Archive for September 5th, 2013

IBC 2013: Vizrt introduces live virtual sports enhancements and remote/studio integration solutions

At IBC 2013, Vizrt, booth 7.A10, will showcase several new solutions for sports broadcasters to enhance their live sports coverage with virtual graphics as well as analyze key plays of the match.

Image-based camera tracking for live sports enhancements

Vizrt will demonstrate a new live image-based camera tracking technology and integration with its live sports enhancement product Viz Arena. Based on state-of-the-art image processing technology that is also applied in Vizrt’s sports analysis system Viz Libero, Viz Arena tracks cameras in real-time based on a clean video feed. This makes it possible to apply graphics to the field without the need of mechanical tracking heads. Live sports enhancements include virtual advertisements, distance measurements, record lines, player pointers, team badges, or starting grids. Replay effects are possible using the new EVS integration.

The Harvester – Bridging studio and remote

Another new Vizrt technology showcased at IBC is the Harvester: A component that enables studio access to multi-angle footage of a live production, seamlessly integrated with Viz Libero, Viz Engine, and Viz Media Engine in the broadcast center. The Harvester allows events to be logged of a sport game together with the desired camera angles – from the stands, the studio, or from home using a tablet or mobile device. Multi-angle footage will then be instantly encoded and transferred to the studio where it is directly ingested into Viz Libero for rapid and synchronized processing of 3D analysis. Multi-angle data can also be smoothly used by other Vizrt applications, such as Viz Engine for enhanced, multi-angle interactive highlights shows, or for archiving the multi-angle data with Viz Media Engine. As a one-box solution in a fully automatic workflow, the Harvester can be easily integrated into any existing OB truck.

Virtual Presenter

The Virtual Presenter will be part of the Viz Virtual Studio demonstration at IBC. The Virtual Presenter places your talent among the players and action on the field of a sport analysis clip and as a unique solution for interactive and immersive post-game shows. It is easily implemented on top of an existing Viz Engine and Viz Libero installation and creates a new way for presenters to be literally on the pitch with the players.

Interactive studio solution for World Cup 2014

The World Cup 2014 in Brazil is fast approaching and at IBC 2013, Vizrt will display an interactive package that covers all aspects of a studio show for the tournament. An interactive Viz Artist scene will be controlled from a touchscreen and iPad and will include pre-game elements like team formations and stadium maps for Brazil, in-game content, such as highlight and analysis clips with telestration, post-game elements like player and team statistics, and the tournament schedule. A series of 3D World Cups stadiums, created by Vizrt partner Rakete, will be part of the Viz Virtual Studio presentation. The complete set of scenes on display at IBC are available for broadcasters to use and are easily customized for a unique look and feel.

Latest sports analysis enhancements

Vizrt will present the new features and workflow improvements in Viz Libero. Viz Libero now offers Virtual SloMo, which uses an advanced image-based algorithm to generate ultra-slow motion (up to 1500 fps) footage rather than relying on high-speed camera systems. Virtual SloMo and other Viz Libero 3D replay tools can be used on any live camera image or remote video feed. Viz Libero also includes in-game 3D virtual sports toolsets geared to motorsports, tennis, cricket, field hockey as well as Australian football. The system already supports many others, such as football, American football, ice hockey, baseball, basketball, and volleyball.

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, Al Jazeera, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Furthermore, many world-class production houses and corporate institutions such as the Stock Exchanges in New York and London use Vizrt systems.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Martin Burkhalter / CEO / +41 22 365 75 01 / MBurkhalter@vizrt.com

Håvard Myklebust / EVP Products & Marketing / +4791845602 / HMyklebust@vizrt.com

Antelope Audio Goes Atomic on Rihanna’s Internationally Acclaimed “Diamonds World Tour”, Bringing Unmatched Sonic Depth and Clarity

Santa Monica, CA, September 5, 2013 – Rihanna’s “Diamonds World Tour” is making its mark as one of this year’s most successful tours to date. According to a mid-year chart by Pollstar, it already ranks as the 11th largest grossing worldwide tour, having generated more than $50 million in ticket sales to date. Already well into its U.S. leg, “Diamonds World Tour” features several performances in North America, Europe, Asia, Africa and Australia. At the core of the production system is Antelope Audio, whose products facilitate clocking for the entire rig, including playback for synchronization, lighting, MIDI, sound effects and vocals.

