Archive for September 16th, 2013

IABM Awards for Design and Innovation, Including Coveted IABM Peter Wayne Award, Announced at IBC2013

GLOUCESTERSHIRE, U.K. — Sept. 15, 2013 — The IABM (International Association of Broadcasting Manufacturers) today announced that Active BNC from Canare has earned top honors, the prestigious IABM Peter Wayne Award, at the 2013 IABM Awards for Design and Innovation event. Four other winners of the 2013 IABM Award for Design and Innovation were also honored: the Neuron from Axon, HDK-97ARRI from Ikegami, Dialogue Search from Nexidia, and Nexidia QC from Nexidia.

“Currently, our industry is being severely tested as our customers are being forced into an unprecedented rate of rapid change to meet the demands of the modern-day content consumer. We are currently spending, on average, 14 percent of our sales revenue each year on R&D and NPD,” said IABM Director General Peter White. “I am always amazed by the ingenuity and innovation of broadcast and media technology vendors when presented with challenges, and this year’s winners have been no exception; they have produced some truly incredible new products. Our judges have decided that Canare’s Active BNC represents the pinnacle of innovation, and we congratulate Canare and all winners and finalists on their achievements.”

The IABM awards program is open to all manufacturers, suppliers, and service providers globally. It recognizes products that offer significant solutions or new opportunities to the broadcast and media technology supply industry. In addition to selecting five winners of the IABM Award for Design and Innovation, the panel selects from these one overall winner. The top award is named in memory of Peter Wayne, a highly respected industry figure who, through his career and participation in many groups including the IABM, made outstanding contributions to broadcasting.

The awards reception took place on Saturday, Sept. 14, during the IBC2013 Conference and Exhibition in Amsterdam.

Information about the IABM is available at

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About the IABM:
The IABM, the International Association of Broadcasting Manufacturers, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, training, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication among broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis. For more information, please visit

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BTV Post Completes Successful Beta Test of Snell Alchemist OD for HD, 2K, and 4K Conversions

Postproduction Company Uses New Software-Based Solution to Convert Video From 25Hz to Digital Cinema 24Hz

AMSTERDAM — Sept. 14, 2013 — Snell partner BTV Post has completed the world’s first successful conversions of low-frame-rate video in a beta test of Alchemist OD, the new software-only version of Snell’s acclaimed Alchemist Ph.C-HD standards converter. BTV Post conducted tests on a variety of challenging and complex material and applied Alchemist OD to convert the footage from 25Hz to Digital Cinema 24Hz.

“With Alchemist OD, Snell has brought its Ph.C technology — long recognized as the gold standard for motion-compensated, frame-rate standards conversion — to the file-based realm. Since 90 percent of BTV Post conversions either begin, reside, or end in the digital file domain, Alchemist OD is the answer we have sought for conversions that provide unrivaled quality and breathtaking results,” said Jon Lee, chief technology officer, BTV Post. “Plus, with Alchemist OD Snell has now found the holy grail of low temporal-rate standards conversion by enabling us to convert from 24p/25p/29p to any other frame rate and even return to interlaced formats. Ph.C works its magic on all frame rates to deliver dazzling results every time.”

Snell’s Alchemist is the industry’s first conversion line to address the daunting challenges of converting digital cinema and other content that is typically created at low temporal rates, including 23.98, 25, and 29.97Hz. Previously, converting such material meant compromising picture quality unless the speed of the playback was altered, an especially unsatisfactory option for music and performing arts content since the off-speed playback results in a change in pitch. Alchemist OD, however, offers the unique ability to perform high-quality 4K conversions at these low temporal rates without affecting the audio.

Alchemist OD is the first product to utilize Snell’s On Demand technology, a media processing framework that provides instant access to Snell’s award-winning signal-processing algorithms in file-based, virtualized broadcast and digital media environments. With Snell On Demand software solutions, users can rapidly enter new markets and create new services that open up additional revenue-generation opportunities. This approach enables cost savings through the use of standard IT hardware and supports highly efficient operations that enable 24/7 asset use.

“This collaboration is the second time that BTV Post and Snell have worked together on a beta project for the Alchemist product line. We knew BTV Post and its sister company, Electric Sky, would be ideal partners for testing Alchemist OD because of their extensive and varied catalogue of premium content, and also their requirement for delivering titles on all platforms and in all territories at every possible frame rate and size,” said Paola Hobson, senior product manager at Snell. “Even when pushed to these high tolerances, Alchemist OD demonstrated all of the best qualities of the On Demand framework, providing a fast and efficient means of delivering pristine quality even with high-end 4K content.”

