the use of X-OCN beyond Sony solutions, Sony is working with other companies to develop X-OCN supporting products.
The X-OCN supporting companies have risen to 10, as of April, 2017: ASSIMILATE, Inc. , Autodesk , Avid Technology, Inc., Blackmagic Design , Colorfront , Filmlight Ltd. , Grass Valley , nablet , Pomfort , SGO.
Sony offers systems, workflows and flexible recording formats that deliver unprecedented flexibility in every HDR production, bringing added-value to broadcasters.
*PWS-4500 version 2.3 software is planned for release in June, 2017.
New solutions enable the addition of metadata management for streamlined, searchable, transferable content that saves users time.
Basingstoke, 23rd April 2017: Sony is expanding the capabilities of its 4K/HD live production workflows, with the addition of a new Content Management Station and enhanced feature set for its PWS-4500 live production server system.
With the launch of the new PWS-110CM1 Content Management Station, Sony has added a metadata-enabled workflow that lets users efficiently and easily search for content that can be seamlessly transferred for delivery.
“Sony continues to enhance its solution for 4K/HD Live Production around the PWS-4500” said Norbert Paquet, Sony Professional Solutions Europe. “We’re improving the overall ecosystem around this 4K/HD Server, to enable faster and more dynamic live productions, whether those are HD, 4K or HDR. In doing so, we’re responding to the demands of the media industry and to the consumers of Live content.”
Metadata-based workflows benefit large-scale live productions, especially for major sporting events that use numerous cameras and servers operated from OB trucks. The PWS-110CM1 and the updated PWS-4500 system, (using software version 2.3), when used together, allow a server operator to enter metadata, indicate the server’s content on a network, categorise and indicate the metadata of the clips, search the clips by metadata, keywords or star ratings and transfer clips between servers, as well as external devices. The new software for the PWS-4500 system will also enhance HDR capabilities by optimising XAVC encoding for HD S-Log3, HD HLG and 4K/HD PQ. Version 2.2 already supports 4K S-Log3 and 4K HLG.
Sony’s latest 4K/HD camera systems, the HDC-4300, HDC-4800 and HDC-P43 support 4K/HD SDR/HDR live production alongside the series of BPU, baseband processor unit and PWS-4500 server system to create a comprehensive, connected tool that is increasingly embraced by live productions worldwide.
In addition to image quality, Sony provides workflow efficiency through its Share Play operation where up to 10 servers can be linked together, allowing the operator to easily create playlists and access to any clip or record train from the network. This speeds up the editing and the output of slow-motion highlights, by using real time content sharing over a dedicated 10Gbps network that links the BPU-4800 with the PWS-4500 server systems.
The PWS-110CM1 Content Management Station is planned to be available in July 2017, while PWS-4500 Version 2.3 software is planned to be available in June 2017.
Sony is introducing a series of new IP Live functions, interoperability milestones and customer success stories on the first day of NAB 2017. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. At NAB, taking place in Las Vegas from today until April 27th, Sony is joining with customers, partners and competitors alike to demonstrate how its IP Live solution is truly ‘ready today, open for tomorrow’.
Throughout NAB Sony is appearing in the “IP Showcase” booth, hosted jointly by AES, AIMS, AMWA, EBU, IABM, MNA, SMPTE and VSF, and located in the North Hall. Visitors to the stand will be able to discuss details of the successful interoperability tests Sony has undertaken alongside leading vendors such as Grass Valley, Snell Advanced Media, and Evertz. Sony is also committing its intention to develop capabilities for complying with new technologies such as SMPTE ST2110, which governs Media transport over IP, and NMOS (IS-04), which ensures device discovery and registration. Sony is committed to providing SMPTE ST2110 compliance in the near future. Attendees will also be able to view a SMPTE ST2110 based system camera prototype on the IP showcase booth at the show.
