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Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 118
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www.digitalstudioindia.com
 WPP license no. MR/TECH/WPP-82/North/2018 License to post without prepayment Postal Registration No. MCN/99/2018-2020
Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 118
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www.digitalstudioindia.com Published by ITP Media (India)

SHOOTING STARS
DOPs SANTOSH SIVAN AND ANIL MEHTA SHARE INSIGHTFUL EXPERIENCES
WHILST FILMING CHEKKA CHIVANTHA VAANAM AND SUI DHAAGA RESPECTIVELY

TENACIOUS TEN
On the occasion of Digital Studio’s 10th anniversary, we stage the top ten
technologies that have revolutionised the M&E domain
 Cinema VariCam Pure

VariCam 35 VariCam LT EVA1

Vaibhav Tuteja | M: +91 9899123466 • Sravan Kumar | M: +91 9052233334 • Deepan Ganesan | M: +91 9840328990
www.facebook.com/varicamindia | www.twitter.com/varicamindia
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 OCTOBER 2018 VOLUME 10 ISSUE 10

EVENTS CALENDAR 2018

CABSAT Show
14th to 16th Jan
Dubai World Trade
Centre, UAE

BES Expo
26th to 28th Feb
Pragati Maidan, New
Delhi, India

BVE show
27th Feb to 1st March,
ExCeL London, UK

Convergence India 2018

7th to 9th March
Pragati Maidan, New
Delhi, India

NAB Show
7th to 12th April
Las Vegas Convention
Centre, US
Broadband TV Connect Asia 2018
24-25 April 2018
AVANI Riverside Hotel,
Bangkok

22 Broadcast Asia
SHOOTING STARS 26th to 28th June
Suntec Singapore
Santosh Sivan and Anil Mehta, on filming Chekka Chivantha Convention & Exhibition
Centre, Singapore
Vaanam and Sui Dhaaga respectivelyectivelytivelyspectively
BIRTV 2018 Show
22nd to 25th August
12 DOMESTIC NEWS Beijing, China

18 INTERNATIONAL NEWS IBC Expo

14th to 18th September
Amsterdam RAI,
Netherlands
30 TENACIOUS TEN
On the occasion of our 10th anniversary, we articulate top ten technologies Broadcast India Show
25th to 27th October
expected to revolutionise the M&E industry. Bombay Exhibition
Centre, Goregaon,
Mumbai

70 NEXT-GEN BROADCASTING
Broadcast India Show 2018 is here, promising a host of futuristic augmentations
Digital Studio India Channel
Partner Awards
26th October
pertaining to the broadcast industry, on display. Hotel Sahara Star,
Mumbai

82 THE IBC OUTLINE

IBC2018 has wrapped up, and has instigated a sense of learning, inspiration
Inter BEE
14th to 16th November
Tokyo, Japan
and long-lasting synergies.

6 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 5.2" MONITOR RECORDER
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25-27 OCTOBER 2018 Visit as at :
BOMBAY EXHIBITION CENTRE Hall No. 06, Stall No. B-204
GOREGAON, MUMBAI

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 VIEWPOINT
Vol. 10 | Issue 10 | October 2018

TEN YEARS YOUNG! ITP MEDIA (INDIA) PVT LTD

898 Turner Road, Notan Plaza, 3rd Floor
Bandra (West), Mumbai - 400050, India
Digital Studio has accomplished ten glorious years (and counting): a T +91 22 6154 6000
decade of sharing niche insights and premium technology content for
our esteemed production and broadcasting family! The relationships Managing director S Saikumar

we have nurtured with our industry peers, the camaraderie we Group publishing director Bibhor Srivastava

attained through our monthly rendezvous, has only grown into a

EDITORIAL
much deeper kinship. The ties between Digital Studio and our peer
Assistant Editor Anisha Gakhar
industry folks stand ten feet tall - on the cushioned pier of utmost
trust and certitude.
ADVERTISING
ANISHA GAKHAR We have been in the industry since its initial boom, and have
India
witnessed the transitions and augmentations first-hand. This
Commercial director Manoj Sawalani
has only made us more humble, inspiring us to imbibe and share
M +91 98201 76965 [email protected]
knowledgeable content, all day, every day. Our 10thAnniversary special
South India
October edition covers an intricate and detailed inside story on the
Director Sanjay Bhan
making of the 2018 Indian blockbusters, Sui Dhaaga and Chekka M +91 98457 22377 [email protected]
Chivantha Vaanam, shot by the industry proficient Anil Mehta and
Santosh Sivan respectively. STUDIO
This edition, being an ode to our tenth year, features a specially- Head of design Milind Patil
curated, comprehensive list of the top ten technologies that have Senior designer Vinod Shinde
changed the regime of how the M&E industry functions. We have Contributor Sanjay Bandre
thrown light on some of the most adept enhancements like AI, MAM,
blockchain, OTT, and Cloud amongst many others, which are here to PRODUCTION
stay, and drastically add value to everyday executions. Deputy production manager Ramesh Kumar
This edition also features an IBC2018 wrap-up report, and is
packed with all the action from this year’s IBC. Digital Studio was at CIRCULATION

Amsterdam along with many of our industry peers, absorbing all the Distribution manager James D’Souza

latest technologies and magnificent displays that were showcased. T +91 22 6154 6006 [email protected]

On my way back home, I was left with a surging inspiration, which

birthed from the exchange of extremely positive and enlightening ....................................................................................................................................

energies! The Broadcast India Show 2018 is here, and we feature a The publishers regret that they cannot accept liability for error
special report on what to expect at the annual futuristic trade fair. or omissions contained in this publication, however caused. The

We are also geared up for our 3rd Annual Digital Studio India Channel opinions and views contained in this publication are not necessarily
those of the publishers. Readers are advised to seek specialist
Partner Awards 2018, and can’t wait to commemorate feats, along advice before acting on information contained in this publication
with reuniting with our media family. which is provided for general use and may not be appropriate for

There’s a lot to soak up in this month’s Digital Studio edition, so the reader’s particular circumstances. The ownership of trademarks
is acknowledged. No part of this publication or any part of the
we suggest our admired readers to settle down comfortably on a contents thereof may be reproduced, stored in a retrieval system

couch with a cup of cappuccino, and read away into glory. On a lighter or transmitted in any form without the permission of the publishers

note, we are 10 years young! And no celebration is complete without

in writing. An exemption is hereby granted for extracts used for the
purpose of fair review.
friends, family and some well-jiggled cocktails. Come by our office,
and we shall rejoice together! Printed and Published by Sai Kumar Shanmugam, Flat no 903,
Building 47, NRI Colony, Phase – 2, Part -1, Sector 54, 56, 58, Nerul,
Navi Mumbai 400706, on behalf of ITP Media (India) Private Limited,
printed at Indigo Press India Pvt. Ltd., Plot No. 1C / 716, Off Dadoji
Konddeo Cross Road, Between Sussex and Retiwala Ind. Estate,
Byculla (East), Mumbai-400 027, India, and published at
ITP Media (India), Notan Plaza, 3rd Floor, 898, Turner Road,
Bandra (West), Mumbai - 400050, India

Anisha Gakhar
Assistant Editor
[email protected]
Published by and © 2018
ITP Media (India) Pvt Ltd
RNI No. MAHENG/2009/33418
/ITPDigitalStudio /DigitalStudioIn MIB no. 10/50/2008

8 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

Evolve your workflow
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 ADVISORY BOARD

ADVISORY BOARD
DIGITAL STUDIO INDIA ADVISORY BOARD 2017

We are happy to introduce the Digital Studio India Technical Advisory Board for 2017. The board—comprising Indian television and
broadcast industry veterans and thought leaders—offers insights about market happenings, ideas for features and news, thoughts on
technology and trends, editorial contributions. The board also lends its knowledge and experience to help Digital Studio India continue
to offer the most timely editorial features, case studies, and information relevant to the industry.

DINESH SINGH K YEGNESHWARA IYER

Chief Technology Officer, NDTV Limited Head Of Technology Technical & Broadcast
Singh has over 22 years of experience with compa- Operations, Times Television Network
nies like NDTV, NVL Ltd - Sony Broadcast equip- Iyer has spent more than three decades setting up
ments, Thomson, etc. Some of his notable projects networks and developing business software for
include India’s first digital production set up with various broadcasting companies. A co-applicant
robotics camera in the Parliament, film-based in a patent application for real time graphics on
project in Ramoji Film City and turnkey project of TV, he conceptualised and delivered innovative
Bangladesh National Open University, Bangladesh technical processes in news broadcast television,
that includes four studios with PCRs, radio audio developed mobile apps and mobile app back-end
studio, microwaves and FM transmitter. architecture.

PIYUSH GUPTA RAJASEKHARAN HARIKRISHNAN

Group CTO, India Today VP and CTO, Viacom 18 Media
With over 19 years of experience in TV and broad- Harikrishnan heads the technical operations of
cast, prior to managing technology and integration Viacom 18 Media since the last four years. He has a
within India Today Group, Gupta has been with rich experience in broadcast TV industry, produc-
Network 18 for almost 15 years and has headed op- tion and post-production environment and also
erations and technology development for CNBC in designing and systems integration. He earlier
TV18, CNBC Awaaz, CNN-IBN, HomeShop18 headed technology and operations at Neo Sports
and Colors. Broadcast and has also worked with NDTV.

AK MADHAVAN SUBASH SAHOO

Founder and CEO, Assemblage Entertainment VP – FWICE and General Secretary –WIMPTSEA
AK Madhavan launched his entrepreneurial An alumnus of FTII Pune, Sahoo has been part of
venture, Assemblage Entertainment, at 55, after Bollywood for over 22 years as sound designer. He
spending 14 years as CEO of Crest Animation has won the National Award twice, besides bagging
Studios. Previously, he has managed senior roles several state awards. Sahoo is currently the gen-
with Dalal Street Journal and with DDE-Org Sys- eral secretary of Western India Motion Pictures &
tems, a information technology solutions provid- TV Sound Engineers Association, and VP of Fed-
er, where he also began his career. eration of Western India Cine Employees.

10 OCTOBER 2018 | DIGITAL STUDIO

 Pick a Card, Any Card
New openGear solutions from AJA
AJA expands its openGear line with OG-X-FR, a new 2RU openGear frame designed with Smart Power and Smart Cooling
to make the most of your high density openGear card environments.

OG-X-FR houses all openGear cards, including AJA’s latest openGear cards with Dashboard support which combine the reliability
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convenient and industry standard configuration, monitoring and control options over a PC or local network.

Latest DashBoard openGear Cards Industry Wide DashBoard Support openGear Compatible Rackframe

AJA expands its openGear lineup with five cards for DashBoard software is the industry standard for openGear is an open architecture, modular frame
audio, video scaling and HDMI conversion. openGear configuration and control. system designed by Ross Video and supported
by a diverse range of terminal equipment
OG-3G-AMA: 3G-SDI to Analog Audio Simply install your new AJA openGear cards in
manufacturers, including AJA Video Systems.
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Newer AJA openGear cards with DashBoard
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OG-HA5-4K: 4K/UltraHD HDMI to SDI Converter applications. An optional power supply, the
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 NEWS
THIS MONTH IN THE BROADCAST AND PRODUCTION INDUSTRY

TATA SKY GEARS UP TO GET INDIA

LAUGHING WITH SUNIL GROVER
Tata Sky, one of India’s content
distribution platforms, has
announced Sunil Grover as the
‘Face of Tata Sky Comedy’. He
will play the role of Betaal on
Tata Sky Comedy. The chan-
nel is a platform that offers
original content along with ev-
ergreen classic comedy shows
like Zabaan Sambhal Ke, and
popular stand-up comedy
shows such as Comedy Circus
and Laughter Khichdi.
On his association with Tata
Sky, Sunil Grover said, “One
must laugh as it is healthy, and
I have always endeavoured to
make India laugh. I am very
happy with my association
with Tata Sky Comedy and
Shemaroo Entertainment
Limited. Tata Sky Comedy as
a platform offers the best of
comedy shows which one can
enjoy with family.”
Grover is popular for his
characters like Sud, Gutthi,
Dr Mashoor Gulati and more.
will. He will be seen sharing
his comic experiences exclu-
sively for Tata Sky Comedy
through candid interviews,
ancillary content such as gags,
pranks, jokes and more.
Sunil Grover as ‘Face of Tata Sky Comedy’.

12 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 ATEM Camera Control Panel controls up
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This means that camera operators are free to focus on creative
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 DOMESTIC NEWS

SPN INDIA RECOGNISED AS ONE OF INDIA’S TOP

100 BEST COMPANIES FOR WOMEN
Sony Pictures Networks India (SPN) has recruitment and retention, benefits,
been ranked for the second consecutive paid-time off/parental leave, company
year, as the Top 100 Best Companies for culture, safety and security.
Women to work in India. This award is Over its 23-year journey, SPN has
based on a study conducted by Working undertaken initiatives to create a work
Mother, a global leader on gender eq- atmosphere in which employees can
uity, and AVTAR, a pioneer in diversity fulfill their potential. It places emphasis
and inclusion in India. “We are hon- on values, culture and fosters an envi-
oured to be featured in the list of Top ronment of transparency and empower-
100 Best Companies for Women in India ment. SPN was one of the first organisa-
for the second consecutive year. At SPN, tions in the country to extend mater-
we believe in creating an environment nity, adoption and surrogacy leave up
that promotes equity. This recognition to 6 months, before the law mandated
is a push for us to ‘go-beyond’ in our at- it. Pregnant women can also avail pref-
tempts to create a holistic and reward- erential parking in the office premises.
ing career experience for our women One of SPN’s near-site creche facilities in India. SPN prioritises women’s safety, reflect-
colleagues,” said N.P. Singh, MD and ing it in initiatives such as providing
CEO, Sony Pictures Networks India. study was done with credible and compre- transportation for employees working late,
The 2018 edition of Best Companies for hensive methodologies on performance mea- sensitizing employees on prevention of sex-
Women in India (BCWI) had 345 participat- sured across seven key policy clusters name- ual harassment (POSH) and training women
ing companies from across industries. This ly, workforce profile, flexible work, women’s employees in self-defense techniques.

QUBE CINEMA ANNOUNCES MOVIEBUFF FIRST

CLAP SEASON 2 WINNERS
fourth runners-up.
Social messages that were delivered via the
short-film format. Kalki, a 3-minute movie
showcasing the race between life and time,
provided the same impact of a 3-hour movie.
Mayir, a dark comedy, highlighted farmers’
conditions in India. Cookerku Whistle Podu,
a political satire, received appreciation for its
boldness. A message on child abuse was con-
veyed in Kambilipoochi, and Peraarvam nar-
rated a story which received positive reviews
from the viewers.
Moviebuff Fist Clap winners. More than 1 lakh voting entries were re-
ceived overall across all platforms.Winners
Qube Cinema Technologies Pvt Ltd has an- poochi by VG Balasubramanian, second run- were chosen based on the decisions of jury
nounced the winners of Moviebuff First Clap ner-up was awarded to Peraarvam by Sarang panel members: renowned directors Ram, Vi-
Season 2 with the winning prize of Rs. 3 lakhs Thiagu, third was won by Cookerku Whistle gnesh Shivan, Karthik Naren, Arun Prabhu,
conferred to Vishnu Edavan for Kalki, along Podu by Shyam Sundar, and fourth by Mayir Nithlan; cinematographer Manoj Paramaha-
with the opportunity to narrate a script to by Logi. The prize money was to the tune msa, editor Ruban, sound engineer Udhay, re-
and/or intern with actor Suriya’s 2D Enter- of Rs. 2 lakhs for first runner-up, Rs. 1 lakh viewer Sathis and Rajasekarapandian, CEO,
tainment.The first runner-up was Kambali- for second and Rs. 25,000 each for third and 2D Entertainment; along with public voting.

14 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 DOMESTIC NEWS

EROS INTERNATIONAL JOINS HANDS WITH KYTA

PRODUCTIONS FOR PATAAKHA AND KIRIK PARTY
Eros International Media Ltd (Eros Inter- campus scheduled to go on floor in October,
national), an Indian film and entertainment the film will be directed by Abhishek Jain of
company, announced its collaboration with Bey Yaar and Kevi Rite Jaish fame.
Kyta Productions Pvt Ltd for two forthcom- Sunil Lulla, MD, Eros International Me-
ing films – Vishal Bhardwaj’s Pataakha and dia Ltd, said on the announcement, “We are
the Hindi remake of Kannada super hit, delighted to come on board with Kyta and
Kirik Party. showcase this line-up to audiences. Both
Eros will team with producers Dheeraj films boast of an interesting pool of acting
Wadhawan, Ajay Kapoor, Ishant Saxena, and directorial talent. The initial reactions
Vishal and Rekha Bhardwaj to release in to Pataakha are phenomenal and we are con-
India the awaited Pataakha, a Rajasthan-set fident Vishal Bharadwaj’s dramedy will be
drama about two warring sisters. The com- entertaining. We are excited to be a part of
edy drama starring Sanya Malhotra and Rad- Kirik Party and are positive that audiences
hika Madan, along with Vijay Raaz and Sunil will embrace Abhishek Jain’s interpretation
Grover, has created anticipation since the of the successful Kannada hit love story.”
release of its trailer, and will release on 28th Eros International Media Ltd joins hands with Ajay Kapoor, producer and MD, Kyta Pro-
September, 2018. Kyta Productions Pvt Ltd ductions, said, “We have found great part-
Another announcement is the remake of ners in Eros International, they have the
Kannada blockbuster Kirik Party, yet un- duce it with Ajay Kapoor, Dheeraj Wadha- capability and the distribution network to
titled in Hindi, featuring Kartik Aaryan and wan and Vrithika Laykar and will release the take the films to its deserved potential, and
Jacqueline Fernandez. Eros will jointly pro- film worldwide. A romance set in a college we couldn’t be happier.”

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 CONSUMER CONNECT – LAWO

LAWO PRESENTS RUBY ‘VISUAL RADIO

CONSOLE’ AT BROADCAST INDIA SHOW 2018

L
awo presents the Ruby mixing trols can exist alongside other studio ap- 4 to 60 faders, with a variety of desktop or
console for Radio broadcasters, at plications such as playout systems, phone flush-mount frame styles.
the Broadcast India Show 2018 in queues and codecs - enabling operators to Lawo announces the addition of a Dante
Mumbai, at the booth of its Indian adjust settings quickly and easily without interface card for the Power Core, its new
partner - Cineom Broadcast India Ltd. diverting their focus. flagship routing, mixing and I/O platform
“In the modern radio studio, talent is “With Ruby, operators can work the for radio. Each two-port card supports up to
glued to their computer screens,” says Mi- way they like: with touchscreen displays or 64 redundant Dante streams.
chael Dosch, senior product manager, Ra- physical controls. The choice is completely “For broadcasters who want to connect
dio OnAir, Lawo. “And for good reason, off- up to them,” says Dosch. “We provide a wide Dante networks to their Ravenna AES67
the-shelf PCs have become so powerful that range of preconfigured screens, or clients studio networks, this is the way to do it,”
stations are using them to do almost every- can craft their own custom screens with our says Clark Novak, radio marketing special-
thing in the radio studio. This is an example sophisticated GUI builder.” ist, Lawo. “Slide a Dante card into your
of how advancements in IT are revolution- According to Dosch, Ruby is a true AES67 Power Core, plug in a network cable, and
izing radio,” he added. radio console. “AES67 is a big deal at Lawo. the devices in your Dante network become
“More recently, touchscreen smartphones Not only were we heavily involved with the available to your Ravenna network as audio
and tablets have become an essential part of development and ratification of the standard, resources. It couldn’t be easier.”
daily life. We at Lawo saw touchscreens as but every Lawo AoIP product has been 100% Power Core is hugely popular with top
another opportunity to revolutionise radio. AES67-compliant from day one.” broadcasters, thanks to its groundbreak-
And that is why we call Ruby the Visual Ra- In keeping with this constant AoIP inno- ing trifecta of high signal density, compact
dio Console,” affirms Dosch. vation, Ruby introduces full dual-network 1RU form factor, and tremendous DSP
Ruby is matched to the modern radio redundancy, with instantaneous recovery power. It also has dual, redundant NICs
studio, enabling operators to mix and route from any network fault. Both AES67 and with SMPTE 2022-7 Seamless Protection
audio using the same multi-touch onscreen high-density MADI interfaces are stan- Switching to ensure instant, inaudible re-
environment used by other studio tools. The dard. Eight expansion slots permit addition covery from network faults.
result is a more natural and efficient way of of mic, line, AES3 and studio I/O, making “Power Core is a mixing/processing en-
working, with the additional huge benefit of Ruby the perfect console for stations who gine designed for our Ruby radio console,
reducing studio monitor clutter. The Ruby want to migrate to AoIP without sacrificing but clients quickly realised that they could
surface blends physical faders and switches legacy infrastructure. use it by itself as a multi-format audio
with multi-touch controls; these ‘soft’ con- Ruby is available in configurations from node,” says Novak. “With all slots filled,
Power Core can handle several hundred
AES3, HD MADI, analog and AES67 audio
channels. And now it connects with Dante
Lawo’s Ruby mixing console for radio networks too. With all these capabilities,
broadcasters. Power Core just might be the ‘universal
translator’ for broadcast audio.”
Power Core’s multiple front-panel MADI
and AES67 interfaces give access to as
many as 384 channels of stereo audio, stan-
dard. Eight plug-in slots accommodate even
more I/O via mic, line, AES3, HD MADI
and Dante expansion cards. When paired
with a Lawo Ruby mixing console, Power
Core can provide as many as 96 DSP chan-
nels for precision audio shaping, with up
to 80 summing busses, multiple AutoMix
groups, and comprehensive compression /
expansion / de-essing tools.

