• Wednesday, May. 11, 2016
Samsung Gear expands virtual-reality arsenal 
In this Monday, Feb 22, 2016, file photo, a Samsung Gear VR oculus is demonstrated during a preview of Samsung's flagship store, Samsung 837, in New York's Meatpacking District. (AP Photo/Richard Drew, File)
SAN FRANCISCO (AP) -- 

Samsung is trying to dazzle consumers by adding more entertainment and educational options to its Gear virtual reality headset as it attempts to turn a technological curiosity into a cultural phenomenon.

The new selections announced Wednesday include "Nomads," a three-dimensional video series examining different lifestyles in remote parts of the world. There's also an upcoming video game called "Tactera" that requires players to plot a battlefield strategy on a holographic tabletop.

They join a menu of more than 250 apps designed for the Gear VR since its consumer model was released nearly six months ago.

Oculus, a Facebook-owned virtual reality specialist that helped design the Gear, says more than 1 million people are now using the $100 headset. About 80 percent of the usage is spent watching video.

  • Wednesday, May. 11, 2016
PlayBox Technology Neo and CloudAir to make BroadcastAsia debut
Playbox Technology's Neo and CloudAir
HATFIELD, UK -- 

Following one of the most successful NAB shows in the company’s history, PlayBox Technology Limited heads to BroadcastAsia 2016 where PlayBox Neo and CloudAir will make their first APAC show appearance on stand 5D3-03. Senior PlayBox Technology Limited representatives attending will include CEO Pavlin Rahnev and PlayBox Asia Pacific general manager Desmon Goh.

“We set ourselves the ambitious goal of designing the future of broadcast playout,” Rahnev commented. “That required a dual-strategy approach to meet the demand both from traditional broadcasters who like to retain full control over their technical infrastructure and from channel managers keen to employ third-party services. The results were PlayBox Neo and CloudAir respectively. 

“PlayBox Neo is an evolutionary software upgrade building on the outstanding popularity of our AirBox modular playout server. Neo retains all the standard features of AirBox including the ability to preschedule programmes, interstitials and commercials or switch from automated to live transmission. PlayBox Neo adds UHD compatibility, enabling broadcasters to schedule and transmit content in UHD, HD or SD from a single easy-to-use graphic interface.”

Core element of the PlayBox Neo suite is the AirBox Neo playout server. Designed for 24/7 unattended operation, it can also be operated manually – including the ability to handle live-to-air throughput. AirBox Neo supports UHD, HD and SD in single server.

TitleBox Neo provides a wide range of interactive on-air graphics and titling capabilities which can be manipulated live. It includes substantial improvements for dealing with UHD projects as well as supporting HD and SD operation.

CaptureBox Neo allows HD or SD content to be captured from up to four video sources simultaneously. These can be monitored on a single screen and controlled via a streamlined user interface with enhanced multichannel control and operability.

SafeBox Neo replicates remote content to local playout server folders for safe transmission. It implements a new graphic interface plus significantly faster processing for moving primary or copied content to the playout and central storage servers. A new workflow routine protects content agains unauthorised deletion.

“CloudAir is at first sight revolutionary and has taken the broadcast market by storm,” Rahnev said. “In reality it builds on the long experience we have had in allowing customers to control remote playout servers via IP from wherever they choose to locate their headquarters. We pioneered IP control years ago, enabling channels to run from city centre headquarters without having to find space for on-site technical infrastructure. CloudAir carries this concept further, offering established broadcasters or new-start entrepreneurs unsurpassed freedom in the style and scale of their operation and in the way they fund their business.”

“The Asia Pacific area has long been one of our core markets thanks to our very strong sales and support team in Malaysia,” adds Don Ash, President of PlayBox Technology Limited. “We have an excellent relationship with leading systems integrators throughout the region, strengthened by our ability to provide local technical support when needed plus very fast online remote system inspection. All our products are based on standard IT components, protected where necessary by RAID storage architecture and optional system redundancy. These concepts were revolutionary when we introduced them but are now standard practice throughout the broadcasting and telecommunications business. Neo and CloudAir are proof of our continued ability to develop and deliver the products broadcasters need, on time and at sensible prices.”

