Friday, December 14, 2018


  • Friday, Sep. 14, 2018
ARRI Operator Control Unit OCU-1 debuts at IBC
ALEXA MINI with the OCU-1

A tool to help camera operators take control of lens functions is being launched by ARRI at IBC 2018. The Operator Control Unit OCU-1 is an addition to the WCU-4 lens control system on ALEXA Mini, and enables operators to over-ride and return focus, zoom, and iris controls at the touch of a button. 

“This is a simple device that does exactly what the name implies,” said Christine Ajayi, product manager, PCA Electronic Control System at ARRI. “It gives camera operators full control of their lenses when they want it.”

The OCU-1 will help save precious time while framing shots, as the camera operator will always have the ability to control the lens, even when motors are attached. It allows control of focus, iris, and zoom whenever required for practical or creative reasons. The device enables control of EF lenses mounted on ALEXA Mini and AMIRA cameras without any additional external motors. 

The OCU-1 will improve on-set efficiency and control. Small, lightweight, and easy to use, it has the same control wheel, display and LBUS integration as the ARRI Master Grips, and can be easily mounted onto common 15mm or 19mm rods, ARRI Rosette, or 3/8” mounts. The wheel can also be used to control the roll axis of the ARRI Stabilized Remote Head SRH-3. ARRI plans to start shipping the OCU-1 later this year.

  • Friday, Sep. 14, 2018
Avid intros next generation Maestro | Engine at IBC

Avid (Nasdaq: AVID) has announced the next generation Maestro™ | Engine real-time graphics and video hardware rendering platform for its Maestro Graphics product line. Maestro | Engine scales from HD and 1080P to UHD supporting both SDI and Video Over IP interfaces. With Maestro | Engine, broadcasters can produce graphics, virtual studios, augmented reality and video wall content in the industry’s highest achievable quality.

As the successor to Avid HDVG, Maestro | Engine enables broadcasters to introduce new production capabilities—including 3G, UHD, HDR, and IP workflows—alongside their current HD/SD SDI workflows, with minimal disruption. Available in two configurations—Maestro | Engine and Maestro | Engine 4K—the platform works with all Maestro graphics suite solutions, providing performance, scalability, and format support to surpass customers’ current and future broadcast requirements.

“As broadcast production evolves, broadcasters increasingly need flexible, future-proof graphics rendering hardware to enable them to tell more compelling stories,” said Ray Thompson, director of Broadcast and Media Solutions Marketing at Avid. “The new Maestro | Engine enables customers to differentiate and elevate their content with compelling data-driven augmented reality graphics and virtual sets delivered in real time. Maestro | Engine hardware supports IP I/O and delivers the performance and reliability required for any news, sports, or other broadcast content engaging audiences in new ways.”   

Maestro | Engine enables customers to: 

Scale I/O according to their needs
Maestro | Engine is available in two hardware configurations that can be scaled for any production need. The Maestro | Engine base system offers up to eight video insertions and up to four outputs, including fill and key, to handle most standard CG needs and dual channel production. To tackle more demanding UHD, video wall, and virtual studio productions, Maestro | Engine 4K offers up to 16 video insertions and up to eight outputs—or up to four fill and four key outputs for UHD production.

Manage multiple systems to support complex broadcast workflows
With enhanced performance and rendering power, Maestro | Engine works across all Maestro graphics suite authoring and control solutions both new and old, providing backwards compatibility so existing content and production will continue to work without any issues.   

Switch from an SDI workflow to IP with ease
Maestro | Engine not only works with any SDI infrastructure, it makes it easy to transition to Video Over IP using a broadcaster’s existing 10Gb fiber network and field-changeable interface boards, so they can make the upgrade gradually at their own pace to experience better cost savings and greater bandwidth for high-resolution media.

Produce SD, HD and UHD content
Maestro | Engine works in concert with Maestro | RenderEngine software, providing advanced graphics rendering in the highest quality possible—whether displayed onscreen or in the studio. It also can drive content to multiple canvases, scale content up or down, and crop it. This makes it easy to preview large-scale video walls with a single HD feed, reducing system complexity and cost.

Achieve realism
To elevate virtual studio productions to cinematic quality, Maestro | Engine 4K works with both Maestro | RenderEngine and Epic’s Unreal Engine. Users get the power and flexibility to present stunning virtual environments full of realism, depth, and detail. Because only Avid engines can run simultaneously on a single Maestro | Engine 4K, users can render all virtual studio elements using Unreal Engine while overlaying data-driven augmented reality graphics with Maestro | RenderEngine.

