Thomson Video Networks today announced that its ViBE™ XT1000 Xtream Transcoder, an all-new high-density video transcoder for OTT, cable, and telco applications, was honored with an IBC 2014 Best of Show Award by TV Technology Europe. The award acknowledges technological excellence at IBC2014. Of all the products exhibited at IBC2014, the ViBE XT1000 was one of only 14 products to win the award.Read more
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Company to highlight award-winning software-defined video solutions at SCTE Cable-Tec Expo Portland, Ore. – September 18, 2014 – Elemental Technologies, the leading supplier of software-defined video solutions for multiscreen content delivery, today announced that it was recognized at IBC 2014 with an IABM Design & Innovation award for Elemental® Delta, the company’s newly launched video delivery platform for the monetization, management and distribution of multiscreen video. The company also received recognition with IBC Innovation Award winners Turner Sports and Vienna State Opera as well as finalist BBC. The company will showcase its award-winning video solutions at the SCTE Cable-Tec Expo in Denver, Colorado, September 22-25.Read more
HHB Communications hosted the world debut of the new RØDE Stereo VideoMic X at IBC 2014 in Hall 8 on Stand 8.D56.
RØDE’s VideoMic range of microphones have become the industry standard for on-camera audio recording with camcorders, DSLR cameras and portable audio recorders. The flagship Stereo VideoMic X (SVMX) provides the highest level of performance of any stereo microphone from RØDE by providing broadcast-quality audio via an acoustically matched pair of true-condenser capsules.Read more
HHB Communications Ltd. debuted several important broadcast audio products with co-exhibitors TC Electronic, Dynaudio Professional, Roland and Mogami at IBC 2014 in Hall 8 on Stand 8.D56.
With a strong focus on the latest loudness hardware and software technologies, HHB can assist you in meeting the Digital Production Partnership’s October 1st deadline for AS-11 file delivery and R128 loudness criteria. As such, HHB is hosting the world debut of the TC Electronic’s aNorm adaptive normalisation algorithm and the 1U Loudness Pilot, plus the latest software for TouchMonitor audio and loudness meters.Read more
HHB debuts ground-breaking loudness technology from TC Electronic at IBC 2014
HHB Communications Ltd. hosted the exclusive world debut of the new aNorm loudness algorithm and the latest products from co-exhibitors TC Electronic at IBC 2014 in Hall 8 on Stand 8.D56.Read more
HHB Communications Ltd. released a new issue of the Pro Audio Report at IBC 2014 in Hall 8 on Stand 8.D56.
Revered as a leading source of information on the latest professional audio developments and industry trends, the strength of the Pro Audio Report lies in its strong editorial focus and comprehensive content. Issue 2 is comprised of 40 pages of essential information on pressing industry topics and in-depth pro audio product information for the broadcast, education, music recording, OB, post, radio, television and video game markets.Read more
aNorm is a hi-resolution loudness adjustment technology perfectly in line with the spirit and goals of new audio broadcast standards. It represents the advance over first generation streaming correction which relied on heavy processing to achieve a desired loudness target value, or to soften transitions between programs.
‘aNorm’ is a new, original and highly innovative approach to loudness adjustment that learns the incoming program on the fly and adapts seamlessly to hit user-defined Targets for Program Loudness and Loudness Range (LRA). It delivers uncompromised audio that has not been dynamically processed unless requested.Read more
At IBC2014 in Amsterdam Thomson Video Networks' U.K. sales director, Are Olafsen, co-presented a panel discussion titled "TV in Transit to Cloud TV" with Ajey Anand, co-founder of NORIGIN Media, a TV Everywhere Company. The session, part of the IBC Content Everywhere Cloud Solutions conference, began at noon in the Hall 3 theater area at the RAI convention center.