More information about Alchemist OD and the Snell On Demand platform is available at

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About BTV Post:
BTV Post is a cutting-edge production facility house leading the way in HD and 3D. BTV Post is at the forefront of postproduction, video editing, and digital media. Sister company to Electric Sky and Electric Sky Productions, BTV Post was incorporated in January 2005 to meet a requirement by its parent company, Brighton TV, for postproduction services. For more information, visit

About Snell:
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at

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

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Sony to Promote Nexidia Technology to Top-Tier North American Customers

ATLANTA — Sept. 14, 2013 — Nexidia, developer of dialogue and audio analysis products and technologies for optimizing audio and video media, today announced an agreement with Sony whereby Sony will assist in promoting Nexidia products and technology to select customers in the media and entertainment industry who can benefit from their joint solutions. In doing so, Sony will add value to its existing and prospective customer relationships by introducing those customers to innovative solutions that could change the course of their workflows for the better.

“This arrangement with Nexidia is an example of Sony’s emphasis on collaboration with select companies for the benefit of our customers,” said Steve Stubelt, vice president, New Business/Solutions Development at Sony. “Promoting Nexidia’s products to our customers exposes them to technology that could have a significant and positive impact on their operations.”

“Sony has long-standing relationships with some of the leading innovators in film and broadcast, and a level of access that is hard to understate,” said Drew Lanham, senior vice president and general manager of Nexidia’s Media and Entertainment division. “These companies are precisely the ones that could really benefit from our products. Sony’s introductions to decision-makers at these companies not only open great opportunities for Nexidia, but make the companies aware of products that can help them solve challenges in their existing workflows or enable workflows they didn’t know were possible.”

Nexidia technology will be on display at IBC2013 on stand 3.A46. More information about Nexidia products is available at

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About Sony Electronics
Sony Electronics’ Professional Solutions of America group develops and manufactures video and audio technologies for a range of professional production applications  from HD to 2K to 3D to 4K and more. These include broadcast television and motion picture production, live event production, event videography, ENG/EFP, digital cinematography, digital cinema, videoconferencing, medical, visual imaging, digital signage, remote system diagnostics and monitoring, and IP surveillance and security. Sony professional technologies are used in a range of market segments including houses of worship, government, healthcare, education, and hospitality, among others.

About Nexidia
Nexidia is the audio and video search company with patented technologies and breakthrough applications that make it quick and easy for customers to gain new insight, boost their competitive advantage, and monetize large volumes of audio and video assets from entertainment, sports, news, education, corporate, government, financial, house of worship, and non-profit organizations. More information is available at

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Vantastic Studios and Vaddio Create a New Filmmaking Paradigm in Hollywood

It may be the 21st century, but filmmaking still happens pretty much the way it did 50 years ago: The director shoots scenes on a set or on location, takes the raw footage back to a production studio and edits everything into a finished movie at some later date. It’s a time-consuming—if time-honored—method for making movies, television shows and even digital content found on the web.

Vantastic Studios, established in 2012, aims to change that. While they’re not making movies (yet), they are standing the filmmaking process on its head by creating a complete editing studio inside a customized luxury van. This approach enables them to create original content on the fly, without stopping the action to set up the next scene.

Ross Kolton, Vantastic’s Director of Production, calls this new type of filmmaking “disruptive media”—a riff on the term “disruptive innovation”—because this new model breaks existing boundaries and creates a new market space. Disruptive media enables performers to engage with people in unexpected ways, creating a type of performance art. For example, Vantastic Studios has produced several segments in which they capture the reactions and commentary of comedians riding around Los Angeles on people-watching expeditions. In some cases, the comedians jump out of the van to talk with passersby, frequently to hilarious effect. While this type of spontaneous production is a mainstay for Vantastic, they’re about to branch out into more sophisticated uses of the mobile film production studio.

“We’ve been experimenting with what this new approach is best suited for,” Kolton says. “Our method is the exact opposite of typical production techniques because we don’t design the concept and then figure out how to film it. Instead, we’re designing our content around the look you can get from the van’s cameras.”