“This is the best sounding tour I’ve ever been a part of and we’ve been running really hard,” says Demetrius Henry, playback engineer for the Diamonds World Tour. “We didn’t think we could get our playback rig to sound any better, but the Orion32 interface has taken things to another level —the difference was like night and day.” Currently, the tour is running two Antelope Audio Orion32s and a 10M atomic clock on playback, in addition to a Trinity | 10M combination at front of house (FOH). The Trinity | 10M combination, which is a favored selection among the world’s top mastering engineers, serves as the primary clocking duo for the entire production.

In addition to playback and FOH, there are two Antelope Audio Zodiac+ converters being used in conjunction with the keyboard rig on stage, providing artifact free, high-resolution audio for the duration of each performance. Kenny Scharetts, keyboard technician for the Diamonds World Tour, appreciates the piece of mind that comes with using the Zodiacs: “We have the Zodiacs racked up directly beneath the keyboards and they are so compact and rock solid. When I turn them on, I know they are going to be there for me — it is a dream to have this kind of stability and reliability.”

Since the beginning of the tour, which is now about half way through the North American dates, the Orion32, Trinity | 10M and Zodiac units have been performing flawlessly. Before hitting the road, the production crew put all of the equipment through its paces with several rehearsals, including two full dress rehearsals in Buffalo with a full P.A. before hitting the road. “Every department was able to get a full testing of their gear to make sure it was show ready,” says Kyle Hamilton, FOH engineer, Diamonds World Tour. “From the beginning, the Antelope gear has been running smoothly.” Sonically, it has taken the sound quality to the next level, according to Hamilton: “For me, the Trinity | 10M combo has given me an audio image full of depth and clarity, unlike anything I’ve ever experienced. The mix has always been clear, but now it has an extra sheen, sort of like what you might find on a nicely waxed car.”

The tour is massive in both musical content and technical scope. With a runtime of 97 minutes and a total of 36 songs, including interludes, the production team is running about 115 inputs in total. With such an extensive rig, the production team decided to take a holistic approach and clock the entire rig using Antelope, in addition to using its premium quality converters across nearly every part of the audio system. “Sonic changes don’t just occur at the console,” observes Hamilton. “It also has to do with the converters that are used throughout the system, in addition to the clocking. Also, it would not make any sense to have just one aspect of the system clocked — clocking the entire rig with Antelope gives us a consistently high quality result.”

On the Diamonds World Tour, the production team is focused on not just quality, but efficiency too. “Rack space is a precious commodity out here on the road — it’s like real estate: you only have so much land.” says Henry. “The fact that we are able to fit 32 channels of I/O on the Orion32 is a dream come true.” At playback, two Antelope Orion32s and a 10M are run through a pair of Apple MacBook Pros, which Henry says are lightning fast.

With a rock solid production team and reliable, great sounding equipment in place, FOH engineer Kyle Hamilton couldn’t be happier with the results they are achieving night after night. “It is immensely satisfying for us to be setting new standards in the quality of our live sound productions,” he says. “Every time we plug in another Antelope device, everything goes up a notch.”

About Antelope Audio

Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

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All brands and trade names are the property of their respective owners.

Photo captions:
1. Rihanna onstage at The Staples Center in Brooklyn, NY during the Diamonds World Tour.
2. The playback rig for the Diamonds World Tour includes two Antelope Audio Orion32 interfaces and a 10M atomic clock.
3. At front of house on Rihanna’s Diamonds World Tour, an Antelope Audio Trinity | 10M handles clocking for the overall production.
4. An Antelope Audio Zodiac converter sits beneath the keyboard rig onstage during Rihanna’s Diamonds World Tour.