Get versatile performance
Featuring a proprietary I/O card that delivers ultra-low-latency video transfer, Maestro | Engine maintains a constant two frames of delay from input to output for seamless object mapping and audio handling. The Maestro | Engine is also capable of real-time graphics, video compositing and rendering, with scalable inputs, fill and key outputs. Its open API enables users to create their own control applications.

Have flexibility for the future
To ensure a high return on investment, customers need a system that can grow with them as their workflow and technologies evolve. The Maestro | Engine platform is built for today’s and tomorrow’s broadcast needs, supporting SD, HD, UHD, and (coming soon) HDR workflows. It offers field-changeable interface boards, so users can transition from SDI to IP whenever they’re ready. Support for new technologies and features will be made available through software updates.

Integrate video playback
Maestro | Engine handles live video sources and plays back video stored on its local drive, Avid NEXIS®, or other network storage device. It has two 1GbE connections and a 10GbE option for more demanding video transfers. Users can create compelling visuals using video clips as background elements or as textures mapped onto scene objects. Maestro | Engine supports a wide range of codecs—including Avid DNxHD/DNxHR, XDCAM 50, AVC-I, XAVC-I, and QT RLE.

Manage systems from anywhere
Users don’t need to install additional client software or have a systems administrator tethered to the machine room to manage and configure settings. Maestro | Engine uses a web-based interface for all systems management. Users can set up and make changes to access rights, video formats, genlock sources, input and output mapping, and other settings from any computer or device on their network—from anywhere.

Protect their production
Maestro | Engine is built to withstand the demands of 24/7 operation. It features dual power supplies, dual network interfaces, and software and hardware watchdog preventing production interruptions. And, because all Maestro graphics suite applications can control multiple Maestro | Engines, users can deploy additional engines as live backups to on-air systems.

Maestro | Engine and Maestro | Engine 4K will ship in the fourth quarter of 2018.

  • Thursday, Sep. 13, 2018
Dolphin Image partners with ARwall to develop effects toolbox
ARwall’s (l-r) Jade Byrd, Leon Hui, Patrick Tith, Rene Amador, Jocelyn Hsu, Will Hellwarth and Eric Navarrette
ORLANDO, Fla. -- 

Dolphin Image--an Orlando-based film studio founded in 2018 by Delphino Huang and several Full Sail University alumni--has partnered with ARwall, a Los Angeles-based large-scale interactive technology company. Dolphin Image recently closed a $2 million seed funding round to enter into a strategic partnership with ARwall and to develop ARwall’s augmented reality (AR) motion picture effects tools.

The ARwall Effects System generates real-time CGI effects using a LED “smart wall,” allowing filmmakers to capture VFX in-camera, without the need for a green screen or excessive post-production; this matches Hollywood-grade VFX without the Hollywood cost. This technology allows studios like Dolphin Image to streamline their filmmaking process and budget, and turn their focus toward creating compelling stories. The ARwall and Dolphin Image partnership marks an important step toward making dynamic VFX implementations cost-effective, revolutionizing modern film production processes.

Upcoming Dolphin Image projects include its debut, Hired Sword, Sucker Gun, a black-and-white steampunk action film currently in pre-production along with several other projects.

  • Wednesday, Sep. 12, 2018
Apple unveils 3 iPhones, latest Watch
Jeff Williams, Apple's chief operating officer, speaks about the Apple Watch Series 4 at the Steve Jobs Theater during an event to announce new Apple products Wednesday, Sept. 12, 2018, in Cupertino, Calif. (AP Photo/Marcio Jose Sanchez)
CUPERTINO, Calif. (AP) -- 

Apple unveiled three new iPhones on Wednesday, including its biggest and most expensive model yet, as the company seeks to widen the product's appeal amid slowing sales.

CEO Tim Cook showed off the iPhone XS Max, which has a bigger screen than the one on last year's dramatically designed model , the iPhone X. It'll cost about $1,100, topping the iPhone X, which at $1,000 seemed jaw-dropping at the time. An updated iPhone X, now called the XS, stays at $1,000.

As with the iPhone X, both new phones have screens that run from edge to edge, an effort to maximize the display without making the phone too awkward to hold. The screen needs no backlight, so black would appear as truly black rather than simply dark. The Max model looks to be about the size of the iPhone 8 Plus, though the screen size is much larger.