"TV in Transit to Cloud TV" offered a reality check of how the cloud is being used within premium multi-screen TV services. Anand presented the lengthy journey that still remains for cloud TV to become a commonly used method for delivering services in a constantly expanding OTT services market. He also described the current state of cloud TV services. NORIGIN Media representatives presented the evolution of live cloud encoding and hosting services over the past 10 years, and Olafsen explained why the cloud is becoming a huge topic of interest and represents the future of hosted services.Read more
At the IBC Exhibition Stand 11-C20 new Fujinon lenses will be added, such as the ZK12x25 (25-300mm) to its 4K FUJINON ZK-Series (Cabrio) lens range in Europe. Fujifilm was the first lens manufacturer in the world to develop and introduce a 4K full servo lens to the global market. The advantages of new ground breaking optical technology lays in the concept of a 4K PL-Mount light weight cine zoom lens that can be operated just like standard ENG Broadcast TV lens. ZK-Series (Cabrio) lenses close the gap between TV Broadcast & Cinematographic production techniques.Read more
The new sales & service branch office for the Fujinon brand has been established South West of London in Raynes Park. The new branch office will be dedicated to sales & service in the territory of the United Kingdom and Ireland. It is equipped with the latest service technology in order to provide excellent service to our valued clients in that region. In addition, the sales & service team has been increased by the addition of a new Key Account Manager (Mr. Chris Williams) and new Service Manager (Mr. Dan Waller).Read more
- Enterprise-level platform designed to deliver high-quality live captions in various languages, from multiple locations
- Schedule-driven software with centrally stored captions maximizes value of data for onward delivery
Ericsson today unveiled its real-time platform that supports live captioning in various languages for broadcasters around the world using speech-to-text, newsroom integration, and rapid offline content preparation. The live platform makes its IBC debut this year, and is a key part of Ericsson's Broadcast and Media Services portfolio following the acquisition of leading media services company Red Bee Media in July.Read more
IBC2014 is nearly upon us. Matt Brittin, President, Google Europe will be there. Senior executives from BBC Worldwide, BSkyB, BT Sport, Orange andProSieben will be there. Over 1,500 world class innovators will be present. More than 52,000 professionals and your peers will be there too.Read more
Ross Brand-it becomes second Bannister Lake software solution specifically designed for Ross customers
Bannister Lake’s strategic relationship with Ross Video continues this week at IBC2014 as Ross introduces a new branding solution based on Bannister Lake’s broadcast automation software. The out-of-the-box solution provides Ross with a solution that is simple to integrate, giving their customers an out-of-the-box on-air branding solution that is easy to use and navigate.Read more
Next-generation, multichannel branding solution supports integrated graphics template creation and streamlined workflows from creation to air
Imagine Communications, a market leader of media software and video infrastructure solutions serving the global broadcast, multichannel video programming distributor and enterprise markets, today announced plans to unveil Nexio® Channelbrand™, a next-generation, multichannel branding platform, at IBC2014 in Amsterdam. Nexio Channelbrand is the first Imagine Communications offering to feature cross-platform animation builder capabilities, which enable an integrated approach to graphics template creation and allow for simplified and streamlined workflows from creation to air.Read more
Apple Could Make it Easy to Adopt miCommerce
Filthy Money – Everyone in the tech fields has been throwing a whole lot of time and effort into convincing you that there’s a better way to buy things than with hard cash or rigid plastic. Apple might have all the pieces in place to make it easier to do with a wave of your hand … we’ll see.
Just to set the record straight, I didn’t see any of the unclothed actress photos and didn’t even bother searching for them after my wife told me she blocked all the locations on my devices. Just looking, staring, ogling never seemed very satisfying to me. Were the exposed individuals really that upset or acting? Don’t know, don’t care!
4K 4Charity Fun Run at IBC
click for more images
With the content industry in an era of rapid transformation, AJA Video Systems showed NAB attendees it isn’t just one of the best disk recorder producers around, it’s also destined to be on the cutting edge for cinematographers.
At its press breakfast, Nick Rashby, AJA President, proved that he and his team have been listening to customers by unveiling the company’s new CION 4K cinema camera, which should be available for delivery mid-year.
Priced at $9,000, the CION sits between BlackMagic’s new URSA and the 6K Red Dragon Scarlett; but it offers the best features of both cameras and even outshines them in a number of ways.