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Front Porch Digital and Marquis Broadcast Expand Partnership

Front Porch Digital’s DIVArchive Integrates With Marquis’ New Project Parking Tool for Avid Editors

LOUISVILLE, Colo. — Sept. 5, 2013 — Front Porch Digital, the global leader in content storage management (CSM) solutions and cloud services, today announced an expansion of its partnership with U.K.-based Marquis Broadcast, a company that provides a range of media integration products designed for the data-intensive and challenging requirements of today’s fast-paced broadcasting environments. Marquis has integrated the API for Front Porch Digital’s advanced DIVArchive(R) CSM system with Marquis’ new Project Parking storage analysis and management tool for Avid(R) editing projects. The integration allows Avid users to archive and restore editing projects based on either a stand-alone or shared Avid storage environment. Marquis and Front Porch Digital customers will be able to manage shared edit storage more effectively and use the power of DIVArchive to control the archive.

“We realize that most facilities really struggle to manage their shared storage and ensure resources are available to deliver projects to their customers. At this year’s NAB Show, many customers who use both DIVArchive and Project Parking told us that they would like to see tighter integration between our solutions, and we were happy to oblige,” said Simon Fearn, product manager at Marquis Broadcast. “We have worked with Front Porch Digital on a number of projects, and we have the greatest regard for the company’s products and brand reputation in the media and entertainment market. We feel very confident that, working together, our two companies can help our mutual clients be more profitable while providing higher service levels and better products.”

The enhanced functionality from the DIVArchive/Project Parking integration will be especially useful for clients, such as major broadcasters, postproduction facilities, and large corporations, that use shared storage and need to communicate outside their facilities. The cooperation will enable Marquis clients to minimize their storage costs while supporting their own customers with the highest service levels. It will also make edit storage much more reliable and provide an easier way to move projects around. In addition, a new scheduling function enables clients to schedule archiving from the shared storage, either regularly for disaster recovery or selectively in order to free up space — a feature that will be particularly attractive to users in large facilities because it will ensure appropriate use of resources and add significantly to resilience.

DIVArchive already integrates with Marquis’ Medway solution. This new integration with Project Parking broadens the market range and pool of potential new customers for both companies. The alliance will also benefit Front Porch Digital resellers, who will have new opportunities to grow their businesses by selling both Front Porch Digital and Marquis solutions.

“The seamless integration between DIVArchive and Project Parking provides a cost-effective and easy solution to customers who want to archive Avid projects,” said Rino Petricola, senior vice president and general manager at Front Porch Digital. “We have enjoyed a partnership with Marquis Broadcast since integrating with its Medway software toolkit and have long respected Marquis’ commitment to system interoperability. By extending our alliance to the new Project Parking solution, we have yet another opportunity to enhance our offering and help each other position our respective products for an even wider range of users.”

Front Porch Digital and Marquis Broadcast will demonstrate the DIVArchive/Project Parking integration at IBC2013 on stands 7.D14 and 2.A58, respectively. More information about Front Porch Digital products is available at fpdigital.com.

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About Marquis Broadcast
Founded in 1998, Marquis Broadcast provides a range of media integration products designed for the data-intensive and challenging requirements of today’s fast-paced broadcasting environments, enabling broadcasters and other users of digital media to achieve maximum efficiencies from their workflow processes. The company has considerable experience in integrating an extensive range of broadcast systems and devices, providing easy to use workflows via Medway, its widely installed interoperability engine. www.marquisbroadcast.com

About Front Porch Digital
Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.

Photo Link: www.wallstcom.com/FrontPorch/Marquis.zip
Photo Caption 1: Marquis Project Parking and Front Porch Digital DIVArchive(R)

Photo Link: www.wallstcom.com/FrontPorch/MarquisProgress.zip
Photo Caption 2: Marquis Project Parking and DIVArchive(R) in Progress

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Orad’s New Social Media Hub Solution Powers Interactivity with Social Media

September 5, 2013 – Orad Hi-Tec Systems Ltd., leader in video and graphic solutions for the broadcast market, today announced the debut of its new Social Media Hub solution at IBC2013 (stand 7.B27). Social Media Hub increases viewer engagement by enabling audiences to interact directly with the broadcast via popular social networks such as Facebook and Twitter.

Social Media Hub lets broadcasters collect, filter and distribute user-generated social media content alongside programming. The new Social Media Hub solution integrates with existing systems and workflows, allowing staff to quickly step in and easily control and manage social media content. Social Media Hub also pushes Orad-generated content and graphics to social media.