The iPhone XS Max, which will be available on Sept. 21 — with orders open the week before — represents Apple's attempt to feed consumers' appetite for increasingly larger screens as they rely on smartphones to watch and record video, as well as take photos wherever they are.

By making more expensive iPhones, Apple has been able to boost its profits despite waning demand as people upgrade phones less frequently. IPhones fetched an average price of $724 during the April-June period, a nearly 20 percent increase from a year earlier.

Apple also showed off a cheaper iPhone, called the iPhone XR. It has a traditional, lower-quality screen and an aluminum body; it's physically smaller than the iPhone 8 Plus but has a bigger screen. It'll cost roughly $750 and come out on Oct. 26.

All three new models join the iPhone X in getting rid of the home button to make room for more screen. They will have facial-recognition technology to unlock the device.

Apple also said that its next major update to its iOS operating system will come next Tuesday, followed a week later by a Mac software update.

Apple also announced updates that push its Apple Watch further into medical device territory. It has a larger screen and a built-in heart sensor that the company said can detect irregular heart rates and perform an electrocardiogram. The latter feature has been cleared by the U.S. Food and Drug Administration, the company said.

Ben Wood of CCS Insight said getting U.S. regulatory clearance for that is a milestone that underscores the company's leadership in health and fitness. Typically, smartwatches are marketed as consumer devices, not medical ones needing clearance.

These features will be available to U.S. customers later this year, but Apple did not say when it would make it to the rest of the world.

In addition, Apple said the Series 4 Apple Watch will also be able to detect when someone falls — and can tell the difference between a trip and a fall. If it detects a fall and the user doesn't respond in a minute, it'll automatically call for help. This feature may be especially attractive to older people or those with elderly parents worried about falling when no one is around to help.

AP Technology Writer Barbara Ortutay contributed from New York.

  • Wednesday, Sep. 12, 2018
Fujinon to feature two new zooms at IBC
Fujinon's UA46x9.5B lens

During IBC 2018, the Optical Devices Division of FUJIFILM will officially introduce the latest in its Premier UA Series of UHD 2/3” lenses - the UA46x9.5B and UA46x13.5B. The worldwide introduction signals the continued expansion of the company’s 4K HDR lens range. FUJIFILM Optical Devices Europe will exhibit in Hall 12, Stand B20 during the show, which runs this week, from September 14-18 at the RAI Amsterdam.

The Premier UA Series is designed specifically for UHD broadcast applications. The UA46x9.5B sports a class-leading 46x zoom ratio and a wide angle from 9.5~437mm (19~874mm w/2x) with an F2.0 aperture. The “Tele” version UA46x13.5B lens also features a class-leading 46x zoom ratio and a telephoto reach from 13.5~621mm (27~1242mm w/2x) with an F2.8 aperture. Both lenses have a total weight of 5.7kg/12.56lbs and length of approximately 345.8mm.

“We remain firmly committed to the development of our 4K HDR lens range,” said Yuji Igarashi, general manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “We’re excited about the possibilities this lens series and HDR production overall creates for our customers. Extremely high precision optics and mobility are required for this level of enhanced, high quality filming. We’re well suited to address such requirements. Our high-contrast, high-quality lenses are ideal for HDR. Given the color science expertise of Fujifilm with its motion picture and photographic film history, the FUJINON lenses are not only 4K but also produce brilliant, bright, eye-popping HDR images.”

Like the others in the series, the UA46x zooms employ the latest High Transmittance Electron Beam Coating (HT-EBC), resulting in richer colors and greatly improved blue response and transmittance. They feature 4K Ultra HD and HDR optical performance from center to corner throughout the zoom range while suppressing image distortion, due to a multi-group zoom system.

A newly designed OS-TECH image stabilizer provides the most advanced image stabilization for a lens in this class and makes the new UA46x zooms ideal for sports, wildlife, and documentary production. Versions of the lens will be available for studio, wildlife, remote-control and gyro-stabilized productions.

Also enhanced with a fresh design is the Digital Full Servo Drive Unit, which now features 16-bit encoding for highly accurate local or remote operation of the zoom, focus or iris. The drive unit offers a “Virtual Connector,” which outputs the lens’ positional data.

Availability for the UA46x9.5B and UA46x13.5 is planned for late 2018.