16 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 RETHINK
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 INTERNATIONAL NEWS

GATESAIR APPOINTS ANDY MCCLELLAND FOR

EMEA SALES LEADERSHIP ROLE
GatesAir, a provider of wireless, OTA Andy comes to GatesAir with more than
content delivery solutions for radio and TV 20 years of experience in the broadcast,
broadcasters, has announced the appoint- cable and telecommunications indus-
ment of Andy McClelland as MD, EMEA, tries, including 13 years as a regional sales
GatesAir. Based in the United Kingdom, manager with Harris Broadcast, the prior
Andy will lead a team of regional sales parent company of GatesAir. He has served
managers and technical pre-sales specialists director-level sales roles with Ericsson
across Europe, the Middle East, Africa and Broadcast Services, Imagine Communica-
India; and report directly to Rich Redmond, tions, and Harmonic.
president and MD, International, GatesAir. “My perspective of the broadcast
“Andy is a leader with a strong track business has been to look at the headend
record in building brand loyalty through forward to the transmitter, which I believe
strong customer relations,” said Redmond. is instrumental in helping broadcasters
“These traits, along with his business devel- leverage the opportunities that come with
opment skills, will help GatesAir drive new the latest digital broadcast standards,” com-
business opportunities,” he added. Andy McClelland, MD, EMEA, GatesAir. mented McClelland.

JUMP RELEASES DOHA FILM INSTITUTE SHOWCASES 12 FILMS AT

DATA-DRIVEN UX 2018 TORONTO INTERNATIONAL FILM FESTIVAL
SOLUTION BASED ON Presenting Arab and international talent to the
AI ANALYTICS world, 12 films supported by the Doha Film In-
stitute will be screened at the 2018 Toronto In-
Jump has announced the release of its Data- ternational Film Festival. Among the 12 films,
Driven UX solution, created to provide four will mark their world premiere, while eight
video service providers with an intelligent have their North American premieres, one of
and dynamic process to enrich user experi- which is in the Special Presentations showcase.
ence. The Data-Driven UX solution har- Fatma Al Remaihi, CEO, Doha Film Institute, A still from The Day I Lost My Shadow, by
nesses the power of the JUMP TV customer said, “We are delighted to present the works of Soudade Kaadan.
insight platform and the Accedo One video our emerging talents and accomplished film-
experience platform. makers, which have been supported through our grants and co-financing initiatives, and
Jump customers will be able to leverage nurtured through our annual industry event, Qumra. The 12 films at Toronto present
their customer data to provide a data-driven narratives that celebrate the power of films to inspire and move audiences worldwide.”
dynamic user experience, thereby enhanc- In the Masters’ section, the film screenings include those of Turkish auteur, 2014
ing the personalisation service they offer, Palme D’or winner and 2016 Qumra Master, Nuri Bilge Ceylan’s The Wild Pear Tree;
which in turn will improve engagement and and Divine Wind by the Algerian filmmaker Merzak Allouache
retention levels of customers. Also marking their world premiere at Toronto, are the following titles: Look at Me
“Today end users’ expectations for an directed by Nejib Belkadhi, Freedom Fields by Naziha Arebi, Brotherhood, a film in the
enjoyable user experience include a high Short Cuts segment, directed by Meryam Joobeur.
level of personalisation. Our data driven The six films to celebrate their North American premieres at Toronto in the Discov-
UX solution helps video service providers ery section and Wavelengths programme are: A Kasha by Hajooj Kuka, Screwdriver by
address this specific challenge and provide Bassam Jarbawi, Too Late To Die Young by Dominga Sotomayor, The Day I Lost My
a high-performing and personalised user Shadow by Soudade Kaadan, The Load by Ognjen Glavonić, and Long Day’s Journey
experience that leads to an overall increase into Night by Gan Bi.
in ROI,” said Jerónimo Macanás, CEO and In the Special Presentations segment is Lebanese filmmaker Nadine Labaki’s
cofounder, Jump. Capharnaüm, which won the Jury Prize at the 2018 Cannes Film Festival.

18 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 INTERNATIONAL NEWS

EOS R AND ATOMOS NINJA V BRINGS 10-BIT 4K

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Log, there is a Canon preset, plus the ability to load an almost infinite
number of custom looks onto Atomos devices.
The EOS R and Ninja V match in terms of size. The 5 inch screen
weighs 360g and sits atop the camera. The whole setup is easy to
handle, for all day use. The Ninja V screen comes with 1000nit
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mos AtomX SSDmini drives. These offer speed and reliability in a
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ternal recording via HDMI, and includes deep colour BT.2020 for HDR are freed of their key video limitations. Record time limits are lifted
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 SHOOTING STARS
DOPs Santosh Sivan and Anil Mehta share insightful experiences
whilst filming Chekka Chivantha Vaanam and Sui Dhaaga respectively
BY ANISHA GAKHAR

22 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 COVER STORY

hen one comes across a

W
cinematographer, who
possesses paramount
prowess, along with
a never-dying zeal to
imbibe learning like it is an
everyday regimen; it instills a lesson in us:
cinematography is more an art form, than a
mere 9-to-5 drill. Our glorious film industry
is flanked by exceptional cinematographers
and Directors of Photography (DOPs); two
such names that command respect globally,
are Anil Mehta and Santosh Sivan.

STRONG FOUNDATIONS
Anil Mehta adorns umpteen hats: a veteran
cinematographer, a passionate writer
and a respectable director. He studied
cinematography at the Film and Television
Institute of India (FTII), Pune; and has
never looked back since. He has shot some
of the most enchanting Bollywood movies
including, Khamoshi: The Musical (1996),
Lagaan (2001), Saathiya (2002),Veer-Zaara
(2004) and Jab Tak Hai Jaan (2012) amongst
other blockbuster hits.
Mehta’s first feature film, Aaja Nachle,
starring Madhuri Dixit, Konkana Sen,
Akshaye Khanna and Kunla KApoor,
was produced by Yash Raj Films, and
was released in 2007. He was conferred
the National Film Award for Best
Cinematography, for his work in the cult hit,
Hum Dil De Chuke Sanam (1999).
Santosh Sivan is an Indian
cinematographer, film director, producer
and actor, well respected for his
breakthrough works in Malayalam, Tamil,
Telugu and Hindi cinema. Sivan also shares
the same alma mater as Mehta: FTII.
Sivan has completed 45 feature films, 41
documentaries, and is a founding member
of the Indian Society of Cinematographers
(ISC).
Sivan became the first cinematographer in
the Asia-Pacific region, to be honoured with
the American Society of Cinematographers
(ASC) membership. He has won five
National Film Awards – including four
for Best Feature Film Cinematography.
He was awarded the Padma Shri for his
contributions to Indian cinema in 2014.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 23

 COVER STORY

ANIL MEHTA

“The respect that the film portrays towards

common man working hard to earn their
bread, along with bearing the cons and pres-
sures of living on the fringes of a big city, is
what drew me in to undertake this project.”

shoot the entire film on-location. Mehta

commented, “I feel shooting on-location
brings a lot of integrity to the film. The fact
that we were going to be on location with
star actors was of some concern, but we were
Anil Mehta, shooting on the set of Sui Dhaaga. willing to brave it. We found solutions as we
went along.”
In 2008, Santosh Sivan Films was embroiderer. The story revolves around The actors humbly bought traditional
conceived as a Pvt ltd concern, and has not Mauji and Mamta as a young couple in rural Chanderi sarees from local weavers in the
only handled film ventures successfully, but India, who venture into a family-run small- town, to get a feel of the business, and garner
also has to its credit many hit commercials, scale clothing business. inspiration owing to the hard work that
documentaries and music videos. Principal photography for the movie began went into making the sarees. Sharat had his
Sivan’s recent work in Chekka Chivantha in the town of Chanderi, Madhya Pradesh, production designer, Meenal Agarwal, and
Vaanam and Mehta’s in Sui Dhaaga, is in late 2017, and the film was theatrically costume designer, Darshan Jalan, on board
exemplary in their own unique ways, owing released on 28th September, 2018. “Sharat the Sui Dhaaga voyage. “They were a big
to the finesse and professionalism they are shared with me the finished script and talked asset on the Location Scout, and formed a
characterised by. to me at length, about what he wanted to great core team,” affirmed Mehta.
communicate through the film. The respect Jalan was keen on visiting Chanderi for
SUI DHAAGA – MADE IN INDIA that the film portrays towards common man the actual weaving tradition, and when
As much as we can rave about Mehta’s working hard to earn their bread, along with the team visited the place, it automatically
unparalleled contribution to Indian cinema, bearing the pressures of living on the fringes translated into being the the location for
his latest work in the 2018 smash hit, Sui of a big city, is what drew me in to undertake Mauji and Mamta’s house. “Agarwal was then
Dhaaga (which means - needle and thread), this project,” said Mehta. responsible for all the specific locations and
only deepens our belief in him as a DOP. contributed hugely to the look of the film,”
Sui Dhaaga is a Hindi comedy-drama film THE MAKING asserted Mehta.
directed by Sharat Katariya and produced by The film was mainly set inside a small
Maneesh Sharma, under the Yash Raj Films house, in contrast to the backdrop of the THE INSIDE STORY
banner. It stars Varun Dhawan as Mauji: a hustle-bustle of a metropolitan city. Sharat Mehta was particular about zeroing-in
tailor, and Anushka Sharma as Mamta: an was clear about the fact that he wanted to on the camera and equipment he would

24 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 COVER STORY

use for the filming of Sui Dhaaga. Being the performance and make sure they are had to be filmed the dark during the night,
in the business for years together, he was conducive to the location, setup and weather in natural available light. The noise at high
accustomed to using multitudinous cameras conditions. When I tested the Panasonic ISO settings was also in control. All in all,
of varied makes. Since this movie was shot cameras, I learnt that they had a faithful shooting with Panasonic was a trouble free
in a rural ladscape, he wanted the emotions colour rendition, which held up well across and a pleasant experience,” commented
to be captured with utmost precision and the under-exposure and over-exposure Mehta.
mood. After all, cinematography is all about bandwidths.” The first schedule of the filming wrapped
the lighting, the mood and the expressions, Filming a sequence is not a cakewalk. up in March, 2018. Filming continued in
they say; rightly. The umpteen factors that have to be taken the same month in Bhopal, and moved on
Mehta had previously used the Panasonic into consideration, contribute to making to Delhi for the latter part. The second
VariCam Pure whilst shooting another a film look like a director’s dream. “The schedule was completed in April, 2018. The
film, and was quite happy with its on- reproduction of Indian skin tones was also final fragment of shooting begun in June,
location performance. Commenting on the particularly pleasing, with the Panasonic and wound up in July, 2018.
equipment, Mehta stated, “We shot for fifty camera. The Dual ISO setting on the Varicam Mehta concluded that the entire
days on-location without a single hitch and proved to be trustworthy while testing, I was experience of shooting Sui Dhaaga was a
with a flawless execution. Panasonic was able to use that function quite effectively pleasant one. He said, “Shooting with a close
a natural choice for me. I usually test and while shooting night exteriors in small town knit crew and being on-location for most
measure cameras before use, so I can gauge India. There are shots in Sui Dhaaga that days, was a catalyst in establishing an easy

Anil Mehta, passionately looking through the lens, while filming Sui Dhaaga.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 25

 COVER STORY

Santosh Sivan, whilst shooting Chekka Chivantha Vaanam.

rapport between the crew and actors. Varun the veteran A. R. Rahman; and casts Arvind
SANTOSH SIVAN
would fly kites on the terrace of the house Swami, Silambarasan, Aditi Rao Hydari,
and Anushka started doing embroidery even Dayana Erappa, Prakash Raj, Mansoor Ali
in her time-off. Raghuvir Yadav would often Khan amongst others, in pivotal roles.
sing to entertain us over drinks and dinner
sessions that were held to discuss the next SETTING THE STAGE
day’s work.” The filming of the movie took place in
interesting locations like Chennai, Andhra
CHEKKA CHIVANTHA VAANAM Pradesh, Serbia and Dubai. Principal
A recent feather on Santosh Sivan’s hat, is photography began on 12th February, 2018
the 2018 Tamilian movie, Chekka Chivantha on the outskirts of Chennai, with scenes
Vaanam ( crimson red sky), which is a filmed on the East Coast Road and the
crime thriller and is jointly produced Apollo Hospital in Vanagaram during the
by Mani Ratnam and Subaskaran under first schedule. A second schedule began
their banners Madras Talkies and Lyca on 26th February, with all members of
Productions. This is Sivan’s sixth film with the cast sporadically featuring in the
“Cinematography now, is done in a more Mani Ratnam since the Rajnikanth starrer, shoot. As the second schedule progressed,
interesting manner, as compared to that in Thalapathi. Chekka Chivantha Vaanam is cinematographer Sivan released images of
olden times, with the plethora of technologi- a revenge saga, which revolves around the the various actors on the sets of the film.
cal innovations backing it.” rivalry of brothers belonging to a powerful The shoot continued in Chennai until mid-
business family. The music is composed by March, with a wedding scene also shot in the

26 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 COVER STORY

schedule.
“We had to shoot in various different
ambiences and lighting, with interesting
interiors and outdoor backdrops. The
shooting involved a lot of rig shots and
difficult-to-capture scenes. Since the movie
is a crime thriller, it involved a lot of action
scenes too. We planned it all quite well, and
finished before schedule as always. The
credit goes to everyone including the director
and producer, the production designer, art
director, costume designer, myself as the
cinematographer, and the entire crew. It is
always the team’s effort that helps make a
successful movie,” explained Sivan.
According to Sivan, the filming involved
a lot planning in terms of the action
sequences, colour palettes, costumes, art
décor, the characters and the cast. A lot of
preparation went into ensuring a seamless Santosh SIvan, engrossed in capturing the exact emotion, on the set of Chekka Chivantha Vaanam.
execution once the crew was on the floor.
CINEMATOGRAPHY IS MORE choosing the right camera for a movie, is
BACKING IT STRONG not a facile task. It involves foresight and
AN ART FORM, THAN A
Some scenes during the making of Chekka the ability to gauge the value addition a
Chivantha Vaanam, involved deploying MERE 9-TO-5 DRILL. OUR camera will bring to the project. “I love
extra equipment, for instance, a larger than GLORIOUS FILM INDUSTRY IS using all kinds of cameras, because each
usual circular trolley. Extra illumination FLANKED BY EXCEPTIONAL comes with its own host of advantages
and lighting effects were used especially for and disadvantages. For Chekka Chivantha
CINEMATOGRAPHERS AND
the rig shots which involved shooting inside Vaanam, I tested a lot of cameras and I
moving cars, affirmed Sivan. “Whenever DIRECTORS OF PHOTOGRAPHY actually liked the feel of the Panasonic 5000
there was a special requirement for extra (DOPS). TWO SUCH NAMES THAT ASA, Panasonic 4K and Panasonic VariCam
equipment or lighting, we always made sure COMMAND RESPECT GLOBALLY, Pure camera. These are ideal not just for
to foresee the need that might arise during their colour sense but also because of the
ARE ANIL MEHTA AND SANTOSH
filming, to avoid chaos later,” added Sivan. dual sensor. I used the Panasonic 5000 ASA
The movie demanded Visual Effects SIVAN. camera for most of the shots, to light up
(VFX), which was planned and executed the interiors and set it to high exposures.
well in advance, with concerned teams in the movie. The shot sparked many debates This helped me to easily use depth of field,
brought in early during the planning stages within the crew members, as to whether since we had a lot of scenes where we had
for brainstorming, to ensure a smooth they should use a blue screen or they should characters right in front of the camera, as
experience while on set. The complex portray a raw action sequence. Sivan recalled well as in the background. It eventually led
shots which involved undertaking utmost planning the entire climax sequence from to a very realistic feel with every character
safety measures, were meticulously within a car! “It worked out very well for us, in focus,” said Sivan. A few scenes were
executed after rigorous safety compliance since we realised that had it been a green shot in low-light, which is why Sivan chose
testing. “Cinematography now, is done in screen or a VFX shot, it would have lost its the Panasonic 4K camera which facilitated
a more interesting manner, as compared realness. To see it raw, to feel the energy in shooting 120 frames at 4K.
to that in olden times, with the plethora the car, works immensely to make the shot “For Chekka Chevantha Vanam, I tested
of technological innovations backing it,” believable. It is exciting to note that we lot of cameras and I actually liked the feel of
commented Sivan. brought out that level of spirit using basic Panasonic Varicam especially for its 5000
The climax sequence of the crime thriller technology by relying on our own way of ASA. Varicam Pure and Varicam LT Models
was shot inside a car at a very rapid and unfolding the climax!” exclaimed Sivan. are ideal not just for their dual sensitivity
energetic pace. This Sivan recalled, was one The market is swarmed by camera but also the Color science was unique,”
of the most challenging yet interesting shots equipment from various brands, and concluded Sivan.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 27

 CONSUMER CONNECT – AVECO

AVECO - ON THE CUTTING EDGE OF AUTOMATION

In deep conversation with Pavel Potuzak, CEO at Aveco

WHERE IS THE MEDIA INDUS- the unscheduled ad space. This prioritisation

TRY GOING? allows the operators to juggle through ads for
The main job of the industry has always been the highest monetisation value. Ad Juggler
the same – to inform and entertain the view- tracks total commercial air-time so that any
ers. However, the landscape has completely air-time limit is never exceeded.
changed, besides traditional broadcasters
there are new players, the telco, IT and mo- IP PLUS SDI – A PERFECT MIX
bile operators. FOR THE COMPLEX FUTURE
What is still valid is the old adage about WORLD
content being the king. The cost of content is There have already been projects based on
increasing and that leaves a smaller amount IP to explore the promised utility, versatil-
in the media companies’ annual budgets for ity and cost efficiency. Yet, SDI is the prov-
technological investments. en standard which keeps delivering the val-
You can hear now on the market the tag- ue. The new Redwood BLACK offers both,
line ‘do more with less,’ as a reaction to this Pavel Potuzak, CEO, Aveco. IP and SDI interfaces, making it a best
situation. There are many products and fit into hybrid projects mixing SDI with
services pushed forward under this flag, AVECO’S AD JUGGLER – THE IP, as well as facilities transitioning from
being it cloud services, SDI over IP and 2018 NAB AWARD WINNER SDI to IP. Aveco’s Redwood BLACK is a
many others. Ad Juggler is a dynamic ad-insertion tech- multipurpose video engine that provides
This is a perfect world for Aveco. Our play- nology, designed specifically for unscheduled integrated channel origination, ingest and
out, studio automation and media manage- commercial breaks. With Ad Juggler, adver- playout features, with media standards up
ment products do reduce CAPEX as well as tisements are pooled, prioritised, and queued to UHD HDR. It includes graphics, DVE
OPEX by automating and optimising work- so that the operator can quickly and easily in- effects, MCR switcher functionality with
flows, as well as maximising utilisation of sert ads into important moments of a live dy- live switching,
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business models. order to get the highest monetary value from are mature for use in professional media
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Aveco offers Redwood WHITE, the inte-
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get/high performance projects.

AVECO IN INDIA
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Aveco has a local presence in India and
this really brings us a wealth of very interest-
ing and demanding projects, along with our
excellent 24/7 support, giving our customers
Aveco solutions. Confused? Please contact Kulvinder Singh, VP, Sales SAARC, [email protected] peace of mind.

28 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

RUN ON AVECO SYSTEMS
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FEATURE
 FEATURE

TENACIOUS

TEN
We are ten! And we are celebrating the top ten
technologies that are expected to bring about the best
in our industry, over the years to come!
BY ANISHA GAKHAR

igital Studio has completed 10 glorious years, and apart from

D
the merry-making, we are also celebrating the advancements
in technology that have revolutionised our beloved industry.
We are doing this by dedicating our 10th Anniversary special
edition to the top ten technologies that are expected to trans-
form the M&E industry like never seen before.
The special occasion calls for an ode to these enhancements, which are highly
conducive to the production and broadcast of unparalleled content over the past
few years.Our fraternity witnessed the advent of some breakthrough technolo-
gies including,Artificial Intelligence (AI), AoIP, MAM, wearable technology,
Cloud, blockchain, IP broadcasting (Audio and Video), video analytics, Aug-
mented Reality (AR) and Virtual Reality (VR), OTT, newsbots, in trend. We cu-
rate a list of the top ten augmentations that we anticipate can change the scene
of media production and broadcast, for good.

We urge you to dive right in!