Rashby explained that the elegant camera cradled on his shoulder was the result of several years of development that enabled them to not only incorporate the features and capabilities production people want but also some of the latest advances in camera design/manufacturing. Ultimately, they were able to make the CION a long-term solution for folks in the studio and in the field.
While you wouldn’t call it rocket science, one of the first things you notice is that the camera’s built-in shoulder mount looks as though you could carry it for hours. With the ULTRA HD CION’s 6.4 lb. magnesium chassis, it’s also remarkably light and should stand up very well in the most rugged field use.
The CION features an internal Apple ProRes 444 to directly record 4K video and also enables slow motion shooting at frame rates up to 120fps via 3G-SDI.
That’s thinking like filmmakers, broadcasters, content creators who simply want to point-and-shoot.
Designed for people who make their living staring through the viewer, the CION features 12-bit recording, a PL lens mount, APSC-sized global CMOS sensor and 12-stop dynamic range.
Showing they gave a lot of thought to the real world user, all of the interface controls are on the side of the camera, facing the operator so you have full control of all of the camera’s functionality.
The AJA software is also very elegant and doesn’t have the old-fashioned sub-menu navigation you usually had to wade through, which is a refreshing change for a seasoned camera person and logical for today’s up-and-coming indie filmmaker.
CION’s confidence monitor is nicely integrated so it not only displays the menu information but also real-time imaging, putting the camera person in full control of all of the operations.
The camera also offers some impressive network-based control with the LAN (local area network) connection and web-browser UI (user interface) for complete remote configuration/control whether you’re shooting on a crane, jib or car mount.
The camera will output AJA Raw video at up to DCI 4K at 120 fps, via quad-link 3G-SDI output; and up to 30 fps over the new high-speed Thunderbolt connection.
There are a number of subtle but important design features that show the company really thought about the end users rather than just their environment/control as so many seem to do today.
For example, their integrated steel rosettes allow for mounting industry-standard accessories such as handgrips and handle extensions directly to the camera body. The open approach to design also includes integrated cheese plates with standard tapped holes. These cheese plates are fitted to both the top and the bottom of the chassis, to provide easy mounting of accessories from both AJA and third parties.
Introducing the CION just two years after their main competitor Blackmagic, Rashby noted the new camera was a logical progression for the firm because they were already doing a great job of delivering the back half of the cameras.
It often escapes many people when they’re talking up a new camera, but one of the things we understand is that it’s not just about capturing great images, it’s also about storing them and moving them easily, securely to post production.
That’s one of the reasons we are really impressed with AJA’s CION.
The CION uses AJA’s proven SSD-based Pak storage, while some cameras have opted for smaller, more expensive and arguably faster Cfast flash memory storage.
Recording RAW with Cfast at 380mb/s would mean you can record five minutes of 30fps material to a single 120gb card. Recording 60fps would need two cards.
You end up spending about $2,000 for storing five minutes with 60fps.
Do 30 minutes of content and you have a stack of 12 cards costing about $13K, which doesn’t make a whole lotta’ sense for a camera that was cheaper.
Suddenly the CION is “a little less” expensive to own/use.
Currently, the AJA Pak 256 and 512GB SSDs are only available from the company; but hopefully, they’ll do like Blackmagic did with their earlier cameras (and others do, as well) and certify third-party suppliers.
That will make the storage of more 4K/UHD and 2K/HD content a lot less expensive and you can easily transfer footage over high-speed Thunderbolt or USB 3.
The people at SanDisk, Micron, OWC and others offer 10s of millions of general- purpose, high- performance SSDs every year and when camera manufacturers work with them to develop higher-capacity storage solutions for cinematographers, it sure has a positive impact on the project budget.
Just saying CION might be a more economic, more open solution to consider.
More to Offer
While Rashby was justly proud of the soon-to-be delivered CION, AJA had a couple of other impressive announcement for behind the camera.
For those folks who do more than just shoot great stuff, AJA released a new mini-converter – LUT (look up table) box for precise color and look management.