In traditional filmmaking, the director sets up scenes or shots and then positions the cameras to capture the best angles. Usually, each scene requires multiple takes, with breaks in between to reposition the cameras. The challenge with this approach is that it limits spontaneity, a core element for many performers, like comedians, or for action-oriented scenes. Vantastic Studios solves this problem by continuously filming the action while switching camera angles, adjusting sound levels, and editing footage directly from the studio contained in the van.

And what a van it is. The luxury GMC Savana van seats six people, enabling Vantastic to transport their talent—actors, musicians, comedians, models—to a location for filming. As a fully-equipped mobile production studio, the back of the van contains all the tech components Kolton needs to run the show. Starring in this technology lineup is a Vaddio ProductionVIEW Precision Camera Controller.

“The whole idea was to create a mobile studio that can be operated by one person, and the Vaddio controller makes that possible,” said Kolton. “The way the controller’s set up just makes sense. I can simply twist to zoom. I can pre-set up to 14 angles per camera with the controller, and after that I’m just hitting buttons to edit as we roll.”

That “hitting buttons” part is crucial to successful on-the-fly editing. As the action unfolds, Kolton can see each camera’s view on three large monitors in front of him. To quickly cut from one camera to another, he simply pushes the corresponding button on the Vaddio controller. Kolton can pan, tilt or zoom any of the van’s cameras using the controller’s broadcast-quality joystick to capture precisely the shot he wants.

Besides its ease of use, Kolton appreciates the controller’s ability to integrate with non-Vaddio equipment. “It was easy to update the Vaddio firmware to work with our Sony cameras,” he said. In addition to the Vaddio ProductionVIEW controller, the van’s audiovisual equipment includes four external Sony high-definition pan/tilt/zoom cameras mounted on each corner of the van’s roof, along with another camera attached to a telescoping mast for wide-angle shots. Quick-release mounts on the exterior cameras allow them to be set up for location shots within five minutes. Inside the van, brackets along the ceiling hold lights and microphones for interior shots.

Vantastic’s mobile studio solves the problematic go-and-stop nature of traditional filmmaking. Under the old paradigm, comedians might be filmed riffing inside the van, then the director would yell “Cut!” and everyone would wait for several minutes while camera operators set up outside to continue filming. Later, when the sequence was edited together, it would look seamless to the viewer. But it wouldn’t have felt that way to the performer who lost his or her rhythm while waiting 15 minutes or more for filming to resume.

“This ability to continuously film is especially important for comedians, who can be captured improvising inside the van on the way to a show, chatting with fans waiting outside the venue and then entering the building to perform their act,” said Kolton. “They don’t have to stop and wait for exterior shots to be set up, which can affect their comedic timing.”

The Vantastic Studios approach allows performers to go on performing without interruption. As the action shifts from the van’s interior to the street, Kolton simply uses the Vaddio controller to switch shots from the handheld camera to one of the exterior cameras. With no cuts in the action, the performer can keep rolling—and so do the cameras.

“We often position a handheld camera operator in the passenger seat to film the talent inside the van, and then we use the external cameras to seamlessly follow the talent as they exit the van,” said Kolton. As they follow the performer, Kolton’s team captures footage that imparts a sense of immediacy yet boasts the polish of a broadcast quality production.

“We produced a segment where we took Cheryl Burke of ‘Dancing with the Stars’ and E! Entertainment host [Jason] Kennedy on a tour of Cheryl’s early hangouts in Hollywood,” Kolton said. More recently, Vantastic Studios produced an episode of “Punch Drunk Sports,” featuring comedians Ari Shaffir, Sam Tripoli and Jayson Thibault.
As Vantastic explores where their new approach to video and filmmaking will go, they can see possibilities in several areas where traditional videography doesn’t work well. Skateboard videos and other action sports would greatly benefit from Vantastic’s continuous filming approach. Live concerts, including footage of the band arriving and leaving, are another possibility.

“Eventually, we’ll do live streaming from the van,” Kolton said, which will take the seamless production method to new levels.

Vantastic’s original content can be seen in many places, from network television to the web. You’ll currently find Vantastic Studios productions on their YouTube channel (Vantastic Studios Network) and, soon, on their website. Meanwhile, Kolton and his crew will continue their endeavor to replace the old-fashioned “cutting room” with a custom van, using a little help from a Vaddio ProductionVIEW controller.