DIGITAL STUDIO | OCTOBER 2018 31

 FEATURE

US
CIO
TENA ON THE SLEEVE,
LITERALLY
Can technology be worn and adorned? We focus the spotlight
on wearable technology doing the rounds in the media industry

BY ANISHA GAKHAR

ho would have thought, that ent the opportunity to deliver content in

W
perhaps there will come trimmed-down and compressed formats,
a day, when we would be without having to lose the essence of the
able to wear innovation. news or information.
Wearable technology has
alighted and is dramatically JUST THE TIP OF THE ICEBERG
changing the way the world absorbs news. According to Stratista, 2.08 billion people
Wearable journalism is quintessential for have smartphones, which is a figure that
swift updates, until viewers get their hand is predicted to increase to 2.69 billion by
on the full story. From clothing to contact 2019. Wearables offer lucrative potential for
lenses, wearable journalism helps pres- media companies looking to amplify their
brand’s engagement with their audiences.
The devices that have been introduced, can
gather robust customer data – including
location, behaviour and activity levels, which
can be used to deliver personalised content
and news. This is expecially ideal in cases of
news gathering and sports measurements.
But this is just the tip of the iceberg; many
futuristic companies are leveraging this in-
novation to do more than purely gather data.
For instance, Nike used data garnered from
individuals using their running app, to create
100,000 personalised one-minute film ani-
mations, entitled ‘Your Year with Nike+’. The
content was shaped using location, weather
and movement data. On similar lines, the
Apple Watch enables accessing the latest
headlines as easy as reading the time.

PLAYER TRACKING TECHNOLOGY

Wearable technology largely finds its appli-
cation in the fields of sports data collection,
and player tracking technology. In the com-
ChyronHego’s ZXY Wearable Training Vest. petitive world of sport, it’s this consistency,

32 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

reliability and quality of data that ultimately

counts. Yet how that data is gathered, both
the means and methods, is the critical
question.Today, wearables are proving to be
derivers of accurate, consistent and reliable
sports performance data. Coaches and sports
scientists peruse this data to make strategise
on how to improve their athlete’s fitness
level, reduce injuries, make tactical deci-
sions, and ultimately improve their chances
of success.
For example, ChyronHego has measured
sports performance for over 50 years,
continuing to push the sports data envelope
using wearable technology as well. Their
TRACAB Optical Player Tracking solution is
widely deployed, for sports tracking. Their
ZXY Wearable Tracking solution is a posi- Chyronhego’s Player Performance Portal -Coach-Analyst View.
tioning system, independently verified, on
the market. ChyronHego makes significant ted in the same format. All three platforms ways in which to use wearable technol-
investments in research and development, should ideally be homogenised within a ogy as a news gathering tool and audience
which is designed to help their customers performance data ecosystem, sharing the consumption platform. Guardian was
reveal the DNA of their sports data. It of- common thread of being able to deliver data exploring a variety of ways in which news
fers two Player Tracking solutions, Optical live, as in the case of Chyrenhego. could be consumed on different wearable
and Wearable, comprised of three different Another key aspect is having the data ana- devices such as smart-watches and Google
categories of data collection methods – Opti- lysed and presented to a team post-match Glass, but was also considering how wear-
cal, GPS, and RF. It offers data collection in through a single web-based portal. This ables could be used to create news as well
a manner that enables a common, sharable enables an easy start-to-end time duration, as consume it.
dataset across their customers’ sports track- thus, bettering throughput. One can imagine a plethora of use cases
ing ecosystem. The technology however, is two-fold. for wearables, including conducting a face-
It can either be used to help consum- face interview without having to hold a
THE NITTY-GRITTY ers consume content, and or help create camera physically, or deploying a camera-
Regardless of how the data is collected: Opti- content in exciting ways. According to man. This in turn, reduces both, equipment
cal, GPS, or RF, it is visualised and output- thedrum.com, The Guardian is exploring and personnel costs. Whilst reporting in
close quarters, or in cases which involve a
certain degree of movement, wearable tech-
nology stimulates an easy, synchronised
production environment, saving quite an
amount of physical effort.
Until recently, teams and leagues had
been the primary customers and stake-
holders of ChyronHego tracking solutions.
Today, that constituency has grown reason-
ably. It has moved beyond the benefits of
game tactical analysis and player perfor-
mance – to include broadcast rights holders,
referees, stadium-owners, sports betting,
and OTT providers. These groups are the
new beneficiaries of sports data evolution,
and it will indeed be very interesting to
catch sight of what comes next, in this fast
ChyronHego’s TRACAB Player Tracking - Operations View. evolving market.

34 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

US
CIO
TENA MAKING
IT LIVE
The live production market is gleaming like never before, which
calls for a sneak into how lucrative a vertical it can be

BY ANISHA GAKHAR

or some early adopters, the can be an automated process that is ideally

F
cloud provides a scalable, suited to the cloud.
flexible infrastructure,
achievable without a LIVE PRODUCTION IN CLOUD
large capital investment, The adoption of advanced cloud-based
enabling workflow efficien- workflows, especially for live production,
cies in content creation, management and has been hindered by concerns over the
distribution. Broadcasters are faced with reliability of connectivity to the internet.
increased processing and storage needs to “Dejero believes that achieving cloud suc-
accommodate their archives and new con- cess within broadcast will take an industry-
tent. At the same time, this content must be wide collaboration. We, at Dejero, solve the
distributed and delivered in multiple ways, first mile challenge of efficiently moving
each with different technical requirements: content into the cloud where it can be man-
video and audio codecs, wrappers, metadata aged, processed and ultimately distributed.
and so on. Meeting all these demands, and This is of critical importance as the industry
ensuring that each is in the correct format, transforms,” said Bogdan Frusina, founder,
Dejero.
But this is just one part of the equation.
Dejero eliminates the the connectivity by
collaborating with Microsoft and the Azure
cloud platform. Working with partners Mi-
crosoft Azure, Avid, Haivision, Hiscale, and
Make.TV, Dejero has presented an example
of how live production workflows in the
cloud can deliver greater flexibility, scal-
“DEJERO BELIEVES ability and budget efficiencies to broadcast-
ers. These multiple partners all play key
THAT ACHIEVING
roles in the live ingest workflow.
CLOUD SUCCESS
THE FLOW OF WORK
WITHIN BROADCAST
From the field, a live video stream is sent to
WILL TAKE AN the Microsoft Azure cloud platform from a
Dejero EnGo mobile transmitter. Dejero’s
INDUSTRY-WIDE
video on-ramp technology dynamically
COLLABORATION.” Bogdan Frusina, founder, Dejero receives the stream in Azure, transcodes

36 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

Live production - recording a show live, in a TV studio.

it, and delivers the standardised stream can deliver on a vision that enables live cloud processing will become crucial to
to Make.TV’s Live Video Cloud, which is production broadcasters to take advan- metadata enrichment. For those with
used to curate, and route the content to any tage of a flexible infrastructure that scales extensive archives, comprehensive con-
number of destinations from within Avid according to their needs—whether that tent metadata is central to maximising
MediaCentral. be for a month, a day, or an hour at a time, monetisation. Artificial intelligence (AI)
“Hiscale’s cloud-based transcoding solu- while reducing costs, and expanding can identify detailed information within
tion enables the live ingest into customers’ their revenue options. The cloud helps the content, including image and sound
editing and asset management environ- broadcasters address a pressing need to recognition as well as speech detection,
ments, where high and low resolutions files improve efficiencies and control costs. to enrich the metadata,” noted Frusina.
can be stored in Avid Nexis. Additional Cloud-based processes can be shut down Eliminating the need for capital
workflows include a live ingest workflow when they are not needed, so broadcasters investment and moving to an operational
using a Haivision stream to Avid MediaCen- need not pay to process power they are expenditure model, spinning up and
tral, or a file-based workflow with Signiant. not using. shutting down processes and the associ-
The overall solution presents users with a A hybrid world is taking centre stage, ated costs, cloud based live production
single interface, pulling relevant data from where on-premises infrastructure and will enable people, even those perhaps
collaborating partner technologies, while cloud infrastructure work in tandem. In working out of their garage - to run an
leveraging the compute and storage power this scenario, the cloud is often used for enterprise-grade broadcast operation.
of Microsoft Azure,” explained Frusina. occasional or peak needs. It could present Revenue generation will be quicker, from
an opportunity, for example to trial a new a significantly lower cost base, which is
THE PROS channel. expected to change the dynamics of the
This workflow aims to illustrate how cloud “As the broadcast industry transforms, industry drastically.

38 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

US
CIO
TENA
CLOUD
CALLING
The cloud is a particularly hot technology, gaining immense
impetus in the Indian M&E domain

BY ANISHA GAKHAR

P is the talk of the town room, in a corporate data centre, or in the

I
- it allows computer cloud. The cloud provides virtually in-
processes to commu- stantaneous scalability, allowing systems
nicate directly to each designers to minimise the investment in
other, and run each task hardware, and tie the costs of providing a
down to a fine granular- service directly to the revenues accruing
ity, as a separate micro-service which can from it. There is no doubt about the fact
connect to any workflow at any time. These that broadcast and media companies are
micro-services run on commercial off-the- increasingly looking to the cloud to pro-
shelf (COTS) hardware under well-proven vide some or all of their workflows.
virtualisation management techniques.
They can run in the broadcast machine ARCHITECTURE
Software-defined architectures – wheth-
er implemented on premises or in the
cloud – might be the future for the media
industry. The key challenge lies in mak-
ing an orderly transition from existing
“WITH REGARD TO
systems to IP-connected, software-de-
EXECUTION, MOST fined technology.
Anas Hantash, director, Middle East,
BROADCASTERS WILL
North Africa and South Asia, Imagine
HAVE SOME LEGACY Communications, said “The transition
has been at the core of the Imagine Com-
INVESTMENT WHICH
munications offering. Every broadcaster
THEY WILL NEED TO has an existing capital investment in
traditional hardware, and it would be
MAINTAIN ALONGSIDE
wrong to say that this must be thrown out
SOFTWARE-DEFINED in favour of new solutions. Our plan has
always been to integrate legacy systems
SERVICES, UNTIL IT IS END
Anas Hantash, director, Middle East, North
during their lifetime with new tech-
OF LIFE.” Africa and South Asia, Imagine Communications. nology as it is added, in a way which is

40 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

seamless in operation. At Imagine Commu- livery to mobiles or OTT channels, can be

nications, we have created a host level for added in an equally swift manner, making
microservices called Zenium.” the broadcaster attract viewership, and in
This approach ensures that operationally turn boosting revenues.
the architecture continues to work in the
way that its operators expect, irrespective of REAL IMPLEMENTATION
the underlying technology being used. For Globally, broadcasters and media com-
instance, to route a signal from a source to panies are moving rapidly towards cloud
a destination, the operator presses a couple solutions. The 2018 broadcast technology
of buttons on a router control panel. “In a market study by IABM and Devoncroft
well-managed transition, the operator need Partners, found that 85% of broadcasters
not know if the source is SDI or IP, if the foresee that they will be using the cloud in
destination device is traditional hardware the next two to three years, and 28% are
or software-defined technology, and how already using it.
many routers and translators that signal In India, Imagine Communications
has to go through. He or she simply selects implemented a compact, cloud-native
source and destination and presses take,” Raj Yadav, regional sales head, South Asia,
disaster recovery solution for ZEE
added Hantash. Successful implementation Imagine Communications. Entertainment Enterprises Ltd (ZEEL),
of software-defined, cloud-hosted media in Mumbai. “This is a software-defined,
infrastructures depends upon a strategically that legacy and new technology work IP-connected, fully virtualised business
planned transition, along with tools that fit seamlessly alongside each other, is a continuity solution running on a network
into both: legacy and new environments. critical part of planning for success,” of Hewlett Packard Enterprise (HPE) serv-
explained Hantash. ers, managed by the Zenium virtualisation
COSTS AND EXECUTION THE CLOUD EXPERIENCE network. It provides backup playout for 15
A pivotal driver for the change is the move The essence of a virtualised micro-ser- ZEE channels. It happens to be housed in
towards commercial off-the-shelf computer vices architecture is agility, according to a remote location in Mumbai, but it could
hardware. This dramatically reduces the Hantash. Instances of specific function- as easily provide fully mirrored coverage
cost of the equipment, and perhaps focuses ality can be spun up when needed, and in the public cloud,” affirmed Raj Yadav,
the investment on functionality: what you consequently released when finished. It regional sales head, South Asia, Imagine
are paying for is the application-specific means practically any tool can be created Communications.
software. in just a few moments. In production,
“Virtualisation and the cloud transform that might mean a need for more logging FUTURE SCOPE
the economic basis of media technology, and editing workstations. “During the Broadcasters and production companies
away from capital expenditure – you buy a IPL season, a production company might are finding reassurance in the many proof-
rack full of gear to do a specific task – and need twenty or more logging stations, of-concept projects which have shown that
towards operational expenditure – you but not need them for the other 45 weeks cloud implementations can provide the
run processes only when they are needed, of the year. A major drama production performance and resilience required for
releasing the hardware for other tasks when might need to exchange content between mission critical applications. “The security
you do not need them,” asserted Hantash. editors in a post house and the director concerns which were raised around stor-
Cloud enables allocation of processor cycles and producer on location. One can set up ing intellectual property in the cloud have
and their cost to specific tasks, to each ser- viewing and commenting functionality also been eased: AWS has a service which
vice one offers to viewers, making it easier on set with precisely the tools you need,” is secure enough for the CIA!” exclaimed
to determine profitability. It shifts the costs explained Hantash. Hantash.
to OpEx from CapEx, and provides a swift This sort of pop-up functionality can For its flexibility, agility and ability to
implementation path, which in turn enables be extended to whole pop-up channels manage costs on an OpEx basis, the cloud
early enabling of services to the market, if required. Major sporting, cultural is all set to pave the way for a large part
bettering competitive edge. and religious events can have their own of the broadcast production and delivery
“With regard to execution, most broad- multi-channel coverage using virtual- infrastructure. “As we saw with IP connec-
casters will have some legacy investment ised production, asset management and tivity, given a standards-based approach
which they will need to maintain alongside playout running on cloud hardware.For and a way of managing the transition, the
software-defined services until its end of the consumer, this translates into more cloud will become a primary platform very
life. Managing the transition, and ensuring specific content. New services, like de- soon,” concluded Hantash.

42 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

US
CIO
TENA
HEAR OUT LOUD
The AoIP technology is catching pace, and we anticipate
that it will become a standard practice for audio
broadcast in the M&E space
BY ANISHA GAKHAR

ust when the M&E indus- locations. For example, the crew might

J
try was embracing IP want to hear the on-air program and the
technology across many producer’s comments, in sync, to ensure
a broadcast domain, that the show runs seamlessly. The technol-
Audio over IP (AoIP) ogy facilitates a smooth audio experience,
invaded the audio broad- irrespective of inter-mixing of noise signals,
cast space. AoIP means distribution of call-ins or external distractions.
digital audio across an IP network. It has
started being used extensively, to enable an CONVERGENCE
improved quality of audio feeds over long An Audio-over-IP transport technology
distances. The technology is also some- that directly addresses the convergence of
times known as audio contribution over IP broadcast operations with IT infrastruc-
(ACIP). ture might prove to be a reasonably ideal
This enhancement typically comes in solution for audio broadcasting. As the
handy, when production has to be executed smartphone gains importance for being
away from the home studios, in remote a versatile general purpose input/output
device, technology that connects the worlds
with it, gain centre stage too. People with a
VoIP SIP based phone system tend to look
for solutions that have a one button dial
environment.
“AS BROADCAST AND
Moving to an IP infrastructure with a
IT CONVERGENCE standardised system, in turn makes design
and commissioning of the set-up, an un-
ACCELERATES, THE
demanding experience. Consumers get to
INDUSTRY IS IN NEED OF savour better content, by virtue of media
companies being able to spin up channels
SOLUTIONS THAT CLEANLY
in a matter of days, thanks to IP workflows.
INTEGRATE INTO THE IT It also means broadcasters can add pop-up
channels as and when the need arises.
INFRASTRUCTURE AND
IMPLEMENT SECURE, RELIABLE THE LATEST
As the broadcast community tends towards
TRANSPORT ACROSS WIDE-
migrating to IP, the AES67 technical stan-
AREA NETWORKS” Keyur Parikh, VP and GM, GatesAir. dard is expected to dominate audio trans-

44 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

GatesAir’s Intraplex AoIP technology.

port technology. It endows users with the equipment racks in enterprise-level “As broadcast and IT convergence
flexibility that they had in the traditional facilities. Furthermore, the solution is accelerates, the industry is in need of
analogue/digital world, over a single IP compatible with AES67 and Dante on solutions that cleanly integrate into the
interface. Whether in the case of trucks, the studio side, allowing users to manage IT infrastructure and implement secure,
production studios or sports events, AoIP many Secure Reliable Transport (SRT) reliable transport across wide-area
comes across as a promising provider of streams on a centralised cloud platform, networks,” said Keyur Parikh, VP and
low-cost infrastructure. an industry-first in AoIP for broadcast- GM, Intraplex Product Line. “Broadcast
GatesAir’s Intraplex AoIP technology ers. SRT is a low-latency open source networks will now have a simple platform
is a software-defined innovation that media streaming protocol which provides to manage many channels coming in and
lives on a COTS x86 server, providing packet encryption and re-transmission out of the studio or headend that runs on
broadcasters with a scalable, redundant capabilities for reliability and security. a single, highly-redundant, multi-core
and cloud-based transport platform server, versus maintaining multiple racks
for multichannel contribution and ENSURING A ROBUST SYSTEM of hardware codecs. Additionally, our
distribution. To further strengthen stream robustness SRT capability increases stream security
The integration of multichannel AoIP and reliability, GatesAir is additionally and reliability through re-transmission
transport into a facility’s IT infrastruc- integrating Dynamic Stream Splicing of lost packets and payload encryption.
ture offers several tangible benefits for (DSS), an Intraplex technology that di- The added value of Dynamic Stream
broadcasters and network operators. The versifies data across redundant networks Splicing, a proven technology used
platform first streamlines installation to SRT. The addition of DSS to SRT will worldwide in IP Link codecs today, will
and management by removing the need add additional protection against certain arguably create the industry’s most ro-
for many separate codecs and auxiliary types of packet losses and complete net- bust and reliable Audio over IP transport
hardware components, freeing multiple work failures. platform,” concluded Parikh.

46 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

US
IO
TENA
C
TACTILE
TELEMETRY
A comprehension of the hype surrounding Telemetric
Network Monitoring, and how it will help drive a new era
in the M&E sphere
BY ANISHA GAKHAR

elemetry is an automated conventional telemetry systems leverage

T
communications process, the low cost and ubiquity of GSM networks,
by which measure- using SMS to receive and transmit telemetry
ments and other data is data. It also allows the transit of multiple
collected from remote streams of content and information, all
difficult-to-reach points, within a fixed frame.
and transmitted to a receiver for monitoring. A telemeter incorporates a sensor, a
The word is derived from its Greek origins: transmission path, and a display, recording,
tele = remote, and metron = measure. or control device; to remotely measure any
Although telemetry commonly indicates quantity.
wireless data transfer mechanisms (e.g.,
using radio, ultrasonic, or infrared systems), SMART EQUIPMENTS
it also encompasses data transferred over If we take into consideration a system’s
other media such as a telephone, computer ability to provide full network and media
network, optical link or other wired com- visibility, the Lawo System Monitoring
munications like power line carriers. Most And Realtime Telemetry Dashboard (aka
smartDASH) is a vendor-agnostic enterprise
software suite, designed to provide visibility
across an all IP, all SDI or hybrid WAN/LAN
broadcast infrastructure.
The smartDASH is built in a way that
it bridges the gap between IT and video
engineering, bestriding each side of the
operation to provide an elaborate view of
the network’s operations, and the behaviour
of the media streams flowing across the
network. Based on a UNIX OS, the software
defined networking solution incorporates
a robust database to document and swiftly
search any aspect of the operation, from
a simple cable ID number - to seeking the
journey of a multicast across a transnational
multi-hop WAN. Additionally, by leveraging
Andreas Hilmer, director, Marketing & Com- a sprawling library of hardware communica-
munications, Lawo. tion protocols, the system interrogates live

48 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

India Video Supports Distributors
CHENNAI: No.84/90, D.V.K Towers, 3rd Floor, G.N. Chetty Road, T.Nagar, KOLKATA: Unit No.6A, 6th Floor, Usha Kiran Building, 12A Camac
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 FEATURE

and dormant path connections to

create the most intuitive and data
rich presentation layers of a COTS-
hybrid infrastructure.

UNIFYING TELEMETRY
WITH MEDIA FLOW
Another feature of smartDASH is
the deep packet inspection micro-
services, which supports monitoring
and decoding of wide range of media
formats, from low bitrate OTT/ABR
streams to uncompressed ST2110
studio production flows. This
approach proves useful, when an or-
ganisation needs a deep dimension
of operational visibility, by unifying
network telemetry and mixed media
flow into a single glass view. Since
the software solution is scalable, it
enables amalgamation of data from
every corner of one’s network.
A smart telemetric system can
help document all facets of the
media network and infrastructure,
by keeping a track of the device
inventory and spares. The smart-
DASH system facilitates the account
CAPEX and OPEX KPIs, thereby
catalysing easy management of the
total cost of ownership. It also helps
visualise connectivity and band- Lawo’s smartDASH.
width usage with precision, discover
and trace live media flows along the end-
to-end path from origination to destina-
tion, and transcend network and media
data points into actionable intelligence.
Forward telemetry agents provide in-
smartDASH MULTIPLE USERS
service and out-of-service alarm genera-
tion and reporting, which in turn, reduces
MANAGEMENT the time-to-address a malfunction. This
increases the productivity be reducing the
out-of-operation lad considerably. A tele-
Arista Cisco Other metric system should enhance real-time
Switch Switch Switch
communication from COTS platforms to
third party purpose build equipments, to
End Point smartSCOPE End Point smartSCOPE End Point smartSCOPE ensure a flexible work ecosystem. A solu-
tion like smartDASH presents an opportu-
Management Network nity to comprehend unified presentation
Produc�on Network
layer dashboards, and helps accelerate
revenue generation through awareness
Lawo smartDASH management graphical representation. and speed of data.