“Without adding any complexity to the operation or increasing operational costs, broadcasters can increase their visibility by publishing broadcast-generated content to a wide variety of social networks, such as Twitter, Facebook, YouTube and more. Social Media Hub’s easy-to-use management tool enables the user to oversee everything that is happening,” comments Avi Sharir, CEO and President of Orad.

Social Media Hub along with all Orad solutions will be presented this year at IBC, booth 7.B27. To book a demo, please contact us at ibc@orad.tv.

To book a private press appointment, please contact Anya Oskolkova at anya@zazilmediagroup.com, or register here.

About Orad Hi-Tec Systems
Orad Hi-Tec Systems is a world-leading provider of real-time 3D broadcast graphic, video server, and media asset management solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at http://www.orad.tv/.

For further information contact:
Orad Hi-Tec Systems Ltd
Ofir Benovici
Vice President Marketing
ofirb@orad.tv

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NUGEN Audio Launches MultiMonitor Loudness and True-Peak Monitoring Software

Newest Member of NUGEN Audio Loudness Product Family Offers 16 Individual Meters Supporting up to 96 Audio Channels

LEEDS, U.K. — Sept. 5, 2013 — NUGEN Audio, creator of intuitive tools for audio professionals, has expanded its innovative portfolio of loudness solutions with MultiMonitor, a powerful new loudness and true-peak monitoring software application. MultiMonitor offers up to 16 individual loudness and true-peak meters in mono, stereo, and 5.1 formats for up to 96 individual audio channels. MultiMonitor will be launched to the international market at IBC2013. A custom version of MultiMonitor will also be available within ‘LMS-16,’ a new turnkey, PC-based system to be launched at IBC2013 by Solid State Logic (SSL), who will demonstrate the system with its consoles at stand 8.D83.

“NUGEN Audio’s solutions are in use by audio professionals around the world to maintain high standards for audio quality and also comply with ever-evolving international loudness regulations,” said Jon Schorah, creative director of NUGEN Audio. “MultiMonitor is the latest example of how we’re supporting our customers by making compliance more straightforward and efficient, which makes it easier to measure program levels without interfering with the creative process. Using a visual metering tool such as MultiMonitor, audio engineers can keep an eye on the meter and loudness profile while relying on their trained ears to make most of the mixing decisions.”

MultiMonitor is standalone software for Windows(R) or OS X(R) that provides flexible, real-time monitoring in full compliance with the U.S. CALM Act legislation, ITU-R BS. 1770/1, ATSC A/85, EBU R128, and other global loudness regulations and standards. Each MultiMonitor meter displays dedicated momentary, short-term, and integrated program loudness alongside true-peak levels in a highly configurable environment that enables individual or group/subgroup operation as required. The multiple meter configurations allow numerous sources, groups, and playout streams to be monitored simultaneously, in any combination, and to individual specifications. In addition, MultiMonitor features short-term loudness-level alerts and color-coded meter groups.

In a strategic partnership with SSL, MultiMonitor is also available through the LMS-16 turnkey system. Through LMS-16, SSL is providing the MultiMonitor software preinstalled and configured on an industrial-strength, 1-RU PC fitted with the SSL MadiXtreme 128 audio interface. An optional monitor arm is available to facilitate convenient side-mounting of a screen on SSL’s C100 HDS or C10 HD consoles.

MultiMonitor is now available for $2,000. More information about MultiMonitor and other NUGEN Audio products is available at www.nugenaudio.com.

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About NUGEN Audio
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. For more information, visit www.nugenaudio.com.

All trademarks mentioned herein are acknowledged as property of their respective owners.

Photo Link: www.wallstcom.com/NUGEN/MultiMonitor.zip

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Patriot League Launches Online Sports Network with JVC GY-HM600 ProHD Cameras

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced that the Patriot League, a Division 1 conference with sponsored championship competition in 24 sports, has purchased 30 JVC GY?HM600 ProHD cameras as part of 10 portable video production systems to stream live coverage of sporting events from its member schools to its digital network, in partnership with Campus Insiders.