CloudAir allows a new television channel to be set up in matter of seconds. It is designed for anyone who wants to broadcast TV content, be it on a real-time 24/7 basis, a catch-up facility, the red button element of a reality show or a short-running series such as a sports event. CloudAir can also be deployed as the basis of a highly secure disaster-recovery system. It can empower new or existing programme streams wherever and whenever they are needed, in any standard from SD to UHD. Available on a software-as-a-service basis, CloudAir offers established broadcasters or new-start entrepreneurs unsurpassed freedom in the style and scale of their operation and in the way they fund their business. It is able to provide true playout with graphics on any enterprise-class blade, rack or tower server. Once CloudAir is installed, no auxiliary hardware is required

  • Friday, May. 6, 2016
For virtual reality makers, a new version of an old struggle 
In this Jan. 6, 2016 file photo, Alison Weber, left, instructs Peijun Guo on using the Oculus Rift VR headset at the Oculus booth at CES International in Las Vegas. (AP Photo/John Locher, File)
LOS ANGELES (AP) -- 

When it comes to virtual reality, how exclusive is exclusive?

After delaying orders because of component shortages and angering wannabe early adopters, VR company Oculus is confronting another headache as it seeks to technologically and culturally establish the immersive medium. It's now possible to play titles that were intended to only be used with the Oculus Rift system on an entirely different VR headset.

In less than four weeks after the March 28 launch of the $600 system, cunning amateur coders figured out how to unlock the cartoony platforming game "Lucky's Tale" and VR vignette collection "Oculus Dreamdeck" for the HTC Vive, an $800 competing VR system released April 5 by smartphone maker HTC and gaming company Valve, which operates online marketplace Steam.

And in recent weeks, additional "only on Oculus" content has been cracked.

For now, the reverse isn't an issue for HTC and Valve, whose online hub is headset agnostic, meaning content purchased from Steam can be used for the Vive or Rift. However, titles from the Oculus Home online store are meant to only work with the Rift system, although neither Oculus nor HTC restrict developers from selling content elsewhere.

It's another blow to Oculus, the Facebook-backed VR pioneer that's struggled to fulfill the promise of high-fidelity VR in consumers' homes and faced questions over its privacy policies. While most VR developers are designing for as many systems as possible, several are initially releasing titles for either the Rift or Vive, which currently have different control schemes.

"We're focused on the Vive right now because of the ability to create room-scale experiences, but we're planning to release on every platform available," said Kjartan Pierre Emilsson, co-founder and CEO at Solfar Studios, which crafted the "Everest VR" simulator. "In these early days, we think it's important for 'Everest VR' to be experienced by as many people as possible."

For decades, video game exclusivity has mostly been restricted to consoles, which are more difficult to crack than PCs. For instance, gamers can only hop into a "Super Mario Bros." installment on systems created by Nintendo, while the "Uncharted" series is exclusively on PlayStation machines. For gamers with an Xbox, they have the "Halo" franchise to themselves.

It's an on-going conflict known as "the console wars."

Despite the Rift and Vive both requiring high-powered PCs to operate and providing similar windows into 360-degreee virtual worlds, they currently have different approaches to VR. The Vive's sensors and wand-shaped controllers offer VR across a room, while the Rift only works seated with a traditional gamepad, until Oculus releases its Touch controllers later this year.

Sony will enter the marketplace in October with the comparable PlayStation VR system. The difference? Unlike the Rift and Vive, PS VR will cost $400 and only work in tandem with a PlayStation 4 console. It'll also arrive with many more exclusive titles, including the robot battle game "RIGS: Mechanized Combat League" and a VR rendition of "Star Wars: Battlefront."

"We think content is king," said Shawn Layden, president of Sony Interactive Entertainment America. "We have six months not only to educate consumers about VR but also make sure we have a robust line-up when we launch in October. I think we'll have a nice, healthy line-up when we bring PS VR to market. It's so important to have all the software there."

By the end of 2016, all three major VR systems are slated to essentially feature the same functionality: a headset and a pair of controllers capable of mimicking hands in virtual world. With each operating their own marketplace for VR experiences, it is possible that consumers could see the dawn of "the VR wars," depending on how Sony, Oculus and HTC tackle content exclusivity.

"Are they selling razors or razorblades?" said Chris Curran, chief technologist at PricewaterhouseCoopers. "I think moving forward this is going to be much more about the platform and the marketplace for content than it is about the headset. It's not unlike smartphone market. At first, that was about the hardware. Now, it's more about the overall experience."