50 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

US
TENA
CIO
THE IP SOLACE
IP is almost omnipresent in the media universe, owing to its ability
to provide a sturdy connection in the most remote locations, with
little or no lag
BY ANISHA GAKHAR

s our lives become ever more based technologies.

A
mobile, an increasing
amount of live video con- FERRYING YOUR LIVE STREAM
tent needs to be captured The two methods mostly applied for trans-
on the fly – and out in the mitting data as packets over IP networks, are
real world. Regardless of TCP (Transmission Control Protocol) and
how the content is captured - from a drone, a UDP (User Datagram Protocol). TCP is ideal
body camera, on the move, or in the air – one for consolidated data (like in the case of web
can never anticipate where and how a need pages and emails), but might come with its
may arise, to capture video in locations where own cons like latency and additional over-
there is fluctuating network without a reliable head, to accomplish that which is eliminated
bandwidth. As widely as Wi-Fi and cellular in the case of UDP. UDP does not ensure ar-
networks are used, these media are seemingly rival of all data, yet it can prove useful in audio
brittle, and may cause loss in data. Enter – and video, given the large amounts of data
technology! Advancements such as connec- involved. Although not preferred, the loss of
tion bonding, adaptive bit-rate encoding, a few bytes is often inconsequential to actu-
and dynamic forward error correction, evoke ally seeing images and hearing sound. But
peace of mind for the media organisation. what happens when the data loss surpasses
In order to ensure that the outputted the acceptable limit? It leads to everything
content is high quality, with as little delay a streamer and the viewer might despise–
as possible, one needs to solve the problem broken images, poor audio, buffering and
of getting the video into the cloud over IP- ultimately dropped views.
A perfect solution scenario would be some-
thing that incorporates all of these techniques
into a single, integrated protocol: TCP feed-
back, UDP speed, and RTP reliability – all with-
out the delay. One needs a reliable transport
over the most unreliable of networks, and tight
integration with the encoder,” added Bhatti.
The LiveU Reliable Transport (LRT™)
brings together techniques into one inte-
grated protocol that works with the encoder,
so one does not have to do much. This is
achieved by:

PACKET ORDERING
LRT uses numbered packets so that they
can be re-ordered when they arrive out of
Ranjit Bhatti, director – South Asia, LiveU. order. This is an absolute requirement with

52 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE
Understanding LRT

BW
Network Fluctuation Bandwidth Drop
Encoder Fluctuation Adaptive Buffer

connection bonding, where data will almost Aggregated Available Network Bandwidth
always arrive in a different orders than
intended.
• FEC
• Retransmission
• Network Fluctuations
DYNAMIC FORWARD ERROR COR- • Encoder Fluctuations

RECTION Actual Video Bitrate

Forward Error Correction adds overhead
to the stream, with the idea that the small
amount of additional overhead can be used to
recover lost data faster than a resend. Groups
of lost packets can be recovered without Audio Bitrate
requesting for a resend. LRT uses a dynamic
version of FEC. It automatically varies how
much FEC to use, based on monitored net- Time
work conditions. Understanding LRT. ACQUIRE MANAGE DISTRIBUTE

ACKNOWLEDGE AND RESEND TIGHT ENCODER INTEGRATION OR LIVING IT ‘IP’

LRT uses a form of acknowledge and ADAPTIVE BIT RATE ENCODING Producing engaging content live, requires
resend for large groups of packets. If some The most important piece of the LRT protocol freedom to do what one pleases to, reliably.
fail to arrive, it can inform the streaming is its tight integration with the encoder. As the Erratic networks and a quivering Internet
engine to resend needed data. By acknowl- bandwidth condition changes, LRT automati- bandwidth is now a hitch of the past, with the
edging large groups of packets at a time, cally recognises itand informs the video en- advent of IP technology. It enhances available
the overhead and latency of TCP is not re- coder to allow it to adapt the bit rate of video bandwidth in the field and reliable trans-
introduced. The packet numbers are used it is delivering and keep the best possible port protocols enhance bonding and quality
to let the system know what was delivered stream within the available bandwidth at any almost in any outdoor location, thus enabling
(or not). given moment, thus avoiding crowding. the focus of energy on getting great content.

You want to know more about

Audio
Video
over
Download the FREE GUIDE.
IP? FREE download on

“Migrating to IP is more than

just having a deep understanding
of technology. It requires a respect
and appreciation of disciplines in both
broadcast an IP infrastructures.”
ESSENTIAL GUIDE - Tony Orme -
www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 53
 FEATURE

US
TENA
CIO ANALYSING THE
WAY FORWARD
We dive into how Video Analytics stands of as much importance
as the video itself, to leverage content effectively
BY ANISHA GAKHAR

ny technology that helps instead of the historic, generalised, and

A
engage an audience averaged statistical data which is no longer
or monetise content, sufficiently effective nor insightful.
gains attention swiftly.
Regardless of how the AGGREGATION, REAL-TIME
content is produced or con- At Qligent, their focus on Video Analytics is
sumed, there is always a need to gain valu- closely knit with other trending technologies
able feedback on delivery and consumption. such as the Cloud and AI. They specialise in the
Ongoing experimentation in the production continuous monitoring and analysis of Quality
and delivery of content and advertising, has of Service (QoS), Quality of Experience (QoE),
led to the conception of new technologies compliance and content verification.
that help fine-tune the entire process of Ted Korte, COO, Qligent, explained,
analysing and leveraging video content. “Broadcasters, service providers and other
This is where Video Analytics comes in content distributors have a good amount of
as an important tool, enabled by Machine data already. The key is to fill in the gaps, ag-
Learning (ML), Artificial Intelligence (AI), gregate it together, and analyse it as close to
the Internet of Things (IoT), Big Data, and real-time as possible. That is the whole idea
the Cloud. The trend is gravitating towards of a Big Data strategy.”
actionable ‘People Data’ viewed holistically Most of the new technologies Qligent
across each segment of the value chain, uses are virtualisable, and leverage various
tools that already exist in the Cloud. Their
main aim is to deliver the missing delivery
analytics pieces by collecting and analysing
last-mile, consumption and behavior data,
combining Quality of Experience (QoE) data
with business impact metrics to form useful,
actionable insights.
“WE ARE FAR PAST Since most of the components of their
solution are Cloud-based, it is easy for them
‘CONTENT IS KING,’ AND
to start small, and grow out in any direc-
NEED TO FOLLOW THE tion. IoT and other technologies are making
it more cost-effective to gain the missing
INTERESTS OF INDIVIDUAL
last-mile and end-user data. With such
CONSUMERS FOR an approach, companies can afford to test
small pieces before investing much. It spells
BOTH, CONTENT AND
convenience, agility and cost-effectiveness,
ADVERTISING,” Ted Korte, COO, Qligent. which aids rapid technology adoption. The

54 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

Qligent Analysis view.

benefits of Qligent’s Analysis solution can be be of use to learn that the format received THE FUTURE BECKONS
reaped in entirety by deploying it across the by most viewers, oscillates back and forth The tomorrow of media is expected to need
entire value chain, from content origination between 480p and 720p. Not only do they a data-driven feedback loop to gain analytics
to its consumption. not receive the 4K, but their experience is from any type of technology deployed – such
Advances in ML, AI, IoT, Big Data, and the further degraded from buffering or switching as 4K, AR, etc. – irrespective of the type of
Cloud are key components of Qligent’s solu- between formats. Video Analytics leverages service offering (OTT, IPTV, OTA, satellite,
tion and approach; from enabling flexible this information and helps the provider to be cable, etc.). Data analytics will cite as a ne-
and cost-effective virtual probes, to generat- able to optimally overcome such issues and cessity whilst validating the importance and
ing deeper, forward-looking insights from deliver a better experience. ROI of any add-on implemented.
the collected data. Qligent has executed several projects For example, by tracking the where, when,
where probes were deployed in thousands, how, and how long, subscribers are enabled
ANALYTICS TO THE RESCUE globally, without breaking the budget. It to engage with content and associated
Video Analytics helps traditional media com- usually deploys a mix of bare metal comput- targeted advertising in as close to real-time
panies compete with IT-rooted technology ing platforms, virtual machines, and Cloud as possible. Wading beyond how traditional
giants having a grasp on consumer feedback, deployments as per the specifics of the client. ratings systems drove advertising pricing
and now investing into content creation. “We Currently, it is actively involved in leading a for broadcast television, a blend of QoS/
are far past ‘content is king’ and need to fol- Big Data deployment with a quad-play pro- QoE data with viewer-centric information
low the interests of individual consumers for vider who wishes to understand customer will likely be at the heart of future content
both, content and advertising. Large compa- ‘churn,’ as it is one of the major challenges monetisation and valuation. “It will take
nies can only do this with Big Data – and im- faced by delivery services. time and experimentation for customers, as
portantly, reliable data – since consumption “We have found a way to eradicate the ‘si- the situation and need will be different for
and behavior data will not make any sense lent suffers’ phenomenon, by collecting data each individual media organisation to retain
without a solid understanding of the quality of pertaining to who was online and what they competition,” added Korte
the service delivered,” added Korte. were watching when a problem occurred Unless a company has a captive hold
For instance, if one imagines producing with their service, all within seconds – allow- on both: their audience and their revenue
an OTT service where the highest profile ing the provider to reach out to the customer stream, Video Analytics can prove of utmost
is 4K, it would incur high costs along with before they had a chance to complain or drop essence in the collection and analysis of end-
time. In a situation like this, it would indeed their service,” affirmed Korte. user consumption and behavior data.

56 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

US
CIO
TENA
MAM:
THE BEATING HEART
Most organisations are leaping towards outmatching their asset
management using MAM, to ensure streamlined storage solutions
BY ANISHA GAKHAR

he year gone by created age space for managing their digital content,

T
ripples throughout the many organisations have adapted to accom-
meniscus of media modate MAM in their daily operations.
technology, equally so in
the content management COALESCING CONTENT WITH
arena. A sub-set of Digital MAM
Asset Management (DAM), which was first Administering high volumes of content, in-
conceived in the television and film industry, volves endless iterations of increasing chan-
Media Asset Management (MAM) solutions nels, thus, creating a cluttered environment
are gaining attention across the broadcast that becomes tedious to superintend. This
industry and other domains. A MAM system calls for a business critical need to catalogue
enables a single repository or library for data in compiled fashion. Enter, MAM.
storing and managing multi-media files. Alexander Stoyanov, sales director, PBT
From production houses to government EU Ltd, said, “The bold ones reinvent and
institutions, sports federations to other revolutionise their process, adopting new
entities aiming at building a common stor- technologies almost overnight. It requires
flexibility and organisational courage and
determination. On the other hand, the
conservative approach is companies try to
mitigate the transitional stress by replicating
existing workflows, whilst adapting to the
new technological realities. I can’t say which
approach is better, since everybody has their
own consideration,”
A MAM system is built from the ground
“ARE YOU SO RICH, up, especially for large libraries, facilitating
the capacity and processing power required
THAT YOU CAN OPERATE
to consolidate the content chain across mul-
WITHOUT A MAM OF SOME tiple diverse systems. This in turn makes it
easy to archive, scout and monetise the con-
KIND? MAM SYSTEMS HAVE
tent, thereby increasing business revenues.
BECOME THE BEATING Eventually, it boils down to market niche,
type of client, level of technology penetra-
HEART OF MANY MEDIA
tion, and diverse trends. Some technologies
ORGANISATIONS.” Alexander Stoyanov, sales director, PBT EU. win with their simplicity, easy adoption and

58 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 FEATURE

short learning curve; while others embrace

connectivity and interoperability. Regard-
less, today a MAM system is a must for
almost any type of organisation wanting to
cope with copious amounts of content.

FARE AS WELL
“Are you so rich, that you can operate with-
out a MAM of some kind?” asks Stoyanov
to his clients, whilst explaining to them
the cost effectiveness that MAM enables. A
few organisations practically live with the
status quo, because MAM deployment might
involve leaving one’s comfort zone and mak-
ing efforts in the initial stages of use. The
execution might not be a cakewalk, but an
amount of professional and skilled interven- PBT EU’s EXEcutor Media Integrator User Interface.
tion could accompany an organisation in
their journey and take them beyond. supply chain is almost mission-impossible were considered an exotic adventure some
Although, requirements can be complex without the right sets of tools. The sooner time back and are now considered almost
and the system can be customised to suit the majority of the industry realises it, the a commodity.
specific needs, the MAM system is usually more stable their market position will be.
deployed to attain: secure and future-proof From asset indexation, and all the way SCOPE OF THE MAM UNIVERSE
archiving of video and large media files, with through process orchestration, to fast deliv- The growing number of industry formats
an easy-to-use, efficient and reliable access. ery to market – all must be streamlined and is driving the demand for systems that can
It makes digital asset management reason- constantly optimised in order to lessen costs handle, convert, and in the same breath -
ably cost-effective, thus, bettering business and ensure a competitive edge. be future-proof towards rapidly advancing
financial models. Dynamic metadata creation, live collabo- technological and business environments.
Stoyanov added, “It is no surprise that ration and merging multiple diverse systems By integrating the MAM system with AI,
MAM systems have become the beating under one management layer, are just a few Cloud and machine learning, possibilities
heart of many media organisations. The advantages amongst a host of others, which might almost be infinite.
Automation, workflow flexibility and
limiting human interaction to control
and manage assets manually, are the
augmentations expected to drive the
industry towards incorporating MAM
systems. At the end of the day, the core
idea behind inventing the MAM system
was to primarily put order in the chaos,
and make the transition towards a fully
digital environment.
We never know, sooner or later, there
shall come a time, when the return of
investment for such a system would be to
squeeze as much as possible, especially in
monetisation and revenue generation.
“There are tons of ingenious technolo-
gies around which do not survive because
users are skeptical by nature and cau-
tious in decision making. And progress
needs exactly the opposite attitude,”
PBT EU’s EXEcutor Media Integrator. concluded Stoyanov.

60 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

US
CIO
TENA SIMULATING INTELLIGENCE
FOR CLOSED CAPTIONING
Artificial Intelligence and Machine Learning have facilitated
automation in various verticals of the media industry, thus, saving
human intervention to a great extent
BY ANISHA GAKHAR

rtificial intelligence (AI), by machines, bots or computers, in paradox

A
also called machine to the natural intelligence possessed by
intelligence or machine humans and other fauna. Advances in this
learning (ML), stands sector, have enabled manufacturers and
for scientifically devised broadcasters to invent and execute smart
intelligence demonstrated tools and applications, to foster the quality

HAPPY NEW YEAR TO ALL

Artificial Intelligence (AI) for closed captioning of videos.

62 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

“REPUTED DISTRIBUTORS FOR BROADCAST & CINE EQUIPMENTS”

Autherised Distributor:
NEW DELHI: C-9/9516 Vasant Kunj, New Delhi- 110070 Tel: +91-11-26136872, 26891958, 26891962 Fax: +91-11-26896087
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MUMBAI: Veronica 303,Vasant Oasis Marol, Andheri (E), Mumbai 400059 Mobile : 9810119524
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of their content.
AI and its close relation machine learning
systems, simply expand what can be made a
repetitive, computer task, releasing people
to create more content and build audiences
by finding new delivery routes, and ensur-
ing optimum monetisation.

THE IMPETUS
AI aided content creation facilitates
umpteen possibilities like colour correc-
tion, automated editing, conformance/
compliance and performance optimisation,
scene extraction and highlights creation.
Caption generation for photos and videos,
language translations and automatic narra-
tion generation are also achievable through
the use of AI technology. Face recognition
through automated meta-data tagging and
extraction, person-in-scene detection and
person-in-picture tracking are features that
can be leveraged, whilst using this augmen-
tation. It also facilitates logo detection, text
extraction and speech-to-text conversion.
The person-in-scene tracking is especially
useful during sports highlights, for instance,
tracking the person who hit the goal during
a football match. ENCO’s enCaption Solution.
AI sits naturally in any software-defined
workflow, optimising and ensuring efficient advantage of news scripts and rundowns the captioning workflow by eliminat-
use of resources while maintaining quality to learn and validate the spelling of local ing the need for specialised encoding
output. AI components can be crafted as names and terminology. hardware. It automatically generates
micro-services, ensuring they are em- captions through its NDI input stream,
bedded into the architecture to provide THE ‘HOW’ and outputs an NDI signal, with cap-
uncompromised efficiency. As part of the “With more than three times the language tions keyed directly on top of the video
architecture, they are inherently virtual- support of previous generations, enCap- stream. This interoperability offers a
ised, allowing AI systems to be hosted in a tion4 helps broadcasters around the world redundant and reliable solution for
data centre or in the cloud. to reduce or eliminate the rising costs and accurate closed captioning within live
For instance, ENCO’s enCaption4 solu- short-notice staffing challenges of real- web and social media streams, such as
tion for automated closed-captioning, is time stenocaptioners,” said Ken Frommert, Facebook Live.
deployable on-premises or in the cloud. president, ENCO. “We are helping our cus- “While online video distribution is
ENCO’s latest improvements in accuracy tomers make an immediate on-air impact in not subject to the same stringent closed
include a dictionary database that can be news, sports and other programming with captioning regulations as broadcast
been expanded to 29 languages, making automated closed captioning,” he added. TV, the use of captions ensures a larger
enCaption4 a solution expected to give true EnCaption4’s high speed benchmark audience for any online video,” From-
ROI value for broadcasters worldwide. Le- poses as a bridge between live speech and mert asserted. “Advocacy groups for the
veraging breakthroughs in ML technology, the corresponding caption display for an hard-of-hearing are also actively pushing
ENCO’s patented, AI-driven solution allows overall improved viewer experience, with for online video programs to contain cap-
new languages to be added almost instan- accuracy rates exceeding 90 percent. tions. Those watching video on portable
taneously. Furthermore, integration with devices in public places, prefer to keep
popular newsroom computer systems from INTEROPERABLE WORKFLOWS their volume down and turn on captions
ENPS and Octopus among others takes enCaption’s NDI compatibility simplifies instead,” he added.
 FEATURE

US
CIO
TENA

OTT ON TOP
As the need for scalable content delivery heightens, we look into
how OTT can be an answer to this need

BY ANISHA GAKHAR

onsumers increasingly traditionally act as a controller or distribu-

C
want to watch videos tor of such content.
at their beck and call,
from any location and THE TECHNICALITIES
at any time. At the same The term is synonymous with subscription-
time, they do not want to based video on demand (VOD) services that
compromise on the quality of content they offer access to film and television content
are being served, with regard to sound and services that offer access to live streams of
buffering. From live streaming to Video on linear specialty channels. This bears simi-
Demand (VOD) and everything in between, larity to a traditional satellite or wire-line
OTT solutions enable a conducive environ- television provider, only exception being
ment. As content providers and pay-TV that it is streamed over the public Internet,
operators look to take advantage of new rather than a private network, for instance
revenue opportunities related to OTT set-top boxes.
services, they need scalable and secure OTT makes use of advanced video codec
content delivery solutions that ensure a technologies when required, and provides
flawless quality of experience across all the tools to prepare, manage and send
screens. A few key highlights of using OTT across quality content to TVs, smartphones
include local video caching, CDN selection, and tablets. Over-The-Top streaming of live
and low-latency video delivery solutions video calls for a media server which allows
that streamline the delivery of high-quality viewers to stream content to all of their
video over managed and OTT networks. devices. Targeted advertising and localised
Over the top (OTT) refers to distributing blackouts can also be inserted into the
streaming media as a standalone prod- video streams without adding an additional
uct directly to viewers over the Internet, workflow.
bypassing traditional distribution like tele- Transcoding speed and video quality are
communications, multichannel television, paramount requirements for any provider
and broadcast television platforms that of OTT VOD services. OTT platforms en-