The new zooms are two of the latest additions to the family of FUJINON 4K UA 2/3” lenses. In addition to these two lenses, the new 4K UA70x8.7BESM field lens will also be debuted at IBC 2018. Other handheld zooms in this lineup include: the UA14x4.5, UA18x5.5, UA13x4.5 and UA22x8, UA24x7.8 lenses. The UA27x6.5 studio lens and field lenses, the UA80x9 and UA107x8.4, round out the series.

IBC 2018 marks the official introduction of the FUJINON UA46x9.5B and UA46x13.5B zooms. A prototype version of the UA46x9.5B was shown at NAB 2018 in April.

  • Tuesday, Sep. 11, 2018
Cooke Optics launches Anamorphic/i Full Frame Plus range at IBC
Les Zellan, chairman of Cooke Optics

Cooke Optics will add further depth to its Cooke Anamorphic/i lens family at IBC 2018, when it presents the 50mm focal length of the new Anamorphic/i Full Frame Plus range. This addition to the Anamorphic/i range has been designed to meet the growing appetite for large format production, while applying the popular anamorphic characteristics including flare and oval bokeh. 

The range, featuring a T2.3 stop, will offer 32mm, 40mm, 50mm, 75mm, 100mm, 135mm and 180mm lenses; the 50mm will be the first in production, with the rest following over the next 12 months.

The image circle will cover a full 24x36 still size sensor, with a 1.8 squeeze. Like all Cooke lenses, the Anamorphic/i Full Frame Plus range will include /i Technology that collects detailed lens data for VFX and postproduction teams. Additional specifications will be confirmed on Stand 12.D10 at IBC 2018.

Les Zellan, chairman, Cooke Optics, said, “As soon as we saw the enthusiastic reception for the S7/i Full Frame Plus lenses, we knew the next logical step was to give full frame an anamorphic option. After a great deal of research and discussion, we believe the 1.8 squeeze of the Anamorphic/i Full Frame Plus range gives the best results for full frame anamorphic. At 2x you would lose too many pixels, and at 1.6x (the correct ratio to use every pixel) you will not get enough of the anamorphic character. Our solution at 1.8x gives the image a greater anamorphic feel at the aspect ratio of 2.40:1 whilst capturing 90% of the pixels, therefore keeping this format well within industry resolution standards. However, because these are Full Frame Plus lenses designed to cover the full still frame of 24x36, you can elect to use 100% of the pixels which will result in an aspect ratio of 2.70:1.”

At IBC 2018 Cooke will also present the Panchro/i Classic 65mm Macro and 21mm lenses for the first time, as well as various lenses from the S7/i, miniS4/i, Anamorphic/i and Anamorphic/i SF families.

In addition, visitors to the Cooke stand will see demonstrations of /i3 (/i Cubed), the latest version of its /i Technology metadata system that now provides distortion mapping - not just a theoretical measurement of all lenses of a particular focal length, but of the specific lens in use. New deliveries of S4/i, 5/i, and S7/i lenses from October 2018 will include /i3 functions.

  • Thursday, Sep. 6, 2018
Multicom Entertainment Group deploys Cintel Scanner for film restoration
Multicom Entertainment Group lead editor Meni Philip
FREMONT, Calif. -- 

Blackmagic Design announced that Los Angeles-based distribution company Multicom Entertainment Group is using a Cintel Scanner, DaVinci Resolve Studio, UltraStudio 4K and DaVinci Resolve Mini Panel as part of its film restoration workflow.

As an independent distribution company, Multicom Entertainment Group owns more than 1,500 titles, with more than 200 of them on film. According to executive director Andrew Baritz, “When looking at our entire workflow it became obvious that building our own post workflow would be more time and cost effective than partnering with an outside post house to do it for us. The costs and wait times of using outside labs for HD and UHD film scans were too high, especially with a library of our size.”

Since purchasing the Cintel Scanner in mid 2017, Multicom Entertainment Group has completed more than 20 film restorations, including Academy Award winning documentary “The Long Way Home,” horror film “Slaughterhouse Rock,” the classic tale “The Adventures of Pinocchio” and romantic biopic “The Whole Wide World,” which is slated for BluRay release in September 2018.

“We’ve already restored around two dozen films using the Cintel Scanner and currently have another five in progress. With most films using five reels, and occasionally capturing release prints along with original negatives (ON) for color reference, somewhere between 100 to 200 reels have already been captured, creating close to 100TB of RAW scanned data,” said Baritz.