As with Nintendo's motion-detecting Wii controllers or touchscreen Wii U Gamepad, it's possible the next iteration of VR systems could mean that developers will have to specifically build content for those input devices. From VR treadmills to VR gloves, many peripheral aficionados have already constructed prototypes that could make the medium feel more, well, real.

"There are so many opportunities to layer onto the headset and hand-tracked controllers," said Jason Rubin, head of worldwide studios at Oculus. "This is the most likely point for us to be close together. It might be beyond any question that everything is exclusive going forward because developers may be building for devices that aren't even mirrored by other platforms."

For now, they're just trying to get goggles onto customers' faces.

  • Tuesday, May. 3, 2016
Avid grows global footprint, talent base
Avid chairman, president and CEO Louis Hernandez, Jr., at the 2013 HPA Awards.
BURLINGTON, MA -- 

Avid® (Nasdaq: AVID) has announced the results of a strategic global alignment focused on helping the company better serve customers. As part of its multi-year strategic, financial, and operational transformation, Avid is hiring hundreds of experienced media professionals at new state-of-the-art facilities in Asia, Europe, and the United States.

Avid is now able to significantly expand product development and R&D capabilities, and provide 24/7 support to customers in all regions of the world. This alignment enables Avid to better serve current customers, while positioning the company for growth over the months and years to come.

“Avid is a global company, and we are focused on providing the industry-leading innovation and support that our customers around the world need,” said Avid chairman, president, and CEO Louis Hernandez, Jr. “To support our aggressive growth strategy, we reassessed our global footprint to bring our people and facilities closer to clients. This strategic realignment reinforces our valuable heritage knowledge by adding hundreds of experienced industry experts at state-of-the-art facilities worldwide, putting Avid in the best position to serve customers moving forward.”

Avid is leveraging the expertise of a high-tech global workforce to open new facilities in Asia, Europe, and the United States. Around 250 new employees have been added at new locations, including:

Manila, Philippines: Avid’s brand new global shared services and support center houses the company’s new world-class technical support team, which includes dozens of industry professionals with real-world experience and expertise. Members of the Media Composer®, Pro Tools®, and Sibelius® support teams have an average of nearly 10 years experience using Avid solutions. The facility provides 24/7 coverage to customers worldwide, and is located in a growing business district alongside other leading technology companies.

Taipei City, Taiwan: Avid’s new hardware design center is located at the epicenter of Avid’s global supply chain, and brings together an industry-leading team with expertise around hardware design, manufacturing, and engineering.

Szczecin, Poland: Avid’s new research and development facility is located in a growing technology hub near leading universities. The new facility will incubate burgeoning talent from nearby academic organizations to develop new software and hardware innovations for real-time video and graphics. Additionally, the Szczecin office includes veteran staff for engineering, customer care, and professional services.

Boca Raton, Florida, USA: Avid is building a consolidated administrative support group at the new Boca Raton office, leveraging a strong work force to improve efficiency and productivity. The new office also serves as an important gateway to Avid’s customers in Latin America.

Additionally, Avid is committed to further investment in major US media markets, with more information coming later in 2016.

  • Monday, May. 2, 2016
Neerav D. Shah joins Grass Valley as SVP, strategic marketing
Neerav D. Shah
MONTREAL -- 

Grass Valley, a Belden Brand, has secured Neerav D. Shah to serve as the company’s new sr. VP, strategic marketing. Shah has more than 25 years of experience in product development, marketing, operations and business development. A creative strategist, Shah most recently held executive and senior leadership positions at ARRIS and Verimatrix, two companies with expertise in developing solutions to deliver and monetize multiplatform content--a growing priority for Grass Valley customers.
 
Shah and his team will be responsible for refining Grass Valley’s product strategy and market positioning to ensure alignment with the rapidly changing needs of the global broadcast community.
 
“The broadcast community is undergoing a substantial shift—both in the migration to IP infrastructures and in the need for content to be delivered to multiple platforms simultaneously,” said Marco Lopez, Grass Valley’s president. “Neerav’s expertise in these areas and his ability to navigate complex technology transitions will pay real, immediate dividends for our customers and enable us to meet the changing needs of our core market.”
 
Shah earned an MBA from Yale, where he specialized in strategy and product development. Prior to that, he completed a Bachelor of Science in computer science at Northwestern University in Illinois as well as the Executive Management Program in Leadership, Innovation and Strategy at Dartmouth’s Tuck School of Business.
 