66 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 FEATURE

sure efficient transcoding, packaging and

publishing of content without compromis-
ing on the quality.
Monetising one’s video offerings, along
with capitalising on the ability to sell ad
space, is a vital step towards achieving ROI
on one’s OTT investment. Turnkey OTT so-
lutions allow deploying a framework for ad
insertion, in context to regional specifica-
tions. This in turn, ensures a cost-effective
management of content-rights tasks, such
as blackout management and programme
substitution.
OTT television, usually called streaming
television, is one of the most popular OTT
contents. The signal is received over the
Internet, as opposed to receiving the televi-
sion signal from a terrestrial broadcast or
satellite. Access is controlled by the video
distributor, through an app or a separate
OTT dongle or box, connected to a phone,
PC or television set. Video-on-Demand (VOD).
There’s more to OTT than Netflix and
HBO. Many TV networks have accommo- OTT AND VOD pay for traditional TV, whereas OTT does
dated OTT video services in their day-to- Although OTT and VOD are taken as the not. OTT content is transmitted over the
day execution. Online video companies same entity, there is a fine line that dif- internet without requiring users to sub-
such as Hulu and YouTube are vying for the ferentiates the two. One of the main areas scribe to a traditional cable or satellite
TV business, with their own versions of an where they appear dissimilar, is the costs pay-TV service.
internet-based TV service. associated with each. VOD requires users to Another differentiation is in what
these offer to consumers, in terms of ac-
cess and flexibility. On-demand stream-
ing is the defining feature of OTT, since
it enables a consistent and easy access
to video content. In contrast, traditional
television requires users to turn on their
sets at a pre-defined timing, or record
episodes.
OTT is also comparatively faster than
VOD with respect to buffering time and
better quality. The VOD process requires
the user to progressively download the
file, rather than streaming the content.
OTT video streaming also has con-
siderable advantages over download-
ing, another main form of online video
consumption. Consumers can consume
more content from OTT than they get
for the same price when downloading.
OTT can be viewed on any device, has no
associated download time, and does not
consume valuable computer or device
OTT for monetising content. memory.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 67

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68 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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25-27 October 2018

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Booth no: B 212
 EVENTS

NEXT-GEN BROADCASTING
With Broadcast India Show 2018 dates nearing on our calendars,it is time to clear the way to
witness next-generation broadcast technology
BY ANISHA GAKHAR

echnology unrolls at a platform, which showcases the paradigm visionaries, and other industry pioneers

T
dizzying pace along transits in infotainment technology across from across the world will gather to realise
with sizeably impacts the globe, along with serving as a platform opportunities, establish trade connections,
everything it nudges, to help connect with the innovators and and facilitate resource pooling on the
the world of broadcast experience the marvels first-hand. biggest scale; as is the norm every year.
and entertainment being The Broadcast India Show 2018 will The last edition of the Broadcast India
no exception. The entire universe of cater to futuristic broadcast technologies, Show saw over 9862 unique visitors and
augmentations possible in this industry which are expected to be more efficient and over 500 brand participants from over
remains elusive most of the time, except productive, by catalysing creative ways of 36 countries. This year, the numbers are
during conventions and trade shows like working with broadcast, film, audio, radio only expected to grow, with spectacular
the annual Broadcast India Show. The Show and everything else that contributes to innovations up for demonstration.
has spanned for over two and a half decades the infotainment industry – from content
since 1991, and is back and how, with its creation to its management and delivery. OFFERING THE BEST
2018 version. Every year, the Broadcast Companies and corporations, veterans and The 28th edition of the annual three-day
India Show translates into an interactive professionals, vendors and and customers, trade fair will witness leading participants

70 SEPTEMBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 EVENTS

from across the globe, presenting a wide

array of products and technologies for
the broadcast, television, film, audio
and radio industry. Over the years, the
Broadcast India Show has positioned
itself as a platform that allows technology
seekers to connect with the innovators, and
experience the marvels in real-time.
As per a report published by FICCI and
KPMG, the media and entertainment
industry in India is poised to grow at a
CAGR of 14.3 per cent to INR 2260 billion
by 2020. It is mostly led by advertising
revenue, which is expected to grow to INR
994 billion at a CAGR of 15.9 per cent. By
2020, the digital advertising market might
scale up to INR 255 billion in all likelihood,
and contribute to 25.7 per cent of total
advertising revenues. Increased share of
mobile and video advertising as part of
digital media is one of the things to look
forward to in the near future.

72 SEPTEMBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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 EVENTS

Eddie Udagawa, VP, Consumer Imaging

& Information Centre, Canon India.

“After receiving an overwhelming response

at the Broadcast India Show over the years,
we are expecting a heightened consumer
connect for our products this year as well.”

WHAT TO EXPECT
From content creation to its management
and delivery, Broadcast India Show 2018
will present an entire gamut of products
and solutions catering to the broadcast and
film industry. Organised by NürnbergMesse
India, the expo is poised to attract over
12,000 professionals from across the globe,
with over 500 brands displaying cutting
edge technology and solutions.
Sonia Prashar, MD, NürnbergMesse India
shared, “It has always been our endeavour
to provide the best of networking platforms
for the industry. We will continue to create
several additional avenues along with the
main event, for technology seekers to get
up and personal with the exhibits first-hand
and gain in-depth knowledge about them.”
The mega event will include technical EXHIBITIONS The exhibition will serve as a curated
sessions, seminars and conferences to With over 36 participating countries and platform for display of trending
facilitate knowledge transfer and instigate more than 500 exhibiting companies, the technological advances and inventions. It
the birth of ideas. The show will also host show attracts visitors from all over the will bring together professionals that are
a number of live product demonstrations globe and the Indian sub-continent. The reforming the broadcasting value chain
from over 500 brands displaying their latest Broadcast India Show 2017 observed 36 in the M&E sector, under a single roof.
enhancements. Over 11,000 square metre new exhibitors delving onto the Indian The exhibition will also help capitalise on
of gross area will be facilitating business broadcast and infotainment market for the umpteen opportunities to boost business
networking opportunities. first time. networks, reinforce one’s brand, and

74 SEPTEMBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 EVENTS

convert prospects into customers. This in ALONG WITH THE BROAD- concurrently with the main exhibition
turn helps establish trade connections and SPECTRUM EVENT, THE is an important aspect of the Broadcast
facilitate resource pooling on a large scale India Show. By inviting wide-spectrum
BROADCAST INDIA SHOW 2018,
in the Indian sub-continent. participation from presidents, directors
It will serve as a common ground to WILL SIMULTANEOUSLY FACILITATE and proprietors of companies to engineers,
evaluate and test new technology, by A 2-DAY CONFERENCE THAT technicians and technologists, it forms an
interacting directly with key end users, WILL DEEP DIVE RIGHT INTO THE interactive and enlightening backdrop for
partners and resellers. The Broadcast India in-depth presentations, cross-pollinating
NITTY-GRITTY OF CONTENT.
Show 2018, thus, is anticipated to have discussions and analytical forums.
something for visitors from all verticals IT WILL WITNESS INDUSTRY Refreshing, enlightening and uni-focussed
including film, television, radio, audio, TECHNOCRATS OF THE LIKES in both: format and presentation, its goal
mobile and new media industry. OF CEOS, DIRECTORS AND will be to become an enhanced platform
for informative and enlightening debates,
PROPRIETORS OF COMPANIES.
CONFERENCES along with product promotion. In all, it will
Along with the broad-spectrum event, be one of the major contributors to draw
the Broadcast India Show 2018, will convention is expected to help foster benefit out inner energies of the participants and
simultaneously facilitate a 2-day from expertise, knowledge of engineers attendees, in order to realise their potential
conference that will deep dive right into and technicians through a sea of technical in myriad, so far not deemed possible.
the nitty-gritty of content. It will witness presentations, equipment demonstrations The conferences will address topics
industry technocrats of the likes of CEOs, and in-depth brainstorming sessions. including 2D/3D animation, asset
directors and proprietors of companies. The The two day conference that is hosted management, archive, audio, broadband,

76 SEPTEMBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 EVENTS

broadcast, cable, cameras, DAB/DBS/DST/ “THE QUALITY OF VISITORS at the Broadcast India Show over the years,
DTT, desktop video, digital film, graphics, we are expecting a heightened consumer
grip, High Definition (HD), interactive media,
ATTENDING THE SHOW HAS connect for our products this year as well.”
internet, IPTV, lighting, MPEG, mobile TV, ALWAYS BEEN DIVERSE AND
multimedia, music, Outside Broadcast (OB), IS EXPECTED TO GARNER BRANDS TO LOOK OUT FOR
production, radio, recorders, satellite, servers, INDUSTRY FOLKS FROM ALL The show attracts participation from
streaming, systems design, television, test leading companies globally, which
and measurement, transmission, video, visual
OVER THE DOMAIN,” SAID ensures a versatile display of world-class
effects, webcasting, widescreen, and other DAN HOLLAND, MARKETING technologies. This year is no different,
leading innovations from the entertainment MANAGER, IHSE, USA. better perhaps, with leading brands ready to
industry. present their products. These include global
brands like Blackmagic Design, Sony, AVID,
WHAT THE INDUSTRY SAYS all the way up to a full scale television and RED Digital, Canon, Datavideo, Samsung,
Dan Holland, marketing manager, IHSE, broadcast production.” IBM, Ross Video, FOR-A, Grass Valley,
USA, said, ‘‘This will be our fourth year at Umender Shah, business head, India ARRI, Atomos, Carl Zeiss, Panther, Seagate,
the show and as we are gaining increasing and SAARC, Zeiss, commented, ‘‘We have On Air Asia, AJA Video Systems, Playbox,
exposure and brand recognition, people been at the Broadcast India Show for the IHSE, Primestream, Ikegami, Hitachi,
are appreciating the quality that IHSE last 5 years, and every year we have been Monarch, Netweb, Sennheiser, Samsung
brings to the broadcast market in India. seeing a considerable amount of change as and IBM amongst many others.
The quality of visitors attending the show compared to its previous edition.” The Broadcastindia Show 2018 promises
has always been diverse and is expected Eddie Udagawa, VP, Consumer Imaging a host of exciting innovations to watch out
to garner industry folks from all over the & Information Centre, Canon India, said, for, are you ready to get your dose of tech-
domain including, a standard small studio “After receiving an overwhelming response inspiration?

78 SEPTEMBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

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IBC2018
THE WRAP

THE IBC OUTLINE

IBC2018 has wrapped up, and has instigated a sense of learning,
inspiration and long-lasting synergies

BY ANISHA GAKHAR

igital Studio was at Am- its roots in the depth of knowledge that I in the Netherlands, on several days of the

D
sterdam this year for gained. IBC2018 welcomed 55,884 attend- convention. It recorded 185 million poten-
IBC2018, along with ees to its 2018 chapter, whilst recording a tial impressions and over 250,000 video
many of our indus- 667 sqm increase in floor-space as com- views. For those who missed out on the hap-
try peers, absorbing pared to last year, to make it 53,710sqm of penings, and those who did not and yet want
all the latest technologies the RAI Exhibition centre in Amsterdam. a scoop on the excitement, read on. There is
and magnificent displays that were show- What’s note-worthy is that the IBC App a lot to imbibe fromthe most lucrative in-
cased. On my way back to home land, I was logged more than 91,000 interactions, lodg- sights filtered out from this year’s IBC2018
left with a surging inspiration, which had ing IBC at number one position on Twitter, gala event.

82 OCTOBER 2018 | DIGITAL STUDIO

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 STANDPOINT
“This show is about engagement, engage-
ment, and engagement. The stats were up in
almost all areas and re-bookings are ahead of
last year,” said Michael Crimp, chief execu-
tive, IBC.
Crimp noted that it was important that
the figures were placed within the context
of all that IBC comprises of. “IBC is much
more than just a trade show,” he iterated.
“We have developed a basket of data-driven
statistics including sales leads generated on
IBC2018

stands, conference attendance and IBC365

views. IBC is benefiting from the conver-
gence of technology,” he added. He also IBC2018 Executive Forums.
explained that the exchange of informa-
tion and energy is pivotal to the longevity of
IBC’s success, and sits at the very core of the
business.
He cited IBC365, the digital home for
the global media, entertainment and tech-
nology community, which increased its
subscriber bases to more than 55,000, by
the close of the show. Notably, IBC2018
THE WRAP

has driven a number of new initiatives this

year, the most critical being diversity and
gender equality across the conference. The
percentage of women speakers dramati-
cally saw a steep rise this year, in contrast
to that in 2017. Last year, 14% of IBC speak-
ers were female. In 2018, this figure figures IBC2018 Awards night to celebrate achievements.
rose to 37%.
ment needed to capture and redistribute creative potential of IP media solutions. A
INDUSTRY TRENDS a channel illegally for as low as $500.The host of presentations and practical demos
With content hailed as the ‘killer app’ pirates, he added, always followed where were organised covering the concept of
for 5G, consolidation between telcos and the money was. building a flexible, efficient system, fo-
media firms is inevitable; attendees of the cussed on the creative and workflow poten-
Telco & Media Innovation Forum were INVIGORATING tial offered by standards-based IP solutions.
told. Broadcasting industry veteran Dr DEMONSTRATIONS IP-enabled kits and the implementation of
Abe Peled, chairman, Synamedia, cau- The IBC2018 showcase was spread across a Artificial Intelligence (AI) were among the
tioned fellow industry peers of the grave sprawling campus, with umpteen halls ded- trends in halls 1, 4 and 5, reported by IBC
economic threat posed by a recent ripple icated to the showcase of almost every lat- Daily reporter, Ian McMurray.
of piracy. He quoted, “Streaming piracy is est augmentation under the sun. This year Hall 14 continued to expand and grow
a scourge.” saw a number of concepts like the Content into one of the most intriguing spaces at
Media industries have reportedly in- Everywhere hub, which combined a dedi- IBC, this year addressing the topics, OTT
creased their investment on original cated exhibition with features designed to delivery and the issue of latency, as stated
content fivefold, while at the same time help visitors efficiently expand their knowl- by IBC Daily reporter, Anne Morris. The
enabling piracy by means of streaming IP. edge and understanding of the latest trends, IBC environment instigated current trends
A former NDS executive, who has had a strategies and developments in online TV that the media industry is expected to har-
history of fighting against piracy for ma- and video. ness in the coming times. Leading media
jority of his career, explained to the Fo- The IP demonstration was dedicated to visionaries from Havas, C4, Amazon and
rum that pirates could now buy the equip- educating attendees on the business and Liberty Global predicted that voice control

84 OCTOBER 2018 | DIGITAL STUDIO

 Technical papers released by leaders in
the field, including Fraunhofer Heinrich
Hertz Institute and Ubisoft Paris, deep dive
into future generations of immersive me-
dia, viz Virtual Reality (VR) and Augmented
Reality (AR).
Another Tech Talk addressed the topic of
visual excellence in production. Meaningful
insights from researchers and vision scien-
tists - from the BBC, RheinMain University
and Technicolor, helped comprehend how
to ensure the precision of HDR and colour
IBC2018

in image capture.

CONFERENCES, FORUMS AND

Networking Hub at IBC2018. OTHER TRACKS
IBC2018 had laid down a series of peer-
reviewed technology conferences, to help
induce new ideas and foster connections
amongst industry pioneers. Key elements
of the IBC2018 Conference were the experi-
enced panel, discussions and keynotes from
renowned speakers and experts. Featuring
some of the foremost thought-leaders, in-
THE WRAP

novators and policy makers in their fields,

the Conference catalyse the exploration of
new strategies, understand business dis-
ruptors, chart future technological progress
and uncover the future roadmap of the in-
dustry. From keynotes to creative directors
and technical futurists, the IBC Conference
this year, united together over 400 inspira-
Lindsay Pattison from GroupM&WPP Global in the middle of a session. tional speakers, across 90 sessions.
One of the many topics in the spotlight
will play a pivotal role in enhancing the TV presentations from media conglomerates was how BBC Studios views the new world
viewer user-experience. like Dolby Laboratories, Sennheiser, EVS, of content. The Opening Keynote, had
UEFA and BT Technology unveiled exciting Keith Underwood, COO, Channel 4 as the
A LOT TO ABSORB technology developments in the sports pro- esteemed speaker. In a session devoted to
Technical papers from companies like At- duction arena. Other technical papers focus breakthrough innovation at IBC, Accedo’s
eme, BBC R&D and Divideon, shed light on on the challenges encountered while create Fredrik Andersson highlighted Android TV
the serious disquiet in the world of video colour-accurate immersive experiences at and Roku as the next big thing. The ‘Global
compression and codec wars, thereby pre- a cinematic quality level, limitation of the Gamechangers’ track that was to kick-start
dicting future performance gains. IBC2018 human visual system (HVS) known as the the Conference, welcomed the biggest
also had dedicated debate sessions which simultaneous contrast range (SCR), cur- names in the business, creative, technology
garnered brainstorming and a knowledge rent work undertaken by the BBC to look and news verticals including Zahra Rasool,
transfer from industry pioneers. The state at the representation of human skin tone editorial lead for Contrast VR, Al Jazeera
of scripted, the future of linear TV and the in ITU-R BT.2100 High Dynamic Range Media Network.
effectiveness of digital advertising were (HDR) video systems, steps taken to apply Affordability, systematic planning and
topics of debate at a session devoted to de- blockchain technology to the video value a dedication towards its consumers has
bunking received wisdom in TV. chain to ensure genuineness of media as- made Reliance Jio the fastest growing tech-
IBC had in store a lot for those in the field sets and effectively manage production and nology company in the world, according
of production too. Technical papers and distribution, amongst many others. to its procurement and contracting lead,

86 OCTOBER 2018 | DIGITAL STUDIO

Jaydeep Adhikari. Speaking in a Forum
session, Smart Connectivity and Multiplay
Devices, Adhikari focussed on explaining
how India’s emerging 4G network man-
aged to ramp up 215m subscribers within 21
months of its launch.
From single wire sunglasses that save
on plastic waste to a news website that
aims to combat fake news, Impossible duo
Lily Cole and Kwame Ferreira discussed
about looking to incubate business ven-
tures that share their altruistic vision of
sustainability for the planet.
Influential and visionary executives from
across the industry united at the IBC2018
Executive Forums to discuss key trends,

THE WRAP
opportunities and disruptors to shape fu-
ture strategy. Delegates to the invitation-
only Leaders’ Forum were in for a surprise:
they witnessed the worst of the disruption
in broadcasting markets, which they as-
sumed they had already seen.This was the
eighth IBC Leader’s Forum, one of the three Naomi and Ernie.
forums that were organised this year, with
the others devoted to cyber security and viewers across Europe,” said Simon Farn- with an IBC Special Award. The Best Con-
telecommunications respectively. All were sworth, EVP, Technology and Operations, ference Paper Award went to BBC R&D for
subject to the Chatham House rules, which EMEA and APAC, Discovery. their AI production technology including
meant that individual speakers were not The Innovation Award for Content Dis- video analysis and machine learning for live
identified. tribution went to Medialaan, forits radical events coverage.
idea of shortening commercial breaks. For The Stand Design Award: Best Larger

IBC2018
THE CONQUERING HEROES its Stievie service, the Belgian network al- Free Design went to Wyplay, which used
The IBC2018 Awards, which was held at lows subscribers to catch up, by showing inviting sounds and colours to draw visi-
RAI, Amsterdam, commemorated pio- only relevant commercials. tors in. Other stands commended were
neers and organisations which have made The Innovation Award for Content Ev- Viaccess-Orca, for its two-storey design
exceptional contributions to the media erywhere was awarded to RTÉ, for its free- encouraging networking in a space-saving
industry, across categories like IBC Inno- to-air budget OTT platform. “We are very stand; and Google, for having set up a village
vation Awards, International Honour for proud of what we achieved on the Saorview like booth with a subtle design acknowl-
Excellence, Exhibition Stand Design, Best Connect project with our partners Freesat edging IBC’s host city. The Stand Design
Technical Paper, Judge’s prize, and Special and EKT,” said Richard Waghorn, director - Award: Best Smaller Free Design winner
Award for when a person or company went Transformation and Technology, RTÉ. was Paywizard for its colourful messages
the extra mile and achieved something truly The IBC2018 International Honour for and shapes. Highly commended in this
remarkable. Excellence, IBC’s most prestigious award, category were MRMC, for excellent use of
The Innovation Award for Content Cre- was conferred to Joan Ganz Cooney. “For space to show off their mastery of robotics,
ation went to Eurosport and Discovery, for almost 50 years, we have used the com- and Conviva for its creative use of icons and
their Eurosport Cube. To immerse audi- bined power of media and the Muppets floor messaging.
ences in the action from the Pyeongchang of Sesame Street to advance the world of For the most innovative use of shell
Winter Olympics, they created the Euros- educational media, and touch countless scheme space, the judges chose INA for
port Cube, surrounding the presenter with children’s lives,” said Mrs. Cooney. clever monitor mounting on the back walls
LED screens, an innovation that proved IBC Judges honoured Econet with the and lighting. Highly commended in this cat-
quite popular with audiences. “The rave Judge’s Prize for for TV everywhere in sub- egory were Telmaco, for a design with a uni-
reviews the Eurosport Cube received from Saharan Africa, and two creative projects fied message, and Speechmatics for its clear
athletes, the broader Olympic family and from the BBC collectively were honoured messaging and attention to detail.