Multicom Entertainment Group scans 35mm and 16mm film using a Cintel Scanner with a Cintel Audio and KeyKode Reader, and then does its restoration work using DaVinci Resolve Studio and a DaVinci Resolve Mini Panel. Additionally, the team uses an UltraStudio 4K, Teranex 2D Processor and multiple DeckLink capture cards as part of its workflow.

“Once assets are scanned and move to our edit bay, we use DaVinci Resolve Studio for all color correction, grain removal, audio extraction and stabilization,” said Baritz.

Lead editor Meni Philip described working with DaVinci Resolve Studio as exercising muscle memory, since he first worked with it more than 10 years ago in Berlin. Philip cited using multiple facets of both DaVinci Resolve Studio and the DaVinci Resolve Mini Panel, including how the knobs on the control panel, specifically RGB, keyboard and color wheels, have helped improve his workflow. “I rarely use the mouse as the panel makes post faster and more precise,” he said.

According to Philip, the system gives him the opportunity to go beyond correcting color and grain, since DaVinci Resolve Studio divides colors into RGB and Luminance separately with full individual control of each, which provides much more control in the overall restoration of a film’s color. Philip employed this exact technique to overcome grading issues in his recent restoration of the 1982 film, “The Retrievers.”

“Even if you have a very faded film, you can still achieve very high quality results with DaVinci Resolve Studio, tackling challenging footage with ease,” he noted. “We also work with the Cintel Scanner to create the stabilization and master files from the scans. The quality is great, especially with the cost of the machine, and the ability to scan in real time allows for fast replacements of scanned assets, creating fast and efficient scans.” 

Baritz concluded, “We have scanned film stock ranging all the way from 35mm ON, interpositives (IP), internegatives (IN) and release prints to 16mm ON, IP, IN and even A, B prints. Our films live in all formats from all years of production. Having the flexibility to capture most professional film in house has allowed us to bring back films from the past that could not afford to shoot on 35mm.”

  • Monday, Sep. 3, 2018
Shortlist unveiled for IABM BaM awards at IBC

IABM, the international trade association for suppliers of broadcast and media technology, has announced the shortlisted entries for the IBC 2018 edition of its Broadcast and Media awards (BaMs™). From a record number of submissions, the judges have shortlisted four entrants in each of nine BaM™ Content Chain categories that accurately model the structure of the industry today, together with a tenth award recognizing an outstanding project, event or collaboration.

The panel of 40+ non-affiliated, expert judges are now scrutinizing the shortlisted entries. Visits to the stands of shortlisted companies will take place once IBC 2018 opens to complete the judging process. The eventual winners will be announced at the IABM BaM™ Awards Party on Saturday, Sept. 15, 6-8 pm in the Forum. 

“I’m again impressed with the quality--as well as the quantity--of the IABM BaM™ Awards entries for this IBC; it’s was a challenge for our judges to initially shortlist the top four in each category,” said John Ive, IABM director, strategic insight, chair of the judging panel. “The new BaM™ Content Chain model has ensured we include all the new developments across the broad spectrum of media and broadcast--and it is clear that innovation is driving profound changes, which these awards reflect. The task facing the judges in selecting the eventual winners will be tough indeed.”

The shortlisted companies (and product/service names where they are not embargoed until the show opens) are:


  • BR Remote Ltd – CamBall4 PTZ Camera
  • Datavideo Technologies Europe BV – NH-100 Nighthawk Camera
  • Rotolight – Anova PRO 2 professional LED lighting
  • SHOTOVER Camera Systems – M1 Camera System


  • Aperi - V-Stack
  • IBM – IBM Watson Captioning
  • Lawo - embargoed
  • Suitcase TV Ltd – Iphrame Remote Commentary


  • AWS Elemental – AWS Media Services
  • Ooyala - Ooyala Flex Media Platform
  • Microsoft - embargoed
  • Piksel – Fuse Metadata Manager


  • Broadpeak – nanoCDN™
  • Edgeware - embargoed
  • Harmonic - VOS360 media processing SaaS
  • Limelight Networks - Limelight Realtime Streaming


  • Brightcove - SSAI
  • Crystal – Crystal Connect
  • Promethean.TV – Promethean Broadcast Centre
  • Verimatrix – Verspective Intelligence