NUGEN Audio Announces MXF Option for LMB Processor

Powerful Offline Loudness Analysis and Correction Tool Now Supports Native MXF Audio File-Handling for Increased Time Savings and Efficiency

LEEDS, U.K. — Sept. 13, 2013 — NUGEN Audio, creator of intuitive tools for audio professionals, today announced the availability of a new MXF file-handling option for the company’s powerful Loudness Management Batch (LMB) processor. LMB is an offline loudness analysis and correction tool for OS X(R) and Windows(R) environments that delivers network-based, automated loudness-processing for large numbers of audio and video files without requiring user intervention. The new option introduces native MXF audio-handling that enables LMB to perform automated analysis and correction of audio in an MXF container while preserving all other data within the file.

“Our customers are audio professionals with very high standards for quality, who also have a need to work as efficiently as possible and deliver loudness-compliant audio. With LMB, we have addressed these requirements with a very efficient and cost-effective solution for automated loudness correction in a wide range of applications,” said Jon Schorah, NUGEN Audio creative director. “LMB’s correction and loudness criteria make it a reliable guarantor of compliance and a great complement to real-time mixing tools such as VisLM. Now, with a file-handling option for native MXF files, we’ve taken the system to a new level of time-saving and efficiency.”

A highly versatile tool for post-production, film, and broadcast, LMB is typically used as part of a content-management workflow, as a stage of QC to check compliance of incoming content from third parties, or as a routine way of double-checking content when editors are using other loudness tools in the studio. Based on NUGEN Audio’s loudness monitoring and correction engine, LMB performs faster-than-real-time processing on batches of files, saving time and preventing human error. For streamlined processing of video, LMB automatically examines video files to analyze audio content without changing the original files. LMB’s drag-and-drop interface and Watched Folders automate the process of checking and conforming files to multiple broadcast criteria, and optional command-line operation allows for full integration into existing asset management systems and procedures.

With the new MXF option, LMB can now analyze and correct OP-Atom and OP-1a operating patterns containing PCM and D10-encoded PCM audio data without first converting the MXF files to WAV format. With the ability to correct and deliver loudness-compliant audio in the original MXF format, the solution saves time and effort.

LMB is fully compliant with CALM, ITU-R BS. 1770, EBU R128, ATSC A/85, and other global loudness regulations and standards, offering audio professionals a complete solution for loudness and true-peak compliance. LMB checks and corrects for integrated program loudness, short-term loudness, and loudness range (LRA) targeting, making the system highly effective for optimizing material with a wide loudness range, such as movie soundtracks, some sports, and live music. LMB also provides a built-in back-stop limiter for managing true-peak levels.

The base version of LMB is now available for $999, and the advanced file-handling option for MXF is priced at $1,200. More information about LMB and other NUGEN Audio products is available at

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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

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

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Archimedia Announces Power Workstations for QC and Critical Viewing of Master Media Files on HD and UHD Screens

DELRAY BEACH, Fla. — Sept. 13, 2013 — Archimedia Technology, a new company whose technology and applications bridge the gap between content producers and their archives without loss of quality, today announced the release of two Power Workstations that enable critical viewing and quality control of master media files by quality control (QC) operators, archivists, managers, and other media professionals in the digital cinema and broadcast industries. The Power Workstations are driven by Archimedia’s breakthrough Universal Master Media Player software and come preconfigured for use in either HDTV or UHDTV environments.

“Configuring a computer for QC or critical viewing of master media files is a complex undertaking that can be very time-consuming, especially for the uninitiated, and it’s easy to overlook important criteria,” said Mark Gray, Archimedia president and CEO. “We used our experience with JPEG 2000 in SD/HD, DPX, Digital Cinema for 4K, and UHDTV to create Power Workstations that take the guesswork out of it. This is the perfect equipment for organizations that are transitioning from SD to HD, or HD to UHD, because it’s a single unit that plugs into any of those environments and handles any of those master file formats.”

The Power Workstations are built around Archimedia’s Universal Master Media Player software (formerly known as Archimedia Reference Player), the first software player to support multiple vendors’ JPEG 2000 and MXF formats, allowing users to view, test, and measure archival-quality files on a standard HDTV and traditional SDI equipment. The software is now available in two versions, the HDTV Universal Master Media Player and the 4K/Digital Cinema/UHDTV Universal Master Media Player, which are being released along with the new workstations. Each Power Workstation comes with a state-of-the-art HDMI graphics card, 70 alignment test patterns up to 4:4:4 12 bits, and remote control with a jog/shuttle/scrub device by Sony 9-pin protocol. (In another industry first, the remote control with Sony 9-pin protocol achieves “slo-mo”-type audio scrubbing, which is critical for hearing audio cues in postproduction and transcoding workflows.) An optional SDI card is available for SDI monitoring, and an optional Fibre Channel card enables use with a storage area network. Optional advanced test patterns up to 4:4:4 12 bits allow the most sophisticated users to set up critical workflows and systems.