OCTOBER 2018 | DIGITAL STUDIO 87

 CONSUMER CONNECT – LIVEU

LIVEU BROADCAST INDIA SHOW 2018 PREVIEW

2
018 has been a milestone for NEW CLOUD SERVICE: LIVEU
LiveU, with its award-winning MATRIX
LU600 HEVC solution taking LiveU will be showing LiveU Matrix, its
live sports and news coverage to a next generation platform for live contribu-
new level; the recent launch of its compact tion over IP, enabling broadcasters to view,
LU300 HEVC unit and its plug-and-play manage and distribute live content quickly
Solo offering used by a broad range of on- and efficiently.
line media market segments. Designed by broadcasters for broadcast-
At this year’s Broadcast India Show, ers, the dynamic cloud platform makes it
LiveU will be showcasing its complete simple to curate content through one inter-
broadcast and Solo product suites with its face. Users can easily search, filter, preview,
respective local partners – Lamhas Satel- and distribute live feeds to one station, mul-
lite Services Ltd. (Stand E-505) and ARK tiple stations, or thousands of end points
Infosolutions Pvt. Ltd (Stand A-116). within their entire affiliate network.
LIVEU’S BROADCAST PROD- See LiveU’s broadcast product suite on
UCT SUITE Stand E-505 with their local partner, Lam-
has Satellite Services Ltd.
PROFESSIONAL LU600 HEVC
SOLUTION LIVEU SOLO PRODUCT SUITE.
LiveU’s flagship LU600 HEVC solution of- One-touch wireless encoder: LiveU Solo
fers the ultimate video performance in live LiveU will be demonstrating the lat-
streaming for global newsgathering and be- est additions to Solo, LiveU’s high-quality,
yond. At the FIFA World Cup™ in Russia, solution is tailored to customers requiring plug-and-play live streaming device for on-
485 LiveU units were used by customers a smaller field unit for high-quality video- line media, including:
from over 40 countries, with over 15,000 on-the-go. With LiveU’s proven hardware- • Newly enhanced Solo Studio Cloud
hours of flawless transmission. based HEVC encoding technology at its Graphics suite. The suite provides cus-
LiveU will be showing its latest product core, the new LU300 HEVC combines tomers with the ability to send a stream
enhancements including: high-quality video performance with ex- and insert innovative graphics in real-
• Built-in global roaming capabilities – treme bandwidth efficiency in a compact time in the cloud.
The LU600 solution now offers a fully in- form-factor. Unlike software solutions, • New Solo app – the simplest way to get
tegrated hybrid roaming solution for has- LiveU’s hardware solutions are encoding in started with live content, the Solo app
sle-free local and global operation. With HEVC all the time, providing longer battery combines cellular and Wi-Fi connections
the new dual-SIM modem configured time (the LU300 includes a three-hour in- for more reliable streaming than smart-
with roaming SIMs, every LU600 can be ternal battery). phones.
a local and global unit without needing to Weighing just over 900 grams (2 lbs)
replace or obtain local SIMs in over 100 and available in a pouch or camera-mount Built on LiveU’s proven bonding technol-
countries worldwide configuration, the LU300 bonds up to six ogy, Solo is the streaming solution of choice
• Video return – Targeted for professional connections: two LTE-Advanced internal for major online media companies and af-
broadcasters, this other key product en- modems, two external modems, WiFi and fordable and easy enough for anyone to use.
hancement enables field crews to see LAN. Solo allows users to live stream seamlessly
what’s currently on-air and receive tele- Highly flexible, the LU300 can also serve directly to Facebook Live, Twitter, YouTube
prompt information during live sessions. as a standalone video encoder or be used as Live and other popular social media and on-
a LiveU DataBridge mobile hotspot for gen- line video providers. Solo is simple to man-
NEW POWERFUL COMPACT eral connectivity in the field. With its new age and control remotely via a web interface
LU300 HEVC FIELD UNIT design, the LU300 offers an enlarged 2.2” or smart device.
Just launched at IBC2018, LiveU will be display with improved resolution, dramatic
showing its new small-sized, cost-effective improvement in the visibility under sunlight See LiveU’s Solo product suite on Stand A-116
and reliable LU300 HEVC field unit. At an conditions and a new JOG controller for with their local partner, ARK Infosolutions
attractive price-point, the LU300 HEVC easier control of the unit. Pvt. Ltd.

88 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 UP FOR GRABS
IBC2018 boasts of a plethora of exciting augmentations, some of which have
been enlisted as under

PEBBLE BEACH, EDITSHARE SHOWCASE SHARED STORAGE

At IBC2018, Pebble Beach Systems showcased an integration
between its Dolphin integrated channel device and XStream EFS
IBC2018

shared storage options, from storage and workflow company,

EditShare.
Dolphin is a compact and cost-effective channel device, operat-
ing under the control of Pebble’s Marina automation. It delivers
automated integrated audio, video and graphics functionality
for ingest, channel branding and frame-accurate multi-channel
playout. The flexible pipeline design enables customisation for each
channel, and order in which functions including graphics, effects,
and aspect ratio conversion are handled within the system.
Key features include having access to external shared storage Pebble Beach Systems’ Dolphin integrated with Editshare XStream EFS.
which has backups of all locally stored content. In ‘N+m’ redun-
dancy scenarios there may be a number of channels playing out cal delays are incurred if, again, content has to first be copied to
PRODUCTS SHOWCASE

on Dolphin devices, with an additional spare device in the system its local storage.
as a backup. If any one of the main channels fails, the spare “We are encountering use cases for shared storage frequently
would be deployed, but there would inevitably be a delay while as the user base for Dolphin continues to grow and broadcasters
the content is copied across to its local storage. Possibly the spare seek to add to the resilience and flexibility of their operations,”
device may be wanted for use as a preview channel, but impracti- said Alison Pavitt, marketing manager, Pebble Beach Systems.

CALREC OPENS THE GATE TO A WORLD OF IP

Calrec Audio revealed two IP products at
IBC2018: the H2-IP Gateway and the AoIP Modu-
lar I/O controller card. Both products are SMPTE
2110/AES67 compatible, and are built on Calrec’s
Impulse core, a native-IP core for use with Apollo
and Artemis surfaces.
The H2-IP Gateway provides an interface be-
tween a Hydra2 network and an AoIP network. It Calrec Gateway AoIP.
allows audio labels to be passed in both directions
between the two networks along with control data. It enables used on either network. Not only will this make a tailor-made
Hydra2 users to control gain of Calrec AoIP mic inputs, and AoIP I/O solution for Impulse core, but also fit into existing
AoIP users, to manoeuvre Hydra2 mic inputs. The 1U gateway Modular I/O frames so units can be upgraded in the field. The
can pass 256 or 512 channels of audio in each direction, and card provides two redundant pairs of 1G SFPs to allow 512 audio
multiple gateways can be used to increase capacity or connec- channels to pass without over-using bandwidth in AoIP mode.
tions. “These new products allow Calrec’s customers to benefit from
Also launched, is the Modular I/O Controller card that can getting continued value from their existing Calrec consoles,
operate in either Hydra2 or AoIP mode. The mode is selected whilst taking steps into the emerging world of IP workflows,”
via a switch on the card making it dual purpose, allowing it to be said Henry Goodman, director, Product Development, Calrec.

90 OCTOBER 2018 | DIGITAL STUDIO

 CONSUMER CONNECT – NEWTEC

GAMECHANGERS: 5G AND OTT

T
he satellite industry try is already working out
is embarking on a where it fits in to the future of
period of unprece- broadcasting.
dented change. Two At Newtec, we are enabling
of the main features of this evo- these transformations and
lution are 5G and Over-the-Top Newtec Dialog is set to play
(OTT) broadcasting. a pivotal part. We are taking
5G will ultimately transform part in important initiatives
many aspects of our lives, con- that demonstrate the benefits
necting us in a way we could of satellite technology to 5G
never have dreamt of, pushing and how it interoperates with
network boundaries to enable other technologies. We are also
Newtec 5G and OTT broadcasting.
new applications and services enabling broadcasters to be
across every industry. It will bring about ing as people flock to streaming services there for viewers no matter where the news
radical transformation of our towns and such as Netflix and Hulu to watch the is breaking, and to run additional services to
cities, our work lives, our homes, and ser- latest and most talked-about shows. For enable audiences to interact, on top of their
vices such as health, transport and security. satellite operators, this has led to con- live streams.
To enable this, changes in communications cerns over the long-term future of linear Newtec is prepared for this new future.
architecture will be required to offer in- TV which has been their core business for Join us and find out how Newtec Dialog ®
creased power, scalability and reduced op- so long. However, satellite also has a criti- can enable you to be a part of it.
erational costs. Satellite will be pivotal to cal role to play despite the fact that it has
this change in both rural and urban areas. not previously been viewed as compatible Twitter: @Newtec_Satcom
Demand for OTT services is skyrocket- with OTT services. The satellite indus- LinkedIn: /company/newtec

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2018_DIGITALSTUDIO_DIALOG_180x115mm.indd 1 26/09/2018 12:04

 TEDIAL UNVEILS SMARTLIVE AI SPORTS PRODUCTION TOOLS
Tedial the MAM technology solutions specialist,
showcased its live sports production solution,
SMARTLIVE at IBC2018. The enhancement
marries Artificial Intelligence (AI) and a meta-
data engine, to bring the back-office and archives
closer to live. SMARTLIVE includes PAM support,
automated story-telling, and an auto-logging tool
to create logging information for every event using
AI technology. It can analyse commentary tracks
and insert corresponding logs into event logs, pro-
IBC2018

viding video recognition of action and players. It is

integrated with Speechmatics speech recognition
technology, thus, enabling speech-to-text integra-
tion by annotating incoming live media. This
provides two new workflows using a live feed, one Tedial HYPER IMF MAM System.
of which is automatically create an event blog, al-
lowing search for any comments made during the match. The up Tool, a simple-to-use editor that addresses the versioning
second workflow allows the operator to import a file or drop it requirements needed for distribution. The company’s media
into a watch folder, and manually generate the speech to text. factory solution, Version Factory, supports 60 additional
Tedial’s HYPER IMF, an end-to-end MAM solution that platforms that minimise the challenges faced whilst deliver-
supports IMF formats for ingest, archive and delivery includes ing content to non-linear platforms. The Evolution aSTORM,
automatic leader insertion, which incorporates the elements the company’s hybrid content management solution, now sup-
PRODUCTS SHOWCASE

required for each platform. It includes automatic localisation ports Google Cloud and AWS Glacier cloud storage. It changes
based on delivery profile, enabling credits and text insertions the storage paradigm from the traditional HSM approach
for every language required to be added automatically. (multi-tier vertical) to an object based storage environment
Tedial will also demonstrate new features for its IMF Mark- (multi-site, horizontal).

BROADCAST SOLUTIONS INTRODUCES HI

config technologies, hi reduces the setup and configuration
time for broadcast and A/V media systems via a user inter-
face that provides monitoring of complex infrastructures,
and resembles those of smart mobile devices.
Broadcast Solutions’ human interface solution detects
new devices automatically and protects the user from false
configurations. Built on decentralised software architecture,
the hi system can run on almost any platform – a laptop,
dedicated servers, server clusters, and also in data centres or
on cloud services like AWS or Microsoft Azure.
This architecture ensures uninterrupted availability, even
in the event of hardware, power or protocol failures. Self-
healing algorithms ensure that all parts of the system are
up and running, even if they are distributed over different
Broadcast Solutions’ human interface solution on an iPad. hardware platforms, or are working from different locations.
Reliability and ease-of-use are the keys to successful interac-
Broadcast Solutions GmbH, one of Europe’s system integra- tion between the system and the operators, driving the main
tors, demonstrated hi – an intuitive and easy-to-use control development focus to be on the user and how workflows can
layer for media appliances. Using auto-discovery and zero- be simplified.

92 OCTOBER 2018 | DIGITAL STUDIO

 CONSUMER CONNECT – AVIWEST

AVIWEST PRO3 SERIES: BETTER DELAY

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significantly improve live video remote production with low bitrates and low latency, lowering
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A
VIWEST launches the PRO3 Series, a Video producers and news organisations can seam-
perfect solution for on-the-go newsgath- lessly stream live HD interviews and events, and store
ering, live multi-camera productions, and and forward recorded content. Featuring an extremely
sports. With the AVIWEST state-of-the- powerful next-generation H.265/HEVC hardware en-
art bonded cellular transmission solutions, the PRO3 coder, the PRO3 Series offers premium video quality
is the cost-effective alternative to satellite transmis- with significant bitrates reduction, typically 30% com-
sion, without compromise on robustness and video pared to other HEVC solutions.
quality. Live or file-based production from any loca- The simultaneous store and forward saves signifi-
tion in the world is now possible without the deploy- cant amount of time in the field, allowing the profes-
ment of bulky and costly vehicles, regardless of net- sional to stay ahead of the competition.
work conditions. AVIWEST local team is committed to helping pro-
The PRO3 is a lightweight solution that can be fessionals perfectly master their system and optimise
mounted directly on the pro-camera, or carried in their daily operations to make their services deploy-
a smart designed backpack. It can synchronously ment a success.
backhaul multiple live feeds with perfect genlock The PRO3 Series will be showcased at the 2018
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 QLIGENT SHOWCASES DATA ANALYTICS PLATFORM
Qligent demonstrated a real-world
MVPD deployment of its Vision SQM
platform, that leverages its second-
generation, big data processing engine for
viewer satisfaction. The project verifies
the overall Quality of Experience (QoE)
that subscribers have while live stream-
ing sports, recording a show, watching
video on demand, browsing the program
guide, or accessing any other content or
IBC2018

service.
“This automated, cloud-based deploy-
ment of Vision is designed to handle the
‘three V’s’—volume, variety, and veloc-
ity—of big data pouring in from several
databases and live systems across the Qligent’s Vision SQM platform.
enterprise, as well as data relayed by IOT
and virtual probes monitoring the downstream distribution evaluating multiple layers of voluminous data in real-time to
channels out to the last mile,” said Ted Korte, COO, Qligent. determine how, where, and for how long network performance
For example, the data deployment of Vision reaches into the fell short of customer expectations.
customer’s CRM profile and can open a trouble ticket, send out “This big data deployment of Vision is a comprehensive way
customer service alerts, and close the ticket once the issue is that service providers can gain valuable insights into what’s going
PRODUCTS SHOWCASE

resolved, in an automated, real-time manner. The data mining on across their networks, out to the viewer, so they can take steps
process follows a logical path, sifting through, augmenting, and to ensure a high QoE for their customers, ” concluded Korte.

DVB DEMONSTRATES HYBRID MEDIA AND BROADCAST

DELIVERY SERVICES
DVB, a developer of open interoperable (Companion Screens and Streams),
technical specifications for the delivery augmented with services based on
of digital media and broadcast services, HbbTV. During the demo, DVB high-
showcased their hybrid media delivery lighted how end users can access ad-
solutions at IBC2018. It delivers across ditional UHD content via an HbbTV
platforms including linear and on- app, synchronised audio channels
demand, broadcast and OTT, mobile, HD via a second screen using DVB-CSS,
and UHD, DVB ensures quality. as well as interactive HbbTV apps.
DVB-I is a suite of DVB specifications The DVB stand also featured
that will make the OTT viewing experi- an interoperability demo of DVB
ence similar to that of linear broadcast Single Illumination System (DVB-
TV, and will provide an additional SIS), a specification that enables
deployment option for broadcasters terrestrial signals to be generated
and operators. DVB-DASH, including from a DTH satellite feed, allowing
its Low Latency version, enables media efficient use of satellite transponder
streaming over IP multicast, offering the capacity. The demonstration of the
potential of broadcast-like scalability in DVB-SIS combines DVB-S2 distri-
managed and OTT networks. bution with DVB-T2 contribution to
DVB technologies showcased the showcase interoperability between
DVB-T2, DVB-DASH, and DVB-CSS Peter MacAvock, Chair of DVB. products.

94 OCTOBER 2018 | DIGITAL STUDIO

LAWO DEBUTS SMPTE 2022-7 FOR RADIO CONSOLES
Lawo, German manufacturer of IP-based audio/video systems defining protocols that help ensure delivery of critical real-time
and control solutions, demonstrated their innovation for radio digital audio over AoIP. The 2022-7, also known as Seamless
at IBC2018: mixing consoles compliant with the SMPTE 2022-7 Protection Switching or ‘hitless merge,’ enables simultaneous
network-reliability standard. dual transmission of identical audio streams via independent
The SMPTE 2022 standard helps IP networks cope with the network paths, with instant, undetectable switching to backup

PRODUCTS SHOWCASE
should the primary link be interrupted.
“Radio loves AoIP,” said Michael ‘Catfish’ Dosch, senior
product manager, Radio OnAir. “The SMPTE 2022-7 standard
was created to solve the problem of a failed network f in video
plants, and is the perfect solution for radio broadcasters.”
Lawo’s radio console, Ruby, is the industry’s first to in-
corporate SMPTE 2022-7. Its Power Core mixing
en- gine provides nearly 400 channels of AES67 and
MADI signal capacity in 1RU. Expansion
slots make it possible to add more mic,
line, studio, AES3, MADI, and even
Dante signals. “Power core provides
a tremendous amount of DSP, with
dozens of channels of audio shaping
tools — EQ, dynamics, de-essing,
Auto-Mix and more. All that, plus SMPTE
Lawo’s Ruby SMPTE 2022-7 2022-7, make Ruby an advanced network console
compliant radio console.
in radio,” said Dosch.

Reliable

IBC2018
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To learn more about Dejero GateWay, visit dejero.com/gateway

OCTOBER 2018 | DIGITAL STUDIO 95

 AMD SHOWCASES THE RADEON
PRO WX 8200 GRAPHICS CARD,
PRORENDER ENHANCEMENTS
At IBC2018, AMD showcased its Radeon Pro graphics solutions, includ-
ing the Radeon Pro WX 8200 professional graphics card for creators and
designers.The Radeon Pro WX 8200 graphics card is designed for profes-
sionals seeking improved performance in D&M, M&E and A&C workloads.
Based on the ‘Vega’ GPU architecture, the card incorporates AMD’s High
Bandwidth Cache Controller (HBCC) and other features enabling the per-
formance required for driving complex models through the design visualisa-
IBC2018

tion pipeline.
AMD will present its plug-in enhancements for Radeon ProRender, the
physically-based rendering engine that offers CAD designers and 3D artists
the ability to create renders quickly and easily for photorealistic images.
The plug-ins include the Pixar Universal Scene Description (USD) viewport
plug-in for previewing complex scenes, and the Radeon ProRender USD
plug-in, available on GitHub, that adds path-traced rendering for accurate
viewport previews.
The Radeon Pro WX series graphics cards are optimised for open source
software, undergo ISV application certification testing, and are designed for
professionals pushing the boundaries of science, technology and creativity.
Radeon Pro WX 8200 infographic.
PRODUCTS SHOWCASE

MOG PRESENTS VIZZI ONLINE VIDEO PLATFORM

MOG Technologies unveiled Vizzi,
its all-in-one solution to publish,
distribute, manage and monetise
media contents, at IBC2018. With
Vizzi, organisations get a solution that
covers every aspect of the OTT chain,
adapting to each specific requirement.
Modular and scalable, the platform
can be deployed on-premises, cloud-
based or hybrid.
With support for live stream and
VoD, Vizzi ensures that organisations
can target their audience with engag-
ing experiences, defining business
models by combining any monetisa-
tion plan, choosing from traditional MOG Technologies’ Vizzi video platform.

and contextual advertising options, and measure the results video management platform, which turns video uploading,
with detailed analytics. preparation, organisation and distribution into simple steps.
A brand can benefit from the simplicity of adding their logo, Underlying top-tier CDN ensures high quality and secure video
adapt their colour scheme and build their own interactions. The delivery at a global scale.
platform features easy-to-use white label templates, as well as “MOG wants to simplify the process of video online publish-
customised front-ends and apps for tailor-made user experi- ing with an all-in-one solution that doesn’t cripple the custom-
ences. With a simple CMS, the user benefits from a professional er’s business,” said Luís Miguel Sampaio, CEO, MOG.

96 OCTOBER 2018 | DIGITAL STUDIO

TVU NETWORKS UNVEILS CLOUD-BASED, MULTI-CAMERA
PRODUCTION SOLUTION
TVU Networks showcased TVU Producer, its
Cloud-based video production solution at IBC2018.
Part of TVU Network’s range of remote production
solutions, TVU Producer enables anyone to produce

PRODUCTS SHOWCASE
professional, multi-camera video.
Covering a range of applications, from live sports
events and games competitions, through to house
of worship services and concerts, the web-browser
interface of TVU Producer enables handling of
any multi-camera production from virtually any
location. Producer supports simultaneously output
directly to social media platforms (Facebook Live,
YouTube Live, Periscope, etc.), as well as to virtually
any CDN platform. SDI delivery is supported through
a TVU transceiver and the solution also offers a
multi-channel IP video switcher, graphics and slow
motion replay capabilities. TVU Networks’ Cloud-based TVU Producer solution.
“With Producer, TVU is providing an economical
and simple-t- use alternative that can be used by any operator, overlays during production, owing to the simple WYSIWYG
regardless of training, removing the need for expensive equip- interface design. Producer integrates with existing TVU trans-
ment rentals or large headcounts,” said Paul Shen, CEO, TVU mitters, including TVU Anywhere, TVU One and TVU MLink , as
Networks. well as with any IP video source or any standard IP video stream
Non-professionals can manipulate graphics, scoring and text (HTTP, RTP, RTSP, UDP, etc.).