Established in 1986, the Patriot League includes 10 full members and three associate members. It has been streaming sports coverage for seven years, but had limited digital rights and only produced about 150 events per year. This year, armed with a more consolidated rights package and custom-built, multi-camera HD production systems for each full member school, the league will stream nearly 250 live home games in the fall from a variety of men and women’s sports, including football, basketball, field hockey, volleyball, and soccer.

Designed and built by Applied Video Technology, a systems integrator based in Malvern, Penn., each “VidCaster 455” system is anchored by three GY-HM600 cameras and a NewTek TriCaster 455 integrated production system. “We designed the VidCaster 455 to be a self-contained HD production system that’s easy to transport and set up,” Bruce MacLelland, owner of AVT. “We think the JVC GY-HM600 is perfect for the Patriot League. It’s affordable, works well as studio configs or as a handheld, and has a built-in 23x zoom lens that’s a great choice for sports.”

According to Richard Wanninger, Patriot League senior associate executive director, the new systems were deployed starting in mid-August, and the new site, www.campusinsiders.com/network/patriot_league, went live on Aug. 26. “We are excited to have the opportunity to get cameras of this quality,” said Wanninger. “For action footage, it’s unbelievable. We are able to capture the action better than we could in the past, especially with the zoom features.”

Bucknell University in Lewisburg, Penn., produced the inaugural live event using a new VidCaster 455 system, providing coverage of its women’s soccer season opener, a 3-0 victory over Rider University, on Aug. 23. Prior to the VidCaster 455 system, Bucknell had relied on Canon GL2 mini-DV cameras for game coverage.

Doug Birdsong, the radio/TV coordinator at Bucknell University, reported very positive reactions from viewers and staff following the first production using the new JVC cameras. “There was no comparison. The picture quality – it just blew everyone away,” he said. “With sports, the action happens so quickly. The zoom is incredible. It’s fast and you don’t get a fuzzy image. All I could say was, ‘Wow.’”

The Bucknell crew kept its GY-HM600s on tripods for the first production, but has already added handheld footage to football coverage. With its built-in BNC connector for SDI output, the camera is ideal for mobile sideline shooting, Birdsong said.

The GY-HM600 features three, 1/3-inch CMOS sensors that deliver excellent sensitivity in low light, which was put to the test during Bucknell’s first production. The soccer field was not evenly lit – one end of the field was noticeably darker – but Birdsong said there were no significant issues with contrast between the cameras.

Beyond game coverage, the new JVC cameras are being used to produce highlight and feature packages. The Patriot League purchased an additional GY-HM600, housed at the league’s main offices in Center Valley, Penn., to produce clips on student athletes and alumni throughout the year. Member schools are producing their own packages as well.

With its .MOV native file recording and use of non-proprietary SDHC or SDXC media cards, the GY-HM600 has ushered in a tapeless ENG workflow for Bucknell. Birdsong said post production is much easier now, as he can quickly access clips from Final Cut Pro without transcoding.

“There are just a lot more features with the JVC GY-HM600,” he added. “Particularly for what we were hoping to do, it offers the best solution for the schools in the Patriot League.”

“The Patriot League features tremendous student athletes and programs, and we are proud to be partnering with them,” said Crowley Sullivan, general manager of Campus Insiders. “This is a great match of college sports content and Campus Insiders’ distribution platforms that will enable us to best serve the fans of the Patriot League and its member schools.”

ABOUT THE PATRIOT LEAGUE

The Patriot League continually demonstrates that student-athletes can excel at both academics and athletics without sacrificing its high standards. The Patriot League’s athletic success is achieved while its member institutions remain committed to its founding principle of admitting and graduating student-athletes that are academically representative of their class. Participation in athletics at Patriot League institutions is viewed as an important component of a well-rounded education. Starting on July 1, 2013, the Patriot League full membership is be comprised of American University, Boston University, Bucknell University, Colgate University, College of the Holy Cross, Lafayette College, Lehigh University, Loyola University Maryland, United State Military Academy and United States Naval Academy. In addition, Fordham and Georgetown are associate football members, and Georgetown and Massachusetts Institute of Technology are associate women’s rowing members.