The Power Workstations can lead to faster, cheaper, and more accurate workflows because they require no training; they enable staff to use master media files on a device with a traditional videotape player look and feel, rather than making transcoded copies to suit their existing equipment’s limitations, and they eliminate the need to reserve time in expensive dedicated production rooms for QC. Instead, QC work can be done elsewhere, freeing the existing dedicated rooms for their designed purpose.

For QC and analysis, operators can use the Power Workstations to compare their QC standards (templates) to the technical parameters they’re viewing on the HDTV or UHDTV screen overlays. They can simultaneously feed SDI to their existing SDI QC tools, such as vectorscopes and waveform monitors, and can also view and export MXF metadata about the video. For critical viewing, the Power Workstations display video on a user’s HDTV or UHDTV screen in full-screen mode at the source video’s native frame rate, aspect ratio, and color space for a more cinematic or UHDTV experience.

At $11,000 and $17,000, respectively, the HDTV Power Workstation and the 4K/Digital Cinema/UHDTV Power Workstation are priced to beat the cost of assembling a homegrown solution, especially considering the time and expertise required. Furthermore, the price point is far lower than the cost of dedicated systems that were meant for purposes other than critical viewing and QC, which start at $50,000 and can cost as much as $400,000.

The Archimedia Power Workstations are available now. More information about the Power Workstations and other Archimedia products can be found at

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About Archimedia
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bridge the gap between content producers and their archives without loss of quality. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

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TV Skyline Creates New OB Van Model With Snell’s Kahuna 360 Switcher and New Maverik — The First Truly Modular Control Panel

New Modular Control Surface Brings Unprecedented Flexibility to Configuration of Production Switcher Functionality for Live Television

AMSTERDAM — Sept. 13, 2013 — Snell today announced that Germany’s TV Skyline will use the industry-leading Kahuna 360 multi-format production switcher — equipped with brand-new Maverik control panels — along with a Sirius 840 routing switcher and IQ Modular infrastructure to build a new-generation OB truck optimized to meet the demands of large-scale events and live sports coverage. Utilizing five Make M/E(TM)-enabled units that can be configured into multiple, application-specific M/Es, the new truck will be 3G-capable and 4K-ready throughout. Maverik control panels will support the largest multiple-M/E live productions in less space while giving TV Skyline the flexibility to build a control interface that easily adapts to multiple events and event types.

“Product launches and similar live events are highly complex and can push broadcast systems and production staff to their limits, so it is critical to employ systems that can be tailored to the demands of a given event,” said Wolfgang Reeh, founder and CEO of TV Skyline. “Event-specific control solutions are only possible with a control panel system that enables the user to change the order and combination of the subpanels on an individual basis, and Snell’s Maverik is the only product to achieve this functionality. In combination with the Kahuna 360 system’s Make M/E technology, the Maverik panel will enable us to realize our vision of a uniquely customizable OB van.”

The TV Skyline OB truck build represents the first deployment of Snell’s new Maverik control panels for Kahuna 360 in a mobile unit. With its exclusive FormatFusion3 technology, which supports a mix of SD, HD, 1080p, and now 4K, Snell’s Kahuna 360 is the ultimate live production switcher, providing unmatched creative power and flexibility. The Maverik panel will give TV Skyline staff a flexible, quick, and readily accessible control interface for all features within the advanced Kahuna 360 mainframe.

“Our new Maverik control panels represent a significant departure from a traditional switcher control surface, which typically combines multiple M/Es with a setup and effects area in a fixed configuration, with a fixed set of buttons for each,” said John Carter, senior product manager at Snell. “Maverik modules can be assembled in a huge variety of configurations, assuring that the limited space in the mobile unit isn’t wasted on buttons, M/Es, and panels that aren’t needed.”

Maverik features modules for setup, effects recall, color correction, resizing, and clip store access — the functions that typically occupy the entire right side of a traditional panel. Other innovations include OLED buttons with user-assignable thumbnails, a touch screen at the M/E level rather than on the separate GUI for quick navigation, and the ability to assign RGB values to buttons for clear, confident operation.