IBC2018

OCTOBER 2018 | DIGITAL STUDIO 97

 VITEC DEBUTS MULTICHANNEL HEVC MGW DIAMOND
ENCODER
VITEC, a leader in advanced video encoding and streaming solu- “The MGW encoder’s channel-count-to-footprint ratio sup-
tions, unveiled the multichannel HEVC MGW Diamond encoder ports our customers’ field-based applications within the sports,
at IBC2018, in Amsterdam. enterprise, defence, and surveillance markets. VITEC’s HEVC
offering includes broadcast-grade contribution appliances,
head-end 4K IPTV encoders and now, with the debut of the MGW
Diamond, a compact, quad-channel streaming appliance for field
applications,” said Richard Bernard, product manager at VITEC.
The MGW Diamond is a solution that enables point-to-
IBC2018

point and point-to-multipoint streaming with the benefits of

low-bandwidth and low-latency streaming from four inputs,
with up to eight streams output. Making its global debut at
IBC2018, the compact, power-efficient, and portable HEVC
and H.264 HD/SD encoder is a solution that caters to any mul-
tichannel application with stringent size, weight, and power
requirements (SWaP). It delivers HEVC encoding in a fraction
of the footprint of comparable encoders, with the ability to
capture up to four 3G/HD/SD-SDI or composite inputs and
VITEC’s MGW Diamond quad-channel portable HEVC encoder. live stream up to eight channels.

NCAM DISPLAYS LIGHTING AND DEPTH SOLUTIONS FOR

PRODUCTS SHOWCASE

AUGMENTED REALITY
Ncam Technologies, developer of real-
time augmented reality technology for the
M&E industries, presented its portfolio
of solutions that enhance the realism of
augmented reality content, at IBC2018. It
also displayed its latest version of Ncam
Reality, its second-generation camera
tracking solution.
Other innovation was Real Light, which
gives virtual graphics a realistic appear-
ance. Real Light captures elements of real-
world lighting (direction, colour, intensity
etc.) and renders those elements onto the
virtual graphics in real-time, integrating
them into the real-world scenario. It cre-
ates shadows and allows objects to react
naturally, dynamically adapting to every Ncam Real Light for a realistic experience.
lighting change.
Real Depth, Ncam’s solution that provides an automated and the UE4 plug-in for the latest version of Unreal Engine 4.20.
technique for sensing depth was also on display. The Real Depth Ncam Reality, the company’s camera tracking solution, offering
system, used with a green screen, extracts depth data in real-time, marker-less camera tracking capabilities that can operate in both
to allow subjects to interact with their virtual surroundings for studio and outdoor environments, was unveiled.
immersive and synergetic visual engagement. Also presented was Nic Hatch, CEO, Ncam, said, “Our solutions enable a natural-
the UE4 plug-in for Epic Games’ Unreal Engine. Vizrt and Ncam istic look and interactive options to create most realistic graphics
introduced an integration between Vizrt’s real-time engine, Viz, content.”

98 OCTOBER 2018 | DIGITAL STUDIO

LYNX TECHNIK AG SHOWCASES PRODUCTS AND CLOUD
PROCESSING SOLUTION
LYNX Technik AG, a provider of software-defined modular inter-
faces for broadcast and professional AV and industrial signal pro-
cessing applications, introduced new modules for the yello-
brik interface, RFR 1218, a new yellobrik rackframe as

PRODUCTS SHOWCASE
well as new APPS for the greenMachine titan
platform, at IBC2018. LYNX showcased
LYNX AIR, a cloud-based signal process-
ing solution without any hardware.
With yellobrik C_EH_1911, LYNX
offers future-proof solutions for today’s
and tomorrow’s broadcast and media workflows LYNX RFR converter module.

by adding a SMPTE 2110 to HDMI SDI converter to its yellobrik

product family. The C_EH_1911 yellobrik works as a bridge trol of yellobrik modules by using a central web-based GUI.
between SMPTE ST 2110 video over IP signals and HDMI, thus With LYNX AIR, processing is done in the cloud, and no physi-
closing a gap in IP-based video production environments. cal hardware is needed when moving from one site to the other.
LYNX presented the RFR 1218, an answer to usage of Other benefits include scalability when it comes to processing
converter modules in large quantities as infrastructure and power and reduced costs. Also introduced were two new APPS for
mission-critical entities. By using a 19” rack tray, the RFR 1218 the greenMachine platform: the MADI APP and the HDR APP,
allows for more converters to be added to one unit, increased both running on the greenMachine titan. The MADI APP offers
rack-depth and offers accessibility for the whole tray. It is 64 inputs and 64 outputs on an optical fiber SFP connector basis.
equipped with RJ45 Ethernet ports acting as USB to Ethernet The HDR APP provides conversion of SDR to HDR and HDR to
bridges, and giving access to mounted yellobrik converters SDR signals and is configurable using LYNX greenGUI for setting
used in the rackframe. This feature enables the network con- the relevant parameters.

IBC2018

OCTOBER 2018 | DIGITAL STUDIO 99

 CONSUMER CONNECT – VERTEX MEDIA TECHNOLOGY

ATHENSA BEGINS ITS INDIAN CHAPTER

ATHENSA, a leading provider of technology innovation, business models, and support
infrastructure, is ready to set foot in the Indian terrain

A
THENSA LLC is a company ports (UDP, RTP) to be provided simulta- up to multi-layered animations with alpha-
based in San Diego, CALIFOR- neously. The playout audio can optionally channel. All objects are controlled inde-
NIA which builds upon the lega- be encoded into Dolby Digital (AC3) and pendently from each other either by the
cy of the market leading PlayBox inserted into the output SDI or IP streams. GRAPHICS project or by the PLAYOUT
Technology company. ATHENSA delivers ATHENSA PLAYOUT combines SDI and automation module, by inserting CG Net-
the technology innovation, business model IP in/out, with complete Newtek NDI control events in the automation playlist.
and customer support infrastructure that support for studio integration with other ATHENSA GRAPHICS offers the per-
expands further the scope and flexibility production platforms. Complete RTMP fect template-based branding toolset, by
of the ‘Channel-in-a-Box’ platform. ATH- streaming support is also there, for con- using predefined graphic templates and
ENSA is proud to announce the formation nection with social media platforms. De- scripts triggered by metadata conditions
of the ATHENSA India sales and support signed to meet the most demanding work- from the playlist. In this workflow scenario,
unit. Historically, India has been one of the flow requirements, ATHENSA PLAYOUT the metadata fields populate pre-defined
markets with biggest number of PlayBox li- succeeds where so many other systems fail. graphic templates, which are then shown/
censes sold worldwide. Most of the former Featuring both 1:1 and asymmetric N:M hidden automatically, in the beginning and
PlayBox Technology India team members redundancy models, it upholds a highest at the end of the video clips that match the
are now at the core of the ATHENSA India industry level of fault-tolerance. The in- metadata condition. In addition, ATHEN-
operations team in New Delhi. This young tegrated UDP matrix switcher properly SA GRAPHICS has a built-in Scheduler,
and ambitious unit is aggressively expand- routes the IP streams in workflow scenar- which lets user flexibly define complex
ing their sales and support presence in sev- ios that feature N:M redundant master/ behaviour patterns of the CG objects. The
eral other India regions. They are also re- slave topology configurations. objects in ATHENSA GRAPHICS can vi-
sponsible for the ATHENSA sales activities ATHENSA INGEST is the successor of sualise dynamic data sources fromexternal
in Sri Lanka, Nepal and Bangladesh. PlayBox CaptureBox, and it enables mul- data providers such as: TXT files, XML,
The ATHENSA products for channel au- tiple channels of HD or SD content to be HTML files, ODBC, Weather, RSS, Emer-
tomation are one of the most mature broad- captured from SDI digital feeds, analogue gency alert systems, etc.
casting platforms today, powering more sources and MPEG transport streams. The ATHENSA ‘Channel-in-a-Box’ is a com-
than 18,500 TV channels worldwide since feature set also includes capture-list import bined software bundle for launching of a TV
their initial introduction to the market in from third-party traffic systems, support for channel. It integrates in a single package,
year 1999. CEA 608/708 closed-captioning and auto- all the elements that are needed to put a
ATHENSA PLAYOUT is the succes- mated VTR control via RS-422 with batch- channel on-air, by combining MCR device
sor of PlayBox AirBox, and it provides all capture listings. Four video sources can be control, playout automation and interactive
the necessary transmission automation monitored on a single screen and controlled graphics. It provides SDI and IP streaming
features for any MCR environment, it is via a new streamlined user interface. Audio connectivity in the same time. Multi-user,
the logical next step in the evolution of the levels can be monitored as loudness/true- multi-language and multi-channel subtitle
broadcast automation servers. Its modu- peak displays and adjusted when required. preparation and insertion of open subtitles,
lar architecture makes it suitable not only Content recorded in ATHENSA INGEST closed subtitles, closed captioning and
for broadcasting organisations of any size, is available for playback within a few sec- streaming of DVB sub-titles are available as
but also for media and OTT professionals onds of capture commencing. add-on extra options. The ATHENSA plat-
who need automation of their SD, HD and/ ATHENSA GRAPHICS is the succes- form has become an attractive ecosphere
or Ultra HD (4K) content playout. ATH- sor of PlayBox TitleBox and it is a powerful for system integrators and vendors work-
ENSA PLAYOUT offers unparalleled flex- and sophisticated, yet user-friendly on-air ing together to deliver the ultimate flex-
ibility by playing seamlessly back-to-back CG (Character Generation) and graph- ible workflows to their clients worldwide.
mixed format, mixed resolution and mixed ics manager for real-time TV messaging Customers use the ATHENSA website as
frame-rate content. The unique Multi Par- and branding. It achieves ultimate visual a portal to help them point to the solution
allel Output (MPO) technology allows IP features by combining various static and providers, being sure that they only see their
streams with different codecs (MPEG2, dynamic objects such as animated logos, solutions that are well-integrated to work
H.264), resolutions (HD, SD) and trans- rolls, crawls, analogue and digital clocks, together.

100 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 www.athensa.tv

ATHENSA PLAYOUT ATHENSA GRAPHICS ATHENSA INGEST

Versatile in Nature Powered by Imagination Simplifies Capturing

VERTEX MEDIA TECHNOLOGY

211, 2nd Floor, Aditya Tower,
District Center, Laxmi Nagar, New Delhi 110092 , India
Phone: +91 11 4657 0751, Mobile : +91 9971700751
Email :- [email protected]

www.vertexmediatechnology.com
102 OCTOBER 2018 | DIGITAL STUDIO
DIGITAL STUDIO | OCTOBER 2018 103
104 OCTOBER 2018 | DIGITAL STUDIO
DIGITAL STUDIO | OCTOBER 2018 105
 CONSUMER CONNECT – FUJIFILM

FUJIFILM EXHIBITS AT BROADCAST

INDIA SHOW 2018

F
UJIFILM Asia Pacific Pte Ltd will
exhibit at Broadcast India Show
from 25th October to 27th Octo-
ber, 2018.
Fujifilm will be showcasing various zoom
lenses made with cutting-edge optical tech-
nologies. at Hall 3, Stand No: A-109.
FUJINON UA24x7.8 FUJINON UA107X8.4
BROADCAST LENS
The UA Series is a broadcast lens series which
is compatible with 2/3” 4K UHD cameras.
The ‘FUJINON UA24x7.8’ is a 4K com-
patible portable zoom lens that achieves the
world’s smallest and lightest** specifications
for its type, with a total length of approx.
220.5mm and a total weight of approx. 1.98kg.
The ‘FUJINON UA107x8.4’ is a 4K com-
patible broadcast zoom lens that achieves the FUJINON UA46X9.5 FUJINON UA70X8.7BESM
zoom ratio of 107x. From a best-in-class wide
angle of 8.4mm to a super-telephoto range of UA70x8.7 is scheduled to be released in pand the company’s lineup of 4K broadcast
900mm, images can be shot at 4K resolution November, 2018. lenses.
in a variety of applications.. Foreseeing the spread of 4K video, Fujif-
The FUJIFILM UA46x9.5 is a portable ilm launched the world’s first 4K-compatible CINEMA LENS
4K broadcast lens that covers a focal length broadcast lens in 2015. Since then, the com- Emmy award-winning FUJINON cinema
from 9.5 mm to 437 mm. The UA70x8.7 is a pany has rapidly expanded the lineup, cater- lenses offered by Fujifilm have been used at
box-type lens that covers most frequently- ing to the needs for 4K video production, movie/CM/TV production sites around the
used focal lengths from 8.7mm on the wide- while ddressing demand for HD video of even world for their advanced scene-depicting ca-
angle end to 610mm in telephoto. greater image quality, pability.
The FUJIFILM UA46x9.5 will be The launch of the portable UA46x9.5 The HK Series are the flagship models with
released in January 2019, while the and box-type UA70x8.7 will further ex- their 4K- Plus optical performance and fast
T-stops. The ZK Series and the XK Series are
well known for high optical performance and
comfortable operation featuring a detachable
drive unit.
The MK lenses deliver an ultra-compact
and lightweight design and excellent cost per-
formance.
Mirrorless Digital Cameras and FUJI-
FUJINON XK6x20 FUJINON MK18-55mm NON Interchangeable Lenses
The ‘FUJIFILMX-H1 is also the first cam-
era in the X Series to include ETERNA mode,
a new Film Simulation mode ideal for shoot-
ing movies. The mode emulates cinematic
film, creating understated colours and rich
shadow tones, greatly enhancing creative free-
dom during post-processing.
FUJIFILM X-H1

106 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 CONSUMER CONNECT – PHABRIX

FUTURE-PROOFED SOLUTIONS HOLD

THE KEY AT IBC2018

W
hile IBC2018 may have
seen a minor drop in visi-
tor numbers, the experi-
ence on the PHABRIX
stand showed that the quality and number
of visitors was certainly not diminished.
With much of interest to discuss, not least
the news of our ST 2110 compliance and IP
interoperability, we enjoyed meeting many
visitors from around the world for serious
discussions about their test and measure-
ment requirements.
There are major ongoing changes in
broadcast technology with far-reaching im- PHABRIX Sx Tag.
plications across facilities, so it is impera-
tive that customers are prepared. At IBC, stress testing, combined with fast, auto- agnosis of issues such as packet congestion.
we saw customers at varying stages of tran- mated 12G-SDI physical layer analysis em- PHABRIX also showcased a series of IP
sition, from research and consideration to ploying RTE™ (Real-Time Eye) technology, interoperability demonstrations featuring
full-blown replacement of equipment. Re- provides a world-class solution to SMPTE the PHABRIX Qx rasterizer and handheld
gardless of where they were in the process, compliance verification of 12G/6G/3G/ Sx TAG on partner stands including Arista,
we were able to show that our future-proof HD-SDI interfaces. The toolset includes Mellanox, Nevion and Trilogy, a Clear-Com
test and measurement solutions would sup- SDI jitter insertion (10Hz to 10MHz, company.
port them before, during and after transi- 0.01UI to 16UI), eye amplitude adjustment Off the show floor, PHABRIX was
tion to IP, UHD and HDR. (+/-10%), pre-emphasis, signal invert and pleased to take part in the IP Showcase at
mute features operating with either the IBC2018. Hosted by major technical and
HD READY SOLUTIONS video pattern generator with pathological standards organisations within the broad-
At IBC2018, we displayed our full range of overlay as source or a new PRBS Signal cast industry, the event brought together
renowned HD-ready Sx handheld instru- Generator (PRBS7, 9, 15, 23, 31), coupled industry-leading vendors and broadcasters
ments, the SxA, SxD, SxE and Sx TAG, of- to a new BERT Analyser tool. In addition, to provide instructional and case-study pre-
fering advanced capabilities including hybrid a new Pathological EQ/PLL condition de- sentations and an array of IP-based product
IP/3G/HD/SD performance and physical tector with real time trigger over GPI out is demonstrations to highlight the benefits
layer testing. Our Sx Series has a brand new provided. of, and momentum behind, the broadcast
Audio/Video Delay option which combines industry’s move to standards-based IP in-
a programmable AV test signal generator HYBRID IP/SDI READY frastructure for real-time professional me-
with an automatic AV delay analyser provid- SOLUTIONS dia applications. PHABRIX demonstrated
ing the ability to track audio to video timing On display were the latest hybrid IP/SDI SMPTE ST 2110 support on both the Sx
within a signal chain; this was a big hit at test and measurement tools for SMPTE TAG handheld and Qx IP rackmount ras-
the show. In addition to this, our Rx raster- ST 2022-6 workflows and, for the first terizer, which will help broadcasters to
izer range was also on display, delivering ad- time in Europe, for ST 2110 workflows – on transition smoothly from SDI and hybrid
vanced signal generation, analysis and moni- both the top-of-the-range Qx Series and SDI/IP operations to the fully IP-based in-
toring for faster compliance testing and fault the handheld Sx TAG. Qx IP now offers frastructures of the future.
diagnosis of video and audio. SMPTE 2110 support with PTP, with -10, As the dust settles on another IBC, we
-20, -30 and -40. New stream and network can reflect on a successful show that cer-
UHD/HDR READY SOLUTIONS analysis tools include a Packet Profile Gen- tainly brought a lot of interest for our prod-
Our Qx Series’ new SDI-STRESS option erator (PPG), offering an advanced toolset uct portfolio and, importantly, helped many
proved very interesting to many visitors. for stress testing video networks, and Packet organisations prepare better for the new
This advanced toolset for SDI interface Interval Timing (PIT) analysis for rapid di- workflows.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 107

 CONSUMER CONNECT – PEBBLE BEACH SYSTEMS

PEBBLE BEACH SYSTEMS REFLECTS ON IBC2018

I
nstalled in more than 70 countries,
and with proven systems ranging
from single to over 150 channels in
operation, Pebble Beach Systems is a
world leader in automation, channel in a box,
integrated and virtualised playout technol-
ogy. It delivers open, flexible systems, which
encompass playout automation, ingest and
complex file-based workflows. The company
works with major broadcasters around the
world and within India including Doordar-
shan Delhi, Fox India, Mathrubhumi and
Janam TV.
As Pebble reflects on a busy IBC exhibi-
tion in Amsterdam, it is clear that the pace “In addition to demonstrating a new open ing limited functionality and running ever-
of change in the broadcast and media indus- standard ‘Event & Tally’ protocol for signal- green generic material that buys time to get
try shows no signs of slowing. The company ing events in real time, we are also working the proper schedule back on air. A business
showcased some important new technologies on an Audio Channel Mapping API to deliv- continuity system like the one Pebble dem-
and use cases at the show, underlying their er interoperability in audio workflow control onstrated ensures there is absolutely no dif-
commitment to work with broadcasters as within an NMOS environment. The goal is ference between the main and the virtualised
they adapt to compete with new entrants in to enable end users and integrators building DR systems: operators have access to the
the media space, and supporting their transi- systems out of IP-connected off-the-shelf exact same interface, features and devices,
tion from a traditional broadcast infrastruc- hardware & software processes to achieve a using what is effectively a software playout
ture to more flexible IP based technologies. level of interoperability in audio workflow layer. And most importantly, this means that
control functions which means they do not viewers will not experience any difference in
IP IN ACTION SHOWCASE need to rely on vendors for specific develop- their programming should the need to switch
Pebble used IBC to demonstrate interoper- ment or integration work. This commitment between sites arise.
ability with a range of best of breed solutions to open standards and interoperability is Changes to the main system playlists,
across multiple IP standards. It showcased fundamental to Pebble’s approach” he adds. including control actions, are synced to an
SMPTE 2022-6/7, SMPTE 2110, NDI, and AWS-based Orca system, thereby removing
the NMOS suite of standards in a playout BUSINESS CONTINUITY the need for operators to manage the backup
chain architected especially for IBC featur- Pebble also demonstrated its Orca virtu- system separately. Automatic media and
ing vendors including Arista, Embrionix, alised playout solution in a cloud-based metadata synchronisation ensures that that
AJA, Vizrt, Tektronix, Newtek, Matrox, Atos Business Continuity application, with one playout can quickly switch between main and
and Suitcase TV. channel running locally on the Pebble stand, backup sites, and that media is always retriev-
Pebble’s head of Software Architecture, and the backup channel running in the AWS able and ready to play in the event of a disaster.
Miroslav Jeras explains: “Pebble has long public cloud. Both the main and backup systems,
been regarded as the expert in playout auto- Orca is a software-only, all IP virtual im- while totally separate, are monitored from
mation, with solutions encompassing ingest plementation of the Pebble Beach Systems’ a single centralised web-based dashboard
and playout automation as well as integrat- Dolphin integrated channel platform, run- using Pebble’s Lighthouse remote manage-
ed and virtualised channel technology. As ning under the control of its flagship Marina ment and monitoring tools. This shows both
broadcasters seek to transition to IP archi- automation software, deployed in a virtual playlists side by side, and lists any errors to
tectures, they are understandably seeking machine (VM). Channels can be launched provide actionable information on each sys-
to work with those vendors who can demon- and integrated into a running Marina auto- tem. Low latency monitoring using NDI®
strate working solutions and who have expe- mation system very quickly, making it ideal technology delivers a confidence preview of
rience in this space. With a number of high- for temporary and event-based services. each system to the Lighthouse UI without
profile installations and a proven managed Disaster Recovery has been a catalyst in the delays incurred by having to manage un-
migration strategy, Pebble is ideally placed the growing adoption of virtualised playout. compressed video.
to share its expertise with media companies However, this often means a cut down op- NDI® is a registered trademark of New-
who are investigating this path.” eration compared to the main facility, offer- Tek, Inc.