ABOUT AVT

Since 1996, Applied Video Technology, Inc.’s philosophy has been very simple – find the best digital media solution that meets our customer’s needs; take the time to understand our customer’s application; find the right equipment; design a system that uses that equipment to its fullest potential; integrate that system correctly the first time. Our staff has over 150 years of combined experience in providing quality editing suites, conference rooms, broadcast television facilities, private TV digital signage networks, and everything in between. Find out more at www.appliedvideo.com.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC Kenwood Corporation. JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment, D-ILA front projection systems, and Super LoLux HD video security products. For further product information, visit JVC’s Web site at http://pro.jvc.com or call (800) 582-5825.

Video Clarity’s ClearView Extreme 4K A/V Analyzer Makes European Debut

Latest Generation of Video-Quality Analyzer Measures Subjective Picture Quality in New 4K Formats

CAMPBELL, Calif. — Sept. 4, 2013 — Video Clarity Inc., provider of market-leading audio and video quality-assessment and analysis systems, today announced the European debut of its ClearView Extreme 4K video-quality analyzers. The analyzers provide a new level of input/output capability and performance in subjective picture-quality comparison for researchers in broadcast and consumer product manufacturing, as well as engineering departments in television broadcasting, cable, and IPTV program-delivery networks. In fact, several leading broadcast engineering groups have already adopted the solution to help maintain their leadership positions.

“With the continuing advancement of new coding algorithms for entertainment program delivery, new processing devices for flat panel televisions, and evolving compression schemes, the requirements of digital content distribution have increased dramatically,” said Adam Schadle, vice president of Video Clarity. “ClearView quality-analyzer solutions allow broadcast engineers and researchers to understand the generational and picture-quality potential of new 4K formats.”

The ClearView Extreme 4K analyzers are capable of interactive playback and comparison of two uncompressed 4K (3840 X 2160) sequences at up to 60 Hz in real time. With the easy-to-use ClearView solution, users can import and play A/V sequence files to compare processed video to original sources with new 8- and 10-bit high-resolution displays, and also to test for perceptual video quality.

ClearView is a state-of-the-art test and measurement analyzer for A/V quality, subjective viewing, recording, and playing virtually any resolution of uncompressed sequences. ClearView provides various tools for assessing perceptual quality and performance of video and audio. The product line includes three full-reference scoring methods or scales, all of which are based on algorithms that have been developed to estimate perceived quality in a precise way. The results of those algorithms are then correlated against correctly produced subjective data under ITU-R BT.500.12. The result is a perceptual measure of subjective quality.

Video Clarity will demonstrate ClearView Extreme 4K at IBC2013 on stand 2.C57. More information is available at www.videoclarity.com.

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About Video Clarity Inc.
Video Clarity Inc. provides audio- and video-quality assessment and analysis systems for researchers, broadcasters, equipment vendors, and entertainment distribution engineers that must continually measure the quality of their products and services. Propelled by market-leading technology, Video Clarity solutions have been adopted the world over by major media networks such as NBC Universal and BSkyB; leading broadcast-product manufacturers such as Cisco(R) and Harmonic(R); and educational, government, and research organizations such as the Royal Melbourne Institute of Technology, the U.S. Army, and NASA. Video Clarity was founded in 2003, with headquarters in Campbell, Calif., and distribution worldwide. Additional information is available at www.videoclarity.com.

Photo Link: www.wallstcom.com/VideoClarity/ClearViewExtreme4KAngle.zip

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Camera Corps Q-Ball Used to Capture Announcement of the Birth of Royal Baby

Remote System Provides Clear View of the Action

LONDON, ENGLAND, AUGUST 29, 2013 — The Q-Ball robotic camera system from Camera Corps, a Vitec Group Company, and a leading innovator of specialty remote cameras and camera support systems, was used by the BBC to provide clear, uninterrupted images of the announcement of the arrival of the royal baby and when he was first seen by the world. BBC Television used the unique positioning aspects of the Q-Ball system to capture high-definition footage of both the entrance to St Mary’s Hospital, London, and of reporters, television camera crews and photographers gathered from around the world to cover this momentous event. Images both of the hospital entrance and the assembled news media were televised live and recorded for subsequent broadcast, including nationwide news coverage in the U.K. and internationally the same evening.