The new units allow monitors to display accurate color and look for any SDI video signal.
As Rashby noted, it is becoming increasingly important that post people know they are displaying the right color space because of the high dynamic range capture and post workflows.
Users can load 3D LUTs at up to 17X17X17 points using the device’s integrated USB connection and free MiniConfig software on either a Mac or Windows-based post production system.
A single AJA LUT-box can simultaneously support outputs from both HDMI and SDI monitors.
Available next month, the AJA 3D LUTs are essential to map one color space to another to ensure the preview colors are the same as will appear on the final digital image or release print.
Using the company’s technology for broadcast and post production workflow, the company also introduced their new Hi5-Plus and HA5-Plus Mini-Converters for HDMI and SDI monitoring.
Frame Rate Control
To show the post production team that AJA hadn’t lost sight of its roots, the company also unveiled what they called the next-generation frame sync and FRC rack.
The new FS1-X is a compact single-rack mount frame synchronizer, converter. It allows you to match up disparate audio, video formats in your workflow.
Using the company’s conversion algorithms, the unit supports up-down and cross-conversion between SD and HD signals to deliver the best output possible. It works simultaneously with 3G/HD/SD-SDI 10-bit video as well as a large number of embedded audio, AES, MADI and analog audio channels.
Dolby’s success with 5.1, 7.1 and beyond audio is significantly increasing the number of audio channels that need to be efficiently/effectively managed in a production and the MADI standard, an easy solution to transporting up to 64 audio channels over a cable, streamlines and speeds audio processing.
All in all, Rashby and his crew were kept busy talking to a lot of seasoned and indie shooters and producers at NAB.
For a guy who cut his teeth as a camera assistant, you could see he was pretty proud of the new CION and the other products they unveiled.
THE WORLD’S SHORTEST THROW LENS FOR SINGLE CHIP DLP PROJECTORS, THE
ET-DLE030 DETACHABLE LENS, ENABLES A NEW KIND OF ULTRA SHORT THROW PROJECTION FOR STAGING & PUBLIC DISPLAY
Until now, short throw and ultra-short throw projection has typically been limited to smaller, lower brightness, fixed lens projectors used in education seminar rooms and in corporate meeting room environments. Panasonic is about to change that with the arrival of the new ET-DLE030 short throw lenses for larger format single chip DLP projectors. With prototype models shown earlier this year at ISE 2013 and at Prolight + Sound shows, engineers in Panasonic R&D operations have since been finely crafting an impressive solution that vertically redirects light cast from projectors at a distance of just 370mm from the projector to produce a bright, perfectly symmetrical sided image directly above it. This is achieved by a cleverly designed mirror system and brings about new and exciting possibilities, unachievable with front projectors especially for applications in digital signage, retail, rental and staging.
The ET-DLE030 lens is the worlds first ultra-short throw lens for high brightness projectors integrating geometric adjustment. The lens is also the first exchangeable ultra-short throw system meaning that great flexibility is added to the latest range of Panasonic high brightness projectors. “We have also taken care to ensure backwards compatibility” explained Kulessa “even with 1 chip and 3 chip projectors, we make sure that they are compatible with whole lineup of lenses to give installers, integrators and end users the widest possible backwards compatibility and value”. “Since the first showing of the prototype models earlier this year there has been a lot of attention on this small but exciting solution for projection specialists’’ explained Kulessa.. Further information on the ET-DLE030 and other projection solutions is available on the Panasonic website business.panasonic.co.uk/visual-system/ET-DLE030
Ki Pro Quad 4K/QuadHD/2K/HD Solid State Recorder - Now Shipping
Get ready for 4K, Ki Pro Quad is a revolution in 4K production.
Ki Pro Quad enable a manageable 4K/Quad HD/2K/HD workflow with the efficiencies of Apple ProRes and the flexibility of RAW data in a compact, solid state recording and playback package that easily mounts directly on a variety of cameras.