TV Skyline’s new approach in OB truck design and space allocation was further enabled by Snell’s Sirius 840 routing switcher with Advanced Hybrid Processing. Many functions traditionally performed outside of the router are now internal to the Sirius 800 Series. Complete audio handling and processing, delays, and video and audio synchronization are handled without compromising routing functionality. Snell’s IQ Modular multi-channel fiber solutions will simplify signal routing between the van and various remote sites.

More information about Snell and the company’s products is available at

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About TV Skyline:
TV Skyline Film- und Fernsehgesellschaft mbH is a leading service provider for broadcast and multimedia events. Founded in 1991 and based in Mainz, Germany, TV Skyline provides clients with turnkey solutions for events ranging from FIFA World Cup to the world-famous Wagner festival in Bayreuth. The company also supports a number of large corporations at their annual shareholder meetings or major product launches around the globe. TV Skyline has 65 staff members and a pool of 200 freelancers. A fleet of comfortably furnished and highly equipped OB vans, SNG’s, and production vehicles meet all the requirements for 4K, 3G, HD, and SD productions, including Dolby 5.1. A growing part of the TV Skyline business is the development and production of a large number of special cameras and tracking systems, built as a result of extensive experience with using cameras in the field. More information can be found at

About Snell:
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at

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

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Custom EFX Enters the U.S. Market

Barcelona’s top design, animation, VFX and post shop to apply its award-winning aesthetic to U.S. ads, film and TV marketing, games and more.

LOS ANGELES—Custom EFX, one of Europe’s top boutique providers of visual effects, animation and post-production services, has opened a studio in Los Angeles. A rising star that has worked with agencies across Europe, South America and Asia for such brands as BMW, Nescafe, Samsung, Coca Cola and Ikea, the Barcelona-based studio is aiming to repeat that success in U.S. while targeting work in advertising, film, television, gaming and digital media. more

Facilis TerraBlock 6.0 to Support Adobe Anywhere for Video

Hudson, MAFacilis Technology today announced that the newest release of its TerraBlock Shared Storage System, version 6.0, is set to support Adobe® Anywhere® for video – a modern platform that empowers virtual teams using Adobe professional video tools to collaborate more efficiently on video productions. As a result, Adobe Anywhere users working from a centralized server connected to TerraBlock will be able to seamlessly use media across the network at advanced bit rates without moving files.

“Adobe Anywhere provides users with a highly collaborative video production process. Creative professionals can easily and securely access, alter and share centralized media – no matter where they are,” said Simon Williams, director of strategic relations at Adobe. “Our users will now be able to further enhance collaboration and accelerate turnaround by taking advantage of the high speed, bandwidth and performance of Facilis’ TerraBlock.”

On display at IBC 2013 (Hall 7, Stand D.05), Facilis’ TerraBlock is a high-performance, high-capacity shared storage system with multi-platform compatibility that offers Fibre Channel and Ethernet connectivity. Facilis will also showcase Adobe Premiere® Pro CC in its IBC booth as part of a collaborative workflow demonstration including TerraBlock and Empress’ eMAM Asset Management solution.

“Adobe continues to transform post production and content creation workflows with this game-changing technology,” said James McKenna, vice president, Facilis Technology. “Adobe Anywhere is quickly gaining interest from broadcasters and post facilities alike. By supporting Adobe Anywhere, we’re enabling the marriage of high-performance localized shared storage and a cutting-edge streaming solution that helps facilitate more collaborative craft editing.”

For more information about Facilis and TerraBlock, visit or stop by stand 7.D05 at IBC 2013.

About Facilis Technology
Founded in 2003, Massachusetts-based Facilis Technology, Inc. designs and builds affordable, high-capacity, turnkey shared storage and archiving solutions for post production and content creation professionals working in the film, television, education and audiovisual markets. Its production-proven solutions are fast and intuitive – making it easier for creatives to collaborate and work more efficiently. Flexible, scalable and compatible with industry-standard creative solutions, Facilis’ technology blends seamlessly into any studio environment – boutique, mid-size or large – and has been installed in more than 2000 facilities worldwide to date.

All trademarks and copyrights are property of their respective owners. All rights reserved.

World of Wonder Shoots Series for Logo and Bravo at Hollywood Center Studios

“RuPaul’s Drag Race” and “Property Envy” produce full seasons on the historic Hollywood lot.

Hollywood—Hollywood Center Studios recently provided shooting stages and other services to international entertainment company World of Wonder for two television series, RuPaul’s Drag Race and Property Envy. more


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