“Camera crews attending this type of event traditionally find themselves working in competitive conditions, comparable to a rugby scrum, as each crew vies for a favourable position,” explains Camera Corps Managing Director Laurie Frost. “Because of its remote operation design, Q-Ball gave the BBC crew much greater freedom in where the camera was positioned. The pan/tilt/zoom head was mounted on a lamp post above the news media fray, ensuring stability and a clear field of view of all aspects of the situation. The system was then operated not from the roadside but from the much more professional environment of a satellite news vehicle where the video output could be viewed under control-room monitoring conditions. The Q-Ball, with its integral pan/tilt/zoom/focus system, is suitable both for indoor and outdoor use and was fully able to contend with the 30 degree Celsius (86 degree Fahrenheit) summer day which, by British standards, constituted a heat wave.”

Camera Corps’ Q-Ball offers a robust, high-level full broadcast quality mini-cam system with excellent performance in the most demanding remote camera applications. An ultra-compact, weather-resistant HD/SD remotely controlled camera, it features an integral 10-times-zoom optical lens and smooth-accelerating pan/tilt motors. Housed in a robust 115-mm diameter aluminium sphere, the Q-Ball camera has a two-megapixel CMOS sensor and is capable of operating in daylight or with infrared illumination. It delivers 1080i/720p high definition or 625/525 standard definition imagery at 50- or 59.94-Hz refresh rates. In addition, its ease of use makes for prompt on-location installation.

About Camera Corps Ltd.
Camera Corps Ltd. is a leading innovator of specialty remote cameras, tracking systems and camera support systems. A Vitec Group Company, Camera Corps is recognized for the development and manufacture of bespoke camera systems. Today, the company’s solutions are employed worldwide by leading broadcasters and producers looking to capture sports, entertainment and reality TV performances from unique and often previously unattainable angles.

The Camera Corps equipment fleet encompasses HotShots, MiniShots and array of remote specialist cameras and lenses, remote underwater systems, cranes, platforms and dollies, Equipment of Camera Corps’ own design includes the iconic Q-Ball, Q-Ball Preset and RF Q-Ball, as well as bespoke builds such as Pop-Up Ice-Cam. Baseball Base Cam, Archery Cam, Underwater Remote Cam, Slalom Pole Cam, Helmet Cam and Body Cam

For more information, visit http://www.cameracorps.co.uk.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – advancing the quality and science of media production.

Forbidden Joins Invitation-Only IBC Workflow Connexions Club

LONDON — Sept. 4, 2013 — Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform FORscene, announced today that it has become a member and sponsor of IBC Workflow Connexions, an invitation-only club that brings together professionals from the workflow community all in one place — both online and on site — at IBC2013. Using innovative Near Field Communication (NFC) “Touch & Connect” technology, the more than 1,000 Workflow Connexions club members can exchange and collect data quickly and efficiently in a single touch in the IBC Workflow Solutions area and on stands around IBC.

“Forbidden is excited to be a part of this exclusive and innovative new program at IBC,” said Greg Hirst, business development director, Forbidden Technologies plc. “Since improved post-production workflows are such a huge part of our value proposition, we really appreciate this chance to demonstrate how FORscene can save time and money for companies both large and small, and to connect so easily with the companies who are most interested in it.”

As a Workflow Connexions sponsor, Forbidden will present a case study via partner deltatre. Jim Irving, commercial director at deltatre, will present “The Cloud and Digital Media Sports Workflows,” a case study highlighting the partnership between Forbidden and deltatre to deliver sports coverage. The presentation, which will take place at the Workflow Solutions area in Hall 9 on Saturday, Sept. 14 at 2 p.m., will showcase how the European Tour is using FORscene to deliver content to golf fans around the world.

Sponsorship also gives Forbidden the opportunity to put information about FORscene directly into the inboxes of prospective and current buyers, as well as access to a group of specially selected buyers both at the show and for up to six months afterward.

All club members will have access to an exclusive online portal where they can view all of their connections, read exhibitor literature, and see case study presentations on their own personalised Web pages. In addition, members will be able to view workflow video session recordings after IBC. They will also be admitted to a dedicated club lounge where they can pick up their badges and set up their accounts with technical support on hand.