  • Broadpeak – CDN Diversity™ Technology with Priority Feature
  • Hexaglobe – Xtreme Player
  • NPAW (Nice People At Work) – YOUBORA 2018
  • Screen Subtitling Systems - Sasquatch


  • Aspera – IBM Aspera On Cloud
  • BT Media & Broadcast – Media Workflow Connect
  • LiveU – LiveU Matrix
  • V-Nova – P.Link Contribution Encoder with Machine Learning


  • Dell EMC - embargoed
  • Editshare – Xstream EFS
  • Quantum Corporation – Xcellis Scale-out NAS
  • Rohde & Schwarz - embargoed


  • Exponential-e – Cloud Management Platform (CMP)
  • Portrait Displays/SpectraCal - CalMAN Auto Calibration for LG OLED and Super UHD Displays
  • TAG V.S. - MCM-9000
  • Telos Alliance TV Solutions Group - Telos Infinity IP Intercom

Project, collaboration or event

  • CBC & Bitmovin – Multi-platform distribution of broadcast content
  • NEP - NEP Remote Commentary
  • Telestream - Enabling New and Revolutionary Workflows for Real Time Remote Production of Live Events
  • Verimatrix – Econet Media Brings Compelling TV Everywhere Service to Africa

The winning entries will automatically be submitted for IABM’s prestigious Peter Wayne Golden BaM™ Award, with the winner announced at the IABM Annual International Business Conference and Awards in December 2018.


  • Monday, Sep. 3, 2018
London show explores hidden world of facial recognition
The U.S. installation "Face Values," by designers Zachary Lieberman, sat demonstrating in the chair, and R. Luke DuBois, not pictured, which explores the role of facial detection technology in society is displayed during a media preview for the London Design Biennale at Somerset House in London, Monday, Sept. 3, 2018. The event runs from September 4 to 23. (AP Photo/Matt Dunham)

A new exhibition in London explores how computers' ability to read faces is changing the world, in ways that aren't fully understood.

British police use facial-recognition technology to scan crowds for suspects. Owners of the latest iPhones can unlock their phones with face ID. Supermarkets are testing the use of facial recognition to eliminate check-out tills.

Curated by New York's Cooper Hewitt Smithsonian Design Museum , "Face Values" is the U.S. entry at the multinational London Design Biennale .

R. Luke DuBois, one of the show's designers, said Monday many of us have little idea what information is being gathered on us — and we should.

The Biennale opens Tuesday and runs to Sept. 23 at London's Somerset House

  • Thursday, Aug. 30, 2018
Deluxe One to make international debut at IBC
Andy Shenkler, chief product officer for Deluxe

Deluxe Entertainment Services Group Inc. (Deluxe) has announced that its presence at IBC2018, which runs from September 13-18 in Amsterdam, will mark the international debut of Deluxe One, its groundbreaking solution that addresses today’s complex content creation and delivery challenges.

Trusted by the largest studios, programmers and distributors for their most important and complex projects, Deluxe’s end-to-end post-production and distribution services take content from lens to living room, anywhere in the world. Deluxe One, virtualizes these services in the cloud, giving customers the opportunity to leverage these powerful solutions, regardless of workflow, to maximize the value of their content.

“The response to the Deluxe One launch in the spring was incredibly positive and we’re excited to introduce it to a broader audience,” said Andy Shenkler, chief product officer for Deluxe. “The global nature of content today has our customers grappling with more titles, formats, and languages than ever before, making the content supply chain the most complex it has ever been. Deluxe One simplifies this process, making it easier and faster to get quality content to audiences all over the world.”

Deluxe One provides a unified platform for customers to manage their content--from creation to delivery--all in one place. Built on a micro-services architecture with open APIs, customers choose the services they need –– from content acquisition and title and asset management, to localization, distribution, and OTT playout – unifying a traditionally fragmented media supply chain and giving customers control and visibility into their workflows.

In contrast to traditional closed-silo solutions, Deluxe One is designed to be open, allowing for integration with third-party solutions for improved collaboration.

With customers’ assets and data connected in the cloud, Deluxe One accelerates today’s complex workflows by automating tasks to reduce hand-offs or errors, and speeding up turnaround times. The streamlined process means content can get to more screens, more markets, and more viewers, without added time and expense.

Demonstrations of Deluxe One will take place at the Deluxe Stand, Hall 7 C29, at IBC2018.

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