Shah’s appointment coincides with the creation of a key new function within Grass Valley’s executive ranks. Michael Cronk will be leading an important product development initiative called Core Technology, which will ensure Grass Valley product interoperability and consistency across the portfolio. As VP of core technology, Cronk will continue in his role as chairman of the board for the Alliance for IP Media Solutions (AIMS), helping promote and advocate for widely supported, open standards for IP in broadcast.

  • Saturday, Apr. 30, 2016
Oculus Rift delays flatten virtual-reality fan fervor
This April 22, 2016 photo shows Christian Cantrell, a 42-year-old software engineer and science fiction author, with his high-end computer and tripod set-up that his Oculus Rift camera will go with, at his home in Sterling, Va. Cantrell pre-ordered the device, which is shown on the computer monitor, and is still waiting for it. (AP Photo/Pablo Martinez Monsivais
LOS ANGELES (AP) -- 

Virtual reality, oddly enough, isn't immune to the problems that arise in practical reality. Just ask would-be fans of the Oculus Rift headset, many - possibly most - of whom are still waiting for their $600 gadgets more than four weeks after they started shipping .

The delay, naturally, has sparked online grousing and even some data-based activism, including the creation of a crowdsourced spreadsheet for tracking who received their prized VR gear and when. Some longtime supporters of Oculus have declared themselves alienated by the company's inability to deliver; others have defected to rival VR systems, or are at least considering it.

Christian Cantrell, a software engineer and science-fiction author in Sterling, Virginia, put in his pre-order roughly 15 minutes after Oculus started accepting them in January - and is still waiting. It's been a "bummer," he says, because he passed up buying a rival headset, the HTC Vive, hoping to be part of a VR "renaissance" with Rift.

"I've been kind of like an Oculus believer," he says. "But if they bump it again, I might just order a Vive."

It's too soon to say how the delays will affect Oculus, much less the overall acceptance of VR, a technology that submerges users in realistic artificial worlds. (Early VR "experiences" consist primarily of video games .) In other contexts, big companies like Apple have managed to weather shortages and shipping delays for products such as the Apple Watch and its new iPhone SE.

But some find the Rift delays intolerable, especially given that Oculus is no fledgling startup, but part of Facebook - the social network bought it two years ago for $2 billion. "There's an element of inexcusable incompetence going on," says J.P. Gownder, a Forrester Research analyst, who placed his preorder in the first 10 minutes but doesn't expect his Rift until mid-May.

Experienced hardware manufacturers would have set up suppliers months or years in advance to avoid these types of problems, Gownder says. The fact that Oculus managed to bungle its launch with more than three years to prepare, plus the backing of Facebook, is "scandalous," he says.

Oculus, which has blamed the delays on an "unexpected component shortage," declined to comment on specifics. It told the AP in a statement it has moved to address the shortage and expects deliveries to accelerate in coming weeks. By way of apology, Oculus said it will offer free shipping to customers who ordered before April 1.

Few have been as disappointed as some of the company's earliest supporters. Back in January, Oculus founder Palmer Luckey announced that 5,600 of the company's first Kickstarter backers would be eligible for a free headset. He then tweeted on the eve of first deliveries that the gifts would "start arriving" two days before others, giving the impression Kickstarter backers would get theirs first.

It didn't happen. Unhappy customers gathered on Reddit to complain and to figure out where they stood in line; one poster catalogued the frustration on a crowdsourced spreadsheet. While not necessarily representative of the entire Oculus customer base, that data shows that of the 131 early Kickstarter backers who submitted responses, only 28 report receiving a unit. Of 1,399 pre-order customers, just 165 say they got a Rift.

The virtual reality boom is just getting going, and the competition is growing. Sony will release its PlayStation VR headset later this year. Google is expected to expand on its primitive Cardboard viewer, and recent Apple acquisitions suggest that it may also be jumping into the field soon.

Meanwhile, the Rift is losing some of its first-mover appeal. Some games originally designed to be Oculus exclusives have now been hacked to work on the HTC Vive, which launched about a week after the Rift, but hasn't experienced shipping delays. Customers who bought Rift games before receiving their headset can now get digital keys so they can play the games in real reality, on a regular PC.

Bill Ellis, a 30-year-old computer engineer in Houston, has been playing with his Vive since it arrived April 5, and may not keep the Rift after it arrives. His plan, he says, was always to buy both, and sell the one that didn't live up to expectations: "The one that hasn't shown up is the one that hasn't lived up to my expectations so far."

  • Thursday, Apr. 28, 2016
Quantum Xcellis workflow storage deployed at Nice Shoes
Nice Shoes' CTO Robert Keske
SAN JOSE, Calif. -- 

Quantum Corp. (NYSE: QTM) announced that New York-based production and postproduction studio Nice Shoes has deployed Quantum’s new Xcellis™ high-performance, shared workflow storage, enabling faster turnaround of projects and establishing a scalable foundation for future growth. Working with Quantum partner Alliance IT, Nice Shoes incorporated Xcellis into its environment to provide greater flexibility in optimizing its collaborative media workflow and in scaling storage capacity and performance.

“As a production and postproduction studio for major global brands, we are continuously raising the bar to deliver compelling content within very compressed timelines,” said Robert Keske, chief technical officer at Nice Shoes. “We are always looking to enable greater efficiency and productivity across our workflows, especially as we’ve expanded into new service areas with our Creative Studio and into more regions with our offices in Chicago and Minneapolis. Quantum’s new Xcellis storage provides the unique combination of performance, scalability and simplicity needed to adapt quickly and cost-effectively.”

Powered by Quantum’s StorNext® platform, Xcellis enhances productivity in collaborative media environments, simplifies the overall storage architecture and streamlines operation and management. The new workflow storage system consolidates media and metadata management, extends connectivity options for both Fibre Channel and Ethernet clients and supports hosted applications within one easy-to-manage, fully scalable hardware solution.

Xcellis also provides the performance and reliability needed to meet extreme production and delivery deadlines. It provides optimized high-speed Fibre Channel SAN connectivity and industry-leading streaming performance. In addition, offering continuous scalability that doesn’t require a forklift upgrade or interruption of business operations, Xcellis enables agile, intelligent and cost-effective expansion by facilities ranging from the largest studios to boutique creative houses such as Nice Shoes.

“Xcellis gives us critical flexibility in handling an increasing volume of media content as we’ve been receiving and starting to deliver footage at 4K or higher resolution,” said Keske. “Backed by the StorNext platform, Xcellis provides the ability to tune capacity and performance to suit evolving workflow requirements, which can change from project to project. As a result, we have the freedom to adapt our storage resources to any new challenges or opportunities that our clients bring to us.”

  • Thursday, Apr. 28, 2016
Association of Moving Image Archivists sets lineup for Digital Asset Symposium
LOS ANGELES -- 

The Digital Asset Symposium (DAS), presented by the Association of Moving Image Archivists  (AMIA), has crafted a comprehensive program that addresses the challenges of digital asset management in today’s constantly changing landscape. The event takes place May 4 at the Victor Borge Theater in New York. Six case study presentations from experts in the field will explore the many facets of the life-cycle of content--from collection and maintenance strategies to delivery with the purpose of reaching new, bigger audiences. 

“DAS is a unique international event that brings together an unparalleled cross-section of domain experts in a pragmatic, engaging and educational format to discuss the most current challenges and breakthroughs in managing digital assets today,” notes Program Chair Chris Lacinak.

The 2016 DAS program includes: 

Diamonds in the Cloud:  Major League Baseball (MLB) is rich with over 600,000 hours of video content currently in its archives, and over 7,000 hours of content recorded per week during the season. Logging this content, while making it highly available to creative television production personnel, is critical to MLB Network’s business. In July 2008, the MLB Network began development of DIAMOND, a customized asset management tool to log, search and retrieve all video content recorded at MLB Network. Eight years later, DIAMOND has developed into much more than just an asset management system. This presentation will provide insight into the growth and expansion of the DIAMOND platform, DIAMOND In The Cloud, and the integration with Adobe Premiere Pro. Tab Butler, who manages the Media Management team, editor manpower, and Post Production engineering and operations for the MLB Network and the NHL Network, will provide highlights of the development journey.

Tracking Copyright-Implementing Rights Management at the New York Public Library (NYPL):  As cultural heritage institutions build larger repositories of increasingly complex objects, copyright concerns have taken center stage in the management of digital assets. To address the management of copyright information, the New York Public Library has developed a rights metadata management system. This session will cover the information stored in the rights system, as well as how that information has been made programmatically actionable. This session, led by Greg Cram, Associate Director of Copyright and Information Policy at NYPL, will also highlight how tracking the copyright status of objects enabled NYPL to release 190,000 high-resolution images of public domain materials.

(Below) Emerging Business Models - We’re Down With OTT!:  This discussion will look at the launch of Footprint.TV and USA Rugby channels online, delving in to the decision-making process as well as the results and outcome. With TV and digital media being reinvented by the Internet and changing the way consumers engage with entertainment, companies need to rethink their production, distribution and business models. Paul Hamm from Endavo, a leading provider of OTT and multi-channel network (MCN) solutions, will offer insights on the opportunities and trends that exist for all organizations today in this space. 

Building the Smithsonian’s Digital Assets Vault:  The Smithsonian’s Enterprise Digital Asset Management System (DAMS) has been a work in progress since 2008 that has now matured into a mission critical component of the Smithsonian’s digitization initiatives and strategy.  Currently serving over 40 Smithsonian units across museums, archives, libraries, and the zoo, DAMS is entrusted to store, manage, preserve and deliver over 8 million assets as it continues to grow and evolve. Isabel Meyer, Information Technology Branch Manager at the Smithsonian Institution, will cover the building phases of the DAMS to include integration with Collection Information Systems (CIS), and asset delivery as demonstrated by representative use cases.

Smart Content and Metadata from Creation to Distribution:  Metadata has never been more important across every part of an assets lifecycle and connecting it has never been more valuable. Taking a new Smart Content approach, organizations are looking across all their data to connect with users, drive new ways to partner with advertisers, drive efficiencies and help better understand the value of their content. This session will look at the impact of Smart Content across the content lifecycle and highlight some organizations putting it all together and making an impact, not only in how they work with content but in creating great new user experiences. Diane Burley, Chief Content Strategist for MarkLogic Corporation, a Silicon Valley-based Enterprise NoSQL database platform provider, will deliver this informative presentation.

Previously announced, a session with Facing History and Ourselves, an educational non-profit, will also join DAS to demonstrate how the organization has successfully digitized its legacy media, established policies for born digital production, implemented and rolled out a DAM, established a taxonomy, and integrated with a web content management system and an online video platform. Speakers include Eva Radding, Digital Archive and Library Systems Manager from Facing History and Ourselves, and Karl Facredyn, President of Orange Logic, the company behind Cortex, the DAM Facing History implemented.

To register for DAS or for more information, click here

  • Wednesday, Apr. 20, 2016
NBC Olympics selects Sony for coverage of the Summer Games In Rio
Sony’s HDC-4300
PARK RIDGE, NJ -- 

Sony is providing HD production technology to NBC Olympics, a division of the NBC Sports Group, for its production of the Games of the XXXI Olympiad, which take place in  Rio de Janeiro, Brazil, August 5-21.

NBC Olympics crews will use more than 100 Sony cameras to capture footage at event venues and record athlete arrivals, interviews, press conferences and other assignments that require studio and portable recording and capture. NBC Olympics will also use Sony’s HDC-4300 4K high frame rate camera system for HD replays and the PWS-4500 XAVC server to capture and store high speed HD content from the HDC-4300.

NBC will use several of Sony’s MVS production switcher models--including the MVS-7000X series--to handle feeds from each sports venue to the compound within the International Broadcast Center, and also to originate HD cable coverage on its various networks.

Hundreds of Sony professional monitors, a combination of its professional LCD video production and public displays and hundreds of the TRIMASTER EL OLED monitors (BVM and PVM series) will be used for critical evaluation.

“In each new Olympics we are challenged to stay ahead of the curve and offer the best possible images to our viewers, and the most production firepower and flexibility to our production teams,” said David Mazza, CTO & SVP of Engineering, NBC Olympics. “Sony is always rolling out new production gear that ultimately impacts the viewing experience in the home, and this year will be no exception.”

To keep everything running smoothly until the Closing Ceremony, Sony’s Professional Services Group is deploying an extensive network of resources to provide 24/7 support for all broadcasting equipment and coverage. Sony’s Systems Solutions team and its Project Management Office has once again been selected to help integrate the NBC Olympics production compound and studio within the International Broadcast Center in Rio.

“The equipment we will have on the ground in Rio, from our HD production technology to our newest 4K cameras for crisp replays, is the perfect combination of technology to meet the production requirements and deliver an outstanding telecast,” said Alec Shapiro, president of Sony Electronics’ Professional Solutions Americas group.

  • Tuesday, Apr. 19, 2016
Next phase of Avid Everywhere ushered in at NAB
Louis Hernandez, Jr., chairman, president and CEO of Avid
LAS VEGAS -- 

Avid® (NASDAQ: AVID) announced a series of breakthrough innovations for the Avid MediaCentral™ Platform and its associated modular application suites, delivering further on the key promises of Avid Everywhere™. These innovations solve the media industry’s most critical challenges, so that everyone--from individual artists and creative teams to the world’s largest media enterprises--can create, distribute, and manage content more efficiently and profitably using one single common platform.

“Three years ago, we unveiled Avid Everywhere, our sweeping, ambitious strategy to address the media industry’s most critical challenges,” said Avid chairman, president, and CEO Louis Hernandez, Jr. “Since then, we have delivered a series of groundbreaking innovations that help media organizations and creative professionals work together as part of a unified global community. Today, with an ever-expanding platform and powerful new solutions, we are making content creation and distribution more efficient, powerful, and collaborative for everyone.

With more than 32,000 users worldwide and a rapidly expanding partner ecosystem, the Avid MediaCentral Platform is an open, extensible, and customizable common services foundation. The platform provides a series of application suites, a marketplace, collaboration tools, flexible licensing and deployment options, resolution independence, third-party connectivity, and more, offering the industry’s most open, flexible, and comprehensive solutions for content creation, management, and distribution.

The new NAB platform announcements include:

    Next-generation intelligent media storage: Avid NEXIS™ is the industry’s first and only software-defined storage platform, and enables fully virtualized storage so media organizations can adjust storage capacity mid-project, without disrupting workflows. Avid NEXIS delivers unrivaled media storage flexibility, scalability, and control for both Avid-based and third-party workflows. It has been designed to serve the smallest production teams as powerfully as the largest media enterprises and is the only storage platform built with the flexibility to grow with customers at every stage of their business.

    State-of-the-art graphics authoring for broadcast news and more: The new 4Designer graphics authoring software offers a complete solution for creating captivating 2D and 3D motion graphics in a wide range of resolutions. This feature-rich toolset provides broadcasters with the tools they need to create stunning real-time visual content for news, elections, sports events, weather segments, business reports, and more. As the successor to the award-winning 3Designer, 4Designer offers more power, speed, and new features in a more modern interface, yet maintains the same workflows and compatibility with existing 3Designer templates.

    Accelerated graphics production for sports: The new Avid Spark live sports enhancement telestration tool enables on-air commentators to draw and add graphics to a video in real time, giving audiences better visual insight into key plays, game flow, and analysis. Designed for fast operation, Avid Spark provides feature-rich capabilities to accelerate and simplify graphics production. An easy-to-use touchscreen interface eliminates the need for a dedicated operator. Unlike traditional telestrators, Avid Spark allows users to draw graphics in both onscreen and in-field perspectives, ensuring a realistic viewing experience. Ideal for small to mid-size operations, Avid Spark helps broadcasters produce better game visuals, attract a wider audience, and deliver more compelling content that stands apart from the competition.

    Extended Avid Resolution Independence: Avid introduced the industry’s first end-to-end production workflow for the Panasonic AVC Ultra-LongG video format, including full integration with solutions across the Avid MediaCentral Platform. With comprehensive MediaCentral Platform support, production teams can now benefit from this modern, highly efficient compression scheme in the most efficient way using streamlined and highly integrated workflows.

    Expanded Connectivity Partner Program with new third-party integrations: Avid announced new innovations that help customers reduce the burden of making disparate technology work together so they can focus on creating great content. The newly expanded Avid Connectivity Partner Program provides extensive new services, toolkits, and certification programs that help developers bring Avid-certified solutions to market, while the new Avid Enterprise Marketplace helps media professionals and organizations immediately access solutions from a convenient centralized location.

    Open and interoperable IP workflows for the MediaCentral Platform: Avidannounced its plan to accelerate the media industry’s transition to IP by supporting real time IP signals in the Avid MediaCentral Platform, delivering a unified platform environment for converged file-based and live signal-based media workflows. In technology presentations at the Avid booth (#SU902) at NAB 2016, Avid will demonstrate native IP-based workflows as well as hybrid SDI/IP workflows that enable media companies to leverage standard IT infrastructure, while managing the transition to IP at their own pace.

MySHOOT Company Profiles