108 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 CONSUMER CONNECT – TVU NETWORKS

BE INSPIRED EVERY MONTH

NEXT GENERATION MEDIA PRODUCTION
WPP license no. MR/TECH/WPP-82/North/2017 License to post without prepayment Postal Registration No. MCN/99/2015-2017. WPP license no. MR/TECH/WPP-82/North/2017 License to post without prepayment Postal Registration No. MCN/99/2015-2017. WPP license no. MR/TECH/WPP-82/North/2017 License to post without prepayment Postal Registration No. MCN/99/2015-2017. WPP license no. MR/TECH/WPP-82/North/2018 License to post without prepayment Postal Registration No. MCN/99/2018-2020
Published on 3rd of every month. Posting date: 5th & 6th of every month. Posted at Patrika Channel Sorting Office, Mumbai-400001. Total number of pages 114 Published on 3rd of every month. Posting date: 5th & 6th of every month. Posted at Patrika Channel Sorting Office, Mumbai-400001. Total number of pages 76 Published on 3rd of every month. Posting date: 5th & 6th of every month. Posted at Patrika Channel Sorting Office, Mumbai-400001. Total number of pages 52 Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 54
Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418. Vol. 9 | Issue 10 | OCTOBER 2017 | ` 50 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418. Vol. 9 | Issue 11 | NOVEMBER 2017 | ` 50 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418. Vol. 9 | Issue 12 | DECEMBER 2017 | ` 50 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418 Vol. 10 | Issue 01 | JANUARY 2018 | ` 50

AND MANAGEMENT
www.digitalstudioindia.com www.digitalstudioindia.com www.digitalstudioindia.com www.digitalstudioindia.com

EVENTS

THE BEST OF
BEHIND THE SCENES
27th
INTER BEE 2017
BROADCAST INDIA SHOW • MUMBAI WONDER WHEEL
THE MAKING OF
TIGER ZINDA HAI EVENTS
CABSAT 2018

TVU Networks introduces cloud production and AI workflow platform

A
visit to TVU Networks’ ous output directly to major social media data generation.
IBC2018 stand left no doubt platforms (Facebook Live, YouTube Live, It simplifies
TRENDS the process of transport-
TO WATCH IN

2018
E , AFTER A SERIES OF DISRUPTION IN 2017,

about the company’s contin- Periscope, etc.), as well as to virtually any

-AG
ing video to the studio, through the TVU
NEW N WHAT DOES 2018 HOLD IN STORE FOR
THE UEE THE TV, BROADCAST, PRODUCTION
T IN HE Q
A N N IV E RSA RY S PEC I A L THA AS T AND MEDIA INDUSTRY?
VES MERGE
ued commitment POWERto efficiency CDN platform. Producer integrates with Contribution Automation Solution (CAS)
L IE

STAR POWER
, BE ILL E
THE BEST OF OM18 XT W
VIAC NTE
OF NINE EO, D CO
UP C , AN
2017

for broadcast professionals. Demonstra- existing

FOR OUR NINTH ANNIVERSARY, WE PRESENT NOTEWORTHY
MEET THE RISING STARS AND CINEMATOGRAPHERS TVU
OF THE YEAR WHO
PROJECTS THAT LEVERAGED CUTTING-EDGE TECHNOLOGIES
STOOD HEAD ANDtransmitters,
SHOULDERS
ABOVE THEIR PEERS AT THE SECOND DIGITAL STUDIO INDIA CHANNEL PARTNER AWARDS 2017
including TVU V
HAN TEN
A
GRO ING
TS, L BE K
SHU T WIL which in turn automates planning, Loading... re-
SUD CON
tions showed how TVU Networks’ port- Anywhere, TVU One and TVU MLink, as Published by ITP Media (India) Published by ITP Media (India)

source management, acquisition, trans-

Published by ITP Media (India) Published by ITP Media (India)

folio of media acquisition products, en- well as any IP video source. Up to six live mission, and routing. It also helps make
WPP license no. MR/TECH/WPP-82/North/2018 License to post without prepayment Postal Registration No. MCN/99/2018-2020 WPP license no. MR/TECH/WPP-82/North/2018 License to post without prepayment Postal Registration No. MCN/99/2018-2020 WPP license no. MR/TECH/WPP-82/North/2018 License to post without prepayment Postal Registration No. MCN/99/2018-2020 WPP license no. MR/TECH/WPP-82/North/2018 License to post without prepayment Postal Registration No. MCN/99/2018-2020
Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 52 Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 56 Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 52 Published on 3rd of every month. Posting date: 5th & 6th of every months Posted at Patrika Channel Sorting Office, Mumbai-400001 Total number of pages 76
Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418 Vol. 10 | Issue 02 | FEBRUARY 2018 | ` 50 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418 Vol. 10 | Issue 03 | MARCH 2018 | ` 50 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418 Vol. 10 | Issue 04 | APRIL 2018 | ` 50 Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33418 Vol. 10 | Issue 05 | MAY 2018 | ` 50

able operators of all sizes and budgets to streams can be added at any time directly metadata and contribution management
contribute the highest video quality from from the Producer interface. Any user of
www.digitalstudioindia.com www.digitalstudioindia.com www.digitalstudioindia.com
an easy automated task www.digitalstudioindia.com Published by ITP Media (India)

PREVIEW
any
SPECIALlocation, over any network including an iOS, Android or MacOS device can be
STORAGE
CINE CAMERAS
FEATURE TVU
2018 NAB SHOW
BROADCASTING
alsoUP INannounced
THE CLOUD the integration of
commoditised Internet. added as a source by downloading the TVU several MAM THE BIGsystems
OTT
with TVU CAS.
YES, MAM
BROADCASTING SHIFT
A FUTURE OF IP

New at IBC2018 was the cloud-based Anywhere application. At its stand, TVU demonstrated Dalet’s
TVU
CONTENT, THE NEW
Producer, part of TVU Networks’ TVU Producer was shown alongside the Galaxy five MAM system integration
CLAPPERBOARD
range
CINEMATOGRAPHER of
UNLESS CONTENT IN
MANU remote
FILMMAKING GETS INTERESTING, production solutions. With
ANAND BELIEVES THAT Artificial Intelligence (AI)-driven TVU with CAS. Other MAM supported sys-
AUDIENCES WILL STEER TOWARDS ONLINE PLATFORMS

its web-browser interface, TVU Producer

LIKE NETFLIX AND AMAZON
TECHNOLOGY MediaMind Platform. EVENTS Using a cloud-based tems include Square Box’s CatDV and
CAMERA SUPPORT 26 CONVERGENCE TH

enables anyone to produce professional SYSTEMS

model, complete with voice and object rec-
INDIA 2018
Primestream.
multi-camera video, eliminating the need ognition, live and pre-produced video clips SCALING STILL GOOD
for expensive hardware, software or prior are located and indexed down to the exact BREATHE AGAIN DIGITAL HEIGHTS IN THE HOOD
Contact: Sachin Agnihotri at sagnihotri@
THE MEDIA AND ENTERTAINMENT INDUSTRY GREW TO INR 1.5 TRILLION IN 2017, ACCORDING TO A FICCI-EY
THE NARRATIVE OF BREATHE, AN AMAZON PRIME ORIGINAL, HAS A UNIVERSAL FLAIR WITH A GRITTY, REALISTIC VISUAL APPEAL REPORT. THIS SIGNALS GREAT OPPORTUNITY FOR CONTENT CREATORS AND BROADCASTERS ALIKE WHILE 2018 NAB SHOW SHOWED HOW TECHNOLOGIES LIKE MACHINE LEARNING AND ARTIFICIAL INTELLIGENCE

training. Producer supports simultane- frame using MediaMind’s automatic meta- Published by ITP Media (India) Published by ITP Media (India) Published by ITP Media (India)

tvunetworks.com or +91-9810034781 COULD TRANSFORM THE MEDIA INDUSTRY, THE UNDERLINED MESSAGE WAS THAT CONTENT STILL REIGNS

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www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 109

 DUBAI, UAE

COMING
THIS
DECEMBER
For more information, contact [email protected]
For more information, contact [email protected]
 CONSUMER CONNECT – LIVEU

LIVEU WELCOMES ARK INFOSOLUTIONS AS

THEIR NEW SOLO DISTRIBUTOR IN INDIA

L
iveU has announced the addition
of ARK Infosolutions Pvt. Ltd., a
leading distributor for technol-
ogy products in India, as the new
partner for its Solo range of products in In-
dia. Founded in 2012, ARK Infosolutions
Pvt. Ltd. is active in all sectors of the media
and entertainment industry, making them a
natural fit for the Solo product line.
LiveU already enjoys a dominant pres-
ence in the Indian broadcast market and
continues to grow in the broadcast space
with their longstanding partner, Lamhas
Satellite Services Ltd.
Solo, LiveU’s plug-and-play live stream-
ing device, is tailored for the online media
market, including online news, vloggers, the LiveU Portable Uplink Solutions.
entertainment and event industry, houses of
worship and more. ARK’s presence in more ABOUT LIVEU SOLO IP. Our broad portfolio of products sets the
than 100 cities in India assures high levels LiveU Solo is the most affordable, high- industry standard for live video production.
of service and technical support for custom- quality ‘plug and play’ live streaming so- From backpacks to smartphones, and sat-
ers locally. lution on the market, offering the best ellite/cellular hybrid to external antenna
“In the age of live video streaming, we are live online viewing experience. Thanks solutions, LiveU offers a complete range
excited to be partnering with LiveU for the to LiveU’s reliable transport protocol of devices for live video coverage anytime,
Indian market. LiveU and ARK have a shared (LRT™), Solo delivers consistent and high- anywhere. In addition, LiveU offers exten-
commitment to touch lives with the most in- quality live video streams over the internet. sive cloud-based management and video
novative technology. LiveU Solo streams live That means no buffering, no stuttering, and distribution solutions. With over 3,000 cus-
videos in the highest quality to various online no failed transmissions. Anyone can get tomers in 100+ countries, LiveU’s technolo-
platforms, and to users across various seg- Solo easily through shop.liveu.tv and start gy is the solution of choice for global broad-
ments. ARK with its experience, resources streaming high quality content directly to casters, online media, news agencies and
and robust infrastructure, combined with Facebook Live within minutes. LiveU is social media. For more information, visit
LiveU’s industry-leading product range pro- also an official Facebook Media Solutions www.liveu.tv, or follow us on Twitter, Face-
vides the best-of-service offerings to its cus- Live Video Partner. To learn about Solo, book, YouTube, LinkedIn or Instagram.
tomer base. We look forward to the success please visit www.gosolo.tv.
and growth of both brands,” said Mr. Rishi ABOUT ARK LNFOSOLU-
Khemka, CEO, ARK Infosolutions Pvt Ltd. ABOUT LIVEU TIONS PVT. LTD.
“We are thrilled to have ARK on board. LiveU is driving the live video revolution, ARK lnfosolutions Pvt. Ltd. is a leading val-
With their roots placed firmly in the Indian providing live video streaming for TV, ue-added distributor for Technology Prod-
market, we believe that the alliance will har- mobile, online and social media. Let your ucts in India, with the core belief in improv-
vest remarkable results,” said Ranjit Bhatti, audience become part of your story with ing the lives of people by empowering them
director - South Asia at LiveU. “ARK has high-quality and flawless live video, trans- by our world-class team and performance
a great network of resellers that will help mitted from anywhere in the world, through excellence. We partner with our clients in
lead to an increased market footprint of the the use of our patented bonding and video achieving effective solutions to meet the in-
brand. This collaboration, alongside Lam- transport technology. LiveU creates a con- herent challenges of their critical business
has, enables us to offer our innovative prod- sistent bandwidth and a reliable connection processes.
ucts and services to an even larger customer so you can acquire, manage and distribute To know more about ARK Infosolutions Pvt.
base in India.” high quality remote live broadcasts over Ltd., please visit www.arkinfo.in.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 111

 CONSUMER CONNECT – CANON

BEHIND THE SCENE: ON THE BRINK

A wildlife series written, directed, shot and anchored by complete female crew; shot on
Canon CINEMA EOS C700 and ME-20FSH

DOP Sugandhi Gadadhar shooting with Cinema EOS C700.

ABOUT THE PROJECT: at the forefront of

On the Brink is an unprecedented portrait of wildlife program-
India’s natural world that explores species ming for internation-
and habitats rarely seen on Indian television. al broadcast from
Explorer Malaika Vaz journeys through the India with an experi-
sub-continent, immersing herself in the most ence of 17 years.
incredible landscapes and habitats in the She has worked on
country and coming eye to eye with the rare- over 150 films and
ly spotted animals that live here. How is wild some of internation-
India surviving in the 21st century? Grass- ally acclaimed titles
roots conservationists unravel mysteries of which include Ti-
the natural world and help us understand gress Blood, Manas Shooting high definition full color video in extreme low light conditions
why species that once lived in large popula- Return of the Giants, by ME-20FSH.
tions, are now literally On the Brink. India’s Wandering UN Film Award, a Nomination at the Jackson
The season one is currently on air on Animal Lions, The Pad Piper, Mrityubhoj – The Hole Wildlife Film Festival and recently, the
Planet India and Discovery Channel India. Death Feast. Her work has been broad- World’s Emerging Documentarian Award.
casted on networks like BBC, National
A BRIEF SYNOPSIS OF THE Geographic, Nat Geo Wild, ZDF, Discovery, CINEMATOGRAPHER:
CREW Animal Planet, NHK amongst others. Sugandhi Gadadhar is a naturalist interest-
Akanksha has won three National Film ed in animal behavior. She believes in tell-
DIRECTOR: Awards given by the President of India, a ing stories about the beauty of our nature
Akanksha Sood Singh is the only filmmaker Wildscreen (Green Oscar) Nomination, a and wildlife and bring awareness on issues

112 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com

 CONSUMER CONNECT – CANON

related to their conservation and how cli-

mate change is affecting them. Her work in-
cludes on conservation films like Daoji, Ti-
gers in the Backyard, Wild Karnataka, Into
the Wild, Minutes to Die, Kaikondarahalli
Lake and Gudekote.

VIEWPOINT OF CANON
CINEMA EOS C700 AND
ME-20FSH BY THE DIRECTOR
AND CINEMATOGRAPHER

Why did you choose

CINEMA EOS C700 camera
and ME-20FSH for your
project? Use of ME 20FSH with Canon EF 200-400mm lens.
We choose to film with the Canon Cinema
EOS C700 and the ME-20FSH for the un- 5 stops ND filter and an OLED viewfinder
beatable picture quality that the cameras that allow a cinematographer, particularly
provide. While the Cinema EOS C700 was in a documentary shoot to get the Cinema
our primary day camera, we needed a cam- look to the footage, with shallow depth of
era for filming some of the nocturnal ani- field, along with being able to critically keep
mals like fishing cat and slender loris. The the shots in focus even when the subject is
Canon ME-20FSH fit the bill perfectly on moving and nail the exposures to exploit the
account of its exceptional low light capabili- 14 stops of dynamic range that the camera
ties and IR mode. Also, given limited bud- offers. Another aspect we were pleasantly
gets, having two cameras allowed the use of surprised with was the low power consump-
the range of Canon EF lenses – from 16 mm tion of the camera. We could practically The crew – On the brink.
to 800 mm on both cameras, without any work through the day with just 2, 100 watt
external adapters batteries. This is important as it allows you from the Canon Cinema EOS C700 grades
As the series ‘On the Brink’ is a wildlife to save on excess baggage and 100 watt bat- exceptionally well with rich, natural color
conservation series, it required a camera teries are allowed in airlines! reproduction. It cannot be overstated that
that could be used both on tripod as well as The ME-20FSH is a very versatile, light- though shooting in log gives a lot of versatil-
on the shoulder in more run and gun situa- weight camera. And though one requires ity in post, to get the most pleasing results
tions for filming scientists, researchers and an external recorder, and it records HD, it from the camera in post and exploit it’s full
people working for wildlife conservation was still a very light set-up to use, allowing dynamic range, it is critical to get the expo-
the form factor of the Cinema EOS C700 us to be fairly quick in the conditions that sures right for the different log curves one
enabled the crew to be fast and efficient. Ad- we were to film in. The main feature we is using. We didn’t have a specialist color
ditionally, the ability to record various for- were keen on was using it in extremely low grading technical person and our editors
mats, including Pro Res, Slow Motion and light available conditions and IR capabili- were able to grade within the Non Linear
simultaneous Proxy recording was a very ties. Along with that it shoots Canon C log Editing set up we have – Da Vinci Resolve
important consideration. During post –pro- and has a very simple menu. We pushed the and Adobe Premiere Pro.
duction, as we were on a very tight schedule, camera a lot in the low light conditions and The Canon ME-20FSH footage, both
we could edit straight off the proxies, finally using noise reduction tools, along with film- in color and IR mode, graded well. Shoot-
reconnecting the project to 4K files, without ing in IR we could get some incredible shots ing in extremely low light was challenging
having to convert footage to 2K Pro Res. of fishing cat and slender loris. and does generate noise in the pictures.
We could push the camera to almost a
What all features were excit- Overall experience and how 100,000 ISO and do basic noise reduction
ing for you while using these the final footage landed on in post to get a fairly decent image. Can
products? the grading and Broadcasted confidently say that images upto 64,000
The Canon Cinema EOS C700 addition- output? ISO hold up really well after noise reduc-
ally has simple menu options, incredible Overall we have had a great experience tion, making the camera invaluable for
dual – pixel focusing, false color, waveform, filming with both the cameras. The footage low light production.

www.digitalstudioindia.com DIGITAL STUDIO | OCTOBER 2018 113

 3rd ANNUAL

INDIA
NER CHANNEL PARTNER
018 AWARDS 2018
26th October, 2018 | Hotel Sahara Star, Mumbai
GOLD PARTNER

CATEGORY PARTNERS

LIGHTING PARTNERS
 October 2018

www.digitalstudioawards.com

FOR SPONSORSHIP ENQUIRIES An event by

BIBHOR SRIVASTAVA MANOJ SAWALANI

Group Publishing Director Commercial Director
T: +91 22 6154 6046 | M: +91 98204 39239 T: +91 22 6154 6030 M: +91 9820 176965
E: [email protected] E: [email protected]
/ITPDigitalStudio/ /digitalstudioin
 CONSUMER CONNECT – IHSE

COMBINING NETWORKED VIRTUAL SERVERS AND LOCAL

COMPUTERS UNDER ONE DISPLAY MANAGEMENT SOLUTION.

F
or industries like video produc-
tion and broadcasting, workflow
is tremendously improved when
operators can share multiple com-
puter sources – no matter if they are central-
ised or located across the globe. For instance,
editors and producers can work from a single PVMC is suited
workstation area while accessing a computer, to safety-critical
no matter where they may be located. It saves applications re-
space on the desktop and adds convenience quiring extremely
for users, since they don’t have to leave their fast access to infor-
IHSE’s IP DMS System.
desk to access multiple computers. mation.
Using virtual machines allows users to ac- ing system. IHSE’s virtual access thin-client, With the L488-BIPVMC extender mod-
cess a virtual source remotely via the network, the L488-BIPVMC, is linked directly to the ule, users can access virtual machines directly
like it were an RDP or VNC session. The hardware level, which is much more stable from their own DMS active workstations via
major difference that IHSE offers, is giving and offers the best performance for ultra-fast remote desktop protocol (RDP) or perform
the user actual control of the computer as if keyboard and mouse commands. simple PC maintenance remotely. The exten-
it were physically there when connected to an With IHSE’s Draco vario L488-BIPVMC sive functionality of this card offers options
IHSE Display Management Switch (DMS) thin client interface card, it becomes a simple such as real-time switching, sharing, private
System. process for integration of virtual machines mode, flexible, and unrestricted access to all
Whether it is a graphics editing room, mas- connected by TCP/IP into existing Draco tera connected computers and virtual machines.
ter control or outside broadcasting locations, compact or enterprise-based physical display In addition to allowing RDP access of
IP DMS Systems allow access to any vir- matrix switch systems. The result is a highly remote and virtual machines, the L488-
tual computer from anywhere. IHSE’s switch functional remote desktop solution with all BIPVMC lets users operate secure shell ses-
components are more ideal for direct access the benefits of a fully supported display man- sions (SSH) from the workstation to enable
to a computer without requiring a mapping agement system. device management and network control.
of a session that runs on top of the operat- This card is particularly suited to control The module also supports computer remote
rooms with virtualised access via VNC protocol.
process automation, The L488-BIPVMC is built on a compact
Network Operations Draco vario design and includes thin client
Centers (NOC) that functionality, eliminating the need to use a
require real-time ac- separate thin client for RDP access. Using
cess to real and vir- the L488-BIPVMC solution creates a more
tual target devices, cost-effective and space-saving solution by
as well as the TV and eliminating the need for additional physical
film industry, where servers that are more complex and take up a
virtualised desktops lot more space.
are increasingly used. The structure of the IHSE system man-
Virtualisation makes agement software provides unified control
DMS infrastructures management for configuring the virtual net-
simpler and more ef- work, integrated L488-BIPVMC thin client
ficient, allowing ap- configuration, physical extender configura-
plications to deploy tion, and all the specific configuration needs
faster while reducing of the DMS matrix system. The result is a
costs as compared simplified digital control system that man-
with alternative meth- ages the entire virtual and physical connec-
How remote IP works. ods. The L488-BI- tions in one environment.

116 OCTOBER 2018 | DIGITAL STUDIO www.digitalstudioindia.com