Sony is also announcing several new capabilities within its IP Live Production System which further expand the entire IP-based ecosystem:
– New functionality has also been added to the IP Live System Manager capable of integrating with an Ember+ protocol based system such as VSM (Virtual Studio Manager) from LAWO, one of the industry’s leading control and monitoring systems, giving broadcasters greater flexibility to configure the IP system how they want it
– The new version 2.3 of Sony’s XVS-8000 multi-format production switcher introduces resource sharing capabilities as standard. This means that one processor can run dual switcher functions enabling for example 4K/HD simultaneous production
– The new NXLK-IP45F AV Multiplexer/Demultiplexer Board, available later this month, adds the ability to multiplex and de-multiplex video and audio over IP signals, ensuring both systems can be managed across the IP network
– The new NXL-IP4F SDI-IP Converter Unit, also available later this month, makes it easy to integrate any 4K or HD standalone source or destination with an IP-based production system
Live broadcasters of all sizes are implementing Live Production over IP to enjoy increased efficiency, reliability and scalability, with reduced system costs. At NAB Sony is sharing details of how it is delivering 4K over IP for a range of customers including:
– BBC Studioworks (UK): Sony is delivering 4K over IP in the BBC’s refurbished Television Centre studios in London
-TV Globo (Brazil): broadcasted live “Carnival in Rio” with Sony 4K IP OB truck. 4K HDR and HD SDR simultaneous production was successfully operated by “SR Live for HDR” solution.
– Sky Perfect JSAT Corporation (Japan): 4K IP routing system is at work to transmit and monitor 4K videos for broadcast in IP
– China Central Television (CCTV)(China): Sony will deliver CCTV’s first 4K IP OB truck in June , 2017 with all core components of IP live system for its technological researches and gaining experiences of UHD TV production.
– Zhejiang Radio & TV Group (China): has selected Sony to build a 4K IP OB truck for live broadcast in 4K and HDR. The signing ceremony is to be held in March 2018.
– China Digital Culture Group (China): has purchased a Sony 4K IP OB Truck that will hit the road in August, 2017 and it is used for live theatrical play and entertainment event broadcast.
– 4K Garden (China): the major 4K content services platform has purchased 4K IP OB Truck in China from Sony to deliver exciting live contents in 4K. The truck will be ready before Aug. 2017.
Visitors to Sony’s stand C11001 will be able to witness an operational IP-enabled remote production setup first hand networked with a Broadcast Data Centre. The demonstration system connects a remote live production team at Sony Pictures’ studio in Los Angeles with the team in Las Vegas, highlighting the way that IP Live can connect control rooms within broadcast facilities to live event venues hundreds of miles away, without compromising on latency, switching or reliability.
“The past year since NAB 2016 has been hallmarked by three things: cooperation and open innovation between vendors across the Live over IP; an industry-wide push to undertake training and adopt skills readiness for IP; and the commitment of major broadcasters to invest in IP as they look to the next generation of live content experiences,” says Norbert Paquet, Strategic Marketing Manager at Sony Professional Solutions Europe. “We’re proud to be an active party within a number of standards bodies all working to ensure a range of compatible cameras, switchers, servers, computer graphics, display devices and backbones are ready for broadcasters today as they invest in the open, innovative production facilities of tomorrow.”
Today, NEP UK announces a significant investment in live 4K sport broadcasting, with the purchase of 85 Sony HDC-4300 4K/HD system cameras, PWS-4500 servers, and 43 TRIMASTER EL OLED monitors, including the BVM-E171.
The majority of the new investment will be used to fulfil a major sporting contract, with 85 HDC-4300s, 43 OLED monitors, and a PWS-4500 server involved in the project.
The HDC-4300 was chosen specifically for its peerless image quality, in order to deliver vibrant, true-to-life images to live sports coverage. The cameras needed to capture rich colours, superb detail, and a very low level of noise, in order to deliver enhanced picture quality.
The HDC-4300s integrate seamlessly with the world’s most advanced 4K live production workflows, providing the sports industry with a smooth path to a 4K broadcasting future. NEP has also invested in the PWS-4500 live server system, one of the key elements of Sony’s next-generation 4K live production solution which includes XAVC for both 4K and HD and HFR recording capability.
Rob Newton, Engineering and Technical Director, NEP UK & Ireland, commented: “We put the Sony HDC-4300 camera up against the competition and it led the pack in every one of our tests. It provides the flexibility and control needed for live sports and paves the way for a seamless transition from HD to 4K.”
“As it’s Sony, we already had complete confidence in the individual products and overall solution. It’s been a fantastic investment for showcasing sports in the best possible light for audiences around the globe.”
Norbert Paquet, strategic marketing manager at Sony Professional Solutions Europe, added: “By choosing Sony’s HDC-4300 cameras, NEP UK has equipped themselves with 4K/HDR ready cameras. This means seamless migration to 4K in the future, whilst reaping the benefits of reliability and flexibility today.”
The investment comes as part of NEP’s and Sony’s longstanding relationship and continues NEP’s commitment to deliver the latest broadcast solutions to the sports industry.