Forbidden joins a short list of other member-companies that have core businesses in cloud services; media asset management; playout services; storage or archiving; and systems integration, service, or technical support. All members have specific levels of purchasing authority that will enable Forbidden to connect easily with a targeted group of buyers.

Forbidden will demonstrate FORscene at IBC2013 on stand 7.J15d. More information about FORscene is available at www.forbidden.co.uk.

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About Forbidden Technologies plc
Forbidden Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, FORscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, FORscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. Listed on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations including Atos, BIM, deltatre, EVS, and Key Code Media. More information is available at www.forbidden.co.uk.

Photo Link: www.wallstcom.com/ForbiddenTechnologies/IBCWorkflowConnexions.zip

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CIMM and SMPTE Take Critical Next Step Toward Industry Adoption of a UPC for All Professional Video Content and Ads

Study Group Session Including Networks, Advertisers, and Engineers Meets to Explore Binding of Unique Content Identifiers to Media

NEW YORK — Sept. 3, 2013 — The Coalition for Innovative Media Measurement (CIMM) and the Society for Motion Picture and Television Engineers (SMPTE) today announced they have commenced work on a critical next step toward widespread industry adoption of Ad-ID and Entertainment Identifier Registry (EIDR) coding for all advertising and video content assets. At the center of this effort is the establishment of the optimal open standard technical solution for the actual binding of Ad-ID and EIDR identifiers to video assets. The media industry currently has no standardized, open method of directly associating content identifiers with the audiovisual content itself.

CIMM’s advocacy platform, commonly known as Trackable Asset Cross-Platform Identification (TAXI), calls for all sides of the media ecosystem to coalesce around unique identifying codes — similar to the ubiquitous Universal Product Codes (UPC) used in many other industries. These codes are provided by either Ad-ID, the industry standard for identifying advertising assets across all media platforms, or EIDR, a global registry for unique identification of movie and TV content.

Participating organizations that embrace the Ad-ID or EIDR coding as well as CIMM and SMPTE’s forthcoming open standard technical solution can better monetize video assets across distribution platforms, increase efficiency and accuracy of media workflows, and improve cross-platform media measurement by making it easier to track assets across television, broadband, and mobile video.

“Today, the transfer of content throughout the media ecosystem is rife with thousands of siloed, proprietary avenues that have resulted in massive inefficiencies, errors, and waste,” said CIMM Managing Director Jane Clarke. “The growing support for the TAXI initiative is a testament to the frustration with the existing system and a sincere willingness to effect change.”

As part of this initiative, CIMM and SMPTE formed a study group comprising CIMM members and representatives from media organizations, ad agencies, and vendors who are meeting regularly to discuss the issues and challenges, and ultimately, to agree on the best binding process to enact. The study group held its first session on Aug. 13, and the discussion focused on creating a roadmap to define such things as use cases, technical requirements, and binding technology candidates, all of which will provide valuable input to the group’s expected report. The outcome will be a key next step for the TAXI initiative and successful industry-wide adoption.

“We are fully supportive of the effort underway to implement a UPC type of embedded identification for professional video content and advertisements,” said SMPTE Executive Director Barbara Lange. “We are eager to lend our engineering expertise to support such an important endeavor and we are looking forward to evaluating potential technical solutions in the months ahead.”

Part of the group’s Charter is to author a request for information (RFI), soliciting input from the industry at large for approaches to binding IDs to media.

Technical solution providers are encouraged to participate and can contact the study group Chair Chris Lennon, at clennon@medianswers.tv.

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About CIMM
The Coalition for Innovative Media Measurement (CIMM) is comprised of leading video content providers, media agencies and advertisers that aim to promote innovation and foster efficiencies in audience measurement for television and cross-platform video. CIMM explores and identifies new methodologies in audience measurement and verifies these approaches through a series of pilot tests and studies conducted with independent measurement companies. CIMM’s primary focus is on two key areas: the current and future potential of television measurement through the use of return-path data, and new methods for cross-platform media measurement. www.cimm-us.org

About the Society of Motion Picture and Television Engineers
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. SMPTE members include motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students from around the world. Information on joining SMPTE is available at www.smpte.org/join.

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