The new Blackmagic Pocket Cinema Camera is incredibly tiny. It's a true digital film camera with a Super 16 size 1080HD sensor with 13 stops of dynamic range. The images look virtually identical to their current camera!
It features a Micro Four Thirds lens mount so you can use low cost lenses, but also Super 16 cine lenses via an adapter. If you use a Super 16 cine lens, combined with the Super 16 sensor size and the 13 stops of dynamic range, it's just like shooting to Super 16 film! Of course you can rig it up with large lenses so it's perfect for large jobs too!
They have worked incredibly hard to build the smallest camera design they could, while retaining the ability to comfortably use it hand held. It's an attractive design with built in stereo mic's, LANC, micro HDMI with overlays for monitoring, solid grip handle that holds a removable battery and built in recorder to SD cards. It records lossless CinemaDNG RAW and ProRes 422 (HQ), so the image quality is amazing.
The small design lets this camera be used for all kinds of tasks a normal camera would be too large to handle. My feeling is a small camera can always be bigger, but a big camera can never be smaller. I think its going to be very exciting to see what kind of work is done with this camera.. For myself, it's nice to have a camera I can use personally for shooting my family, which gives a timeless film look.
The Blackmagic Pocket Cinema Camera will be shipping in July for $995.
AJA Video System announced immediate availability of its Ki Pro Quad, a new solid-state portable video recorder enabling true 4K camera-to-editorial workflows. Ki Pro Quad enables a breakthrough 4K/Quad HD/2K/HD workflow with the efficiencies of Apple ProRes and the flexibility of RAW data in a compact, solid state recording and playback package that easily mounts directly onto a variety of cameras supporting workflow needs today and into the future.
Ki Pro Quad has many unique features that enable new was of working for creative professionals and delivers:
- Breakthrough 4K Workflows--Ki Pro Quad serves as a central gathering point for the main needs of 4K production; bring camera signals in and simultaneously create edit-friendly 4K ProRes files, output to 4K and HD monitors and record RAW data directly to a Thunderbolt-enabled computer/storage system.
- 4K and Quad HD Support-- Help ease the transition to 4K with a recorder that creates efficient file sizes while still retaining pristine quality.
- More than 4K and Quad HD--Support for 4:2:2 and 4:4:4 recording even at HD and 2K resolutions, and real time scaling from 4K/Quad HD to 2K/HD. HDMI output allows connection to HD consumer monitors. HD-SDI output provides professional connectivity to high-end monitors.
- Debayering and Scaling--New hardware-based features include real time, high-quality RAW debayering, recording directly to 4K resolution Apple ProRes 444 or ProRes 422 files and real time scaling from 4K to HD.
- Streamlined Camera to Post--With the Canon C500: enable live debayering for immediate Apple ProRes 422 and ProRes 444 onboard recording and RAW pass through over Thunderbolt to compatible storage connected to a Mac system. With Sony F55: enable 4K 4x 3G-SDI baseband input and recording to 4K ProRes. With any SDI-capable HD camera: enable HD recording with cameras such as the Canon C300 with the added advantage of 10-bit 4:4:4 support for cameras like the Sony F3.
- Affordability--Ki Pro Quad is priced substantially less than other 4K recorders but still has the power and functionality for the demands of 4K productions as well as functionality not found in competitive recorders of ANY price.
- Proven Performance--Ki Pro Quad was built on the same performance principles and reliability that have made the rest of the Ki Pro family successful, and creates low-bandwidth ProRes files up to 4K resolutions, that can be easily offloaded to any Thunderbolt-enabled Mac via AJA's new PAKDock Thunderbolt and USB3 reader. With the same capabilities of Ki Pro Mini for remote control, automation, ease of use and mounting options, the transition to Ki Pro Quad is virtually seamless.
For a complete set of features and technical specifications, please visit http://www.aja.com/en/products/ki-pro-quad .
Ki Pro Quad is available now worldwide through AJA's network of resellers and distributors at a US MRSP of $3995. AJA PAKDock, AJA Pak SSD media, and Ki Pro Quad mounting options, are now also available.