• Wednesday, Dec. 23, 2015
Virtual reality is finally here, yet still has a ways to go
In this June 11, 2015 file photo, the new Oculus Rift virtual reality headset is on display following a news conference in San Francisco. (AP Photo/Eric Risberg, File)
NEW YORK (AP) -- 

With the launch of Samsung's Gear VR headset a few weeks ago, virtual reality for the masses is finally a thing. Now comes the next big challenge: Who, exactly, will care?

If you're a gamer, the appeal of immersing yourself in a virtual world might be obvious. Strap on a headset and you could find yourself in a three-dimensional death match with opponents who could — almost literally — creep up right behind you. Early trends look promising: The $100 Gear VR briefly sold out at many retailers. Research firm TrendForce projects sales of 14 million VR devices in 2016, mostly for gaming.

The rest of us, though, still need convincing. Sure, the idea of watching a basketball game from courtside seats — without leaving your living room — sounds pretty cool. But you're not going to be doing that any time soon, as there's precious little so far in the way of major sports available in VR. And while bungee jumping off a virtual dam could be a striking experience, it's also the sort of thing you might try a few times, then set aside as you look for something else to do.

The tech world has been down a similar path before. Just a few years back, manufacturers lined store shelves with 3-D TVs capable of projecting stereoscopic images into your living room — and on those shelves the sets stayed. Among the reasons 3-D TV flopped: You had to wear uncomfortable glasses, and the experience made some people dizzy. Perhaps most important, there just wasn't much in the way of good stuff to watch.

Sound at all familiar? Virtual reality requires people to wear large headsets that block out the real world, and immersive video has made some viewers nauseous (although its purveyors claim to have fixed that). It's not exactly a friends-and-family experience, either. If you chafe when your companions are glued to their phones at dinner, you'll want to watch your blood pressure when they start wearing VR headsets in the living room, tuning out other people along with reality.

Another hurdle: VR's initial apps are heavily weighted toward games. Sure, one immersive video puts you on stage with Cirque du Soleil performers as they reach for dazzling heights; another lands you on the set of the horror satire "Scream Queens." But while they're fun to watch, many clips come off more as demos or promos than compelling entertainment in their own right.

Jason Tsai, TrendForce's wearable devices analyst, said companies are reluctant to invest in non-gaming VR media until they're sure there's a real market for it. And that's a big part of virtual reality's chicken-and-egg challenge.

Of course, it's remarkable that we're seeing VR systems at all, after years of flops and stumbles. Sega teased the Sega VR in the early 1990s, but never released it; Nintendo's handheld Virtual Boy was a commercial failure.

The new systems represent "science fiction coming to reality," said Gary Shapiro, head of the group that runs the annual CES gadget show in Las Vegas, which will showcase VR and related technologies in early January. What's changed? Screen and graphics technologies have finally gotten good enough to provide a realistic and responsive VR experience.

Many leading companies are betting on VR. Google, for instance, offers a low-rent, though still effective, virtual-reality system it calls Cardboard — literally a folded-cardboard contraption that holds lenses and a smartphone for playing VR apps. The Samsung headset is a step above that; it also uses a phone to play video, but includes its own motion sensors to better track the movement of your head.

More sophisticated headsets are on their way. Sony's PlayStation VR — formerly Project Morpheus — won't need a phone and attaches to a PlayStation game console. Oculus, which helped develop Samsung's Gear VR, will release its own VR set called Rift next year. HTC's Vive is due by April. Prices for these systems haven't been announced yet, though most are likely to cost at least a few hundred dollars.

And the headset is just the beginning; you'll then need a phone or a high-end companion computer (a PlayStation console in the case of Sony's system). One more potential gotcha: If you buy one VR system and change your mind later, you might have to repurchase any apps and videos you've paid for.

VR's immediate challenge is simply getting people to try VR so they realize it can be much more than games. Bonnie To, a Los Angeles accountant, watched a few minutes of Beethoven's Fifth Symphony in VR during a lunch-break demo. She said the ability to look around the concert hall was "really cool" and thought the sound and picture quality was good.

But curiosity won't necessarily translate to sales.

VR makers are working with media companies to expand options for non-gamers, much the way radio maker RCA started the NBC network nearly a century ago to fill the airwaves. Eventually, they figure the new technology will produce new storytelling forms — for instance, choose-your-own-adventure narratives that viewers can influence through their actions. But that's some time off.

For now, the hope is that early owners will show and tell their less tech-savvy friends about the potential of VR — essentially becoming "a virtual sales force," said Richard Marks, who heads Sony PlayStation's research arm, Magic Labs.

Video games have grown so much they're no longer a niche market, says Diffusion Group analyst Joel Espelien, who argues that younger players will likely embrace VR. As they get older, subsequent generations may follow. "It's a decade-long story," he said. "Things don't happen overnight when you're talking about a pretty significant new behavior."

AP Business Writer Ryan Nakashima in Los Angeles contributed to this story.

  • Tuesday, Dec. 22, 2015
Kodak rolls out P-200 Film Cleaning System
Kodak P-200 Film Cleaning System
ROCHESTER, NY -- 

Kodak has released a new, groundbreaking P-200 Film Cleaning System that transforms the traditional film cleaning process. The revolutionary design allows the cleaning solvent to be dispersed on the film surface in a unique way. This economical, compact and digitally controlled system, which uses Kodak HFE 7200 Film Cleaner Solution, makes it ideal for today’s archives and libraries.

Proper film cleaning is vital to both archiving and restoration. In most cases, film needs to be cleaned before being stored in a library and prior to being digitized. Now, with the KODAK P-200 Film Cleaning System, institutions responsible for media collections can maintain their valuable film assets to the highest standards for a very small investment and very minimal infrastructure requirements.

“Knowing the importance of proper film cleaning to both maintaining and digitizing film content, Kodak has developed a system for the 21st century,” noted Antonio Rasura, technical manager of Kodak’s Consumer and Film Division. “It’s small in size, environmentally friendly, and easy to use, with no need to directly handle solutions. Maintenance is also simplified, so it can be used in both traditional laboratories and in-house by institutions.”

The KODAK P-200 system consists of a compact machine that measures only 31w x 21d x 51h inches with touchscreen controls for navigating the operating modes. It uses Kodak HFE 7200 Film Cleaner Solution, an environmentally safe solvent with a zero ozone depleting classification, and a very low toxicity rating (near zero). Adding to the system’s efficiencies, Kodak is offering the solvent in low quantities for the first time, eliminating the need to invest in large orders of film cleaning supplies.

“The way the machine disperses the solvent onto the film is very unique,” said Rasura. “Solvent is quite expensive, and we didn’t want to use a costly recovery technique for the cleaner solution. The system we have developed atomizes the solvent, utilizing highly efficient delivery jets that ‘fog’ the film with an extremely fine dispersion of the HFE. The results include a huge amount of coverage with very little solvent, and all with no hazard to the operator or the environment.”

The Kodak P-200 Film Cleaning System also offers Variable Speed Precision Tension Control, a laser-guided feature that can operate with speeds of 50–200 fpm while maintaining consistent and even tension throughout the wind of the roll, which is especially beneficial for long-term archiving.

“Film is an integral component of our industry and cultural heritage, and Kodak recognizes the need to support and preserve that content,” added Andrew Evenski, Kodak’s president and general manager of Entertainment & Commercial Films. “Our aim in bringing this new system to market is to ensure that the community’s needs for accessible, quality film cleaning are met at an affordable price point.”

  • Monday, Dec. 21, 2015
Toshiba to cut jobs in consumer electronics amid record loss
Toshiba Corp. President Masashi Muromachi speaks during a press conference at its headquarters in Tokyo Monday, Dec. 21, 2015. (Shigeyuki Inakuma/Kyodo News via AP)
TOKYO (AP) -- 

Toshiba plans to cut 7,800 jobs, mostly in its consumer-electronics business, as it reorganizes in the face of projected record losses for the current fiscal year.

The Japanese conglomerate has been struggling with the aftermath of a major accounting scandal, compounded by troubles in nuclear energy and losses in the business that makes personal computers, TVs and consumer appliances.

The job cuts announced Monday will affect about 30 percent of the consumer-electronics business and represent about 3 percent of Toshiba's overall employees.

Toshiba Corp. said it is also selling its TV manufacturing plant in Indonesia and will sell or seek outside investors for a division that makes electronics for health care.

Despite its well-known brand, Toshiba has struggled to differentiate its products in consumer electronics. Its television business faces stiff competition from low-cost Chinese manufacturers and high-end Korean brands, while demand for personal computers has been falling worldwide.

Toshiba is also wrestling with costs from decommissioning the Fukushima Dai-ichi nuclear power plant, which went into meltdown after the March 2011 tsunami. Toshiba said it had not yet fully calculated the impact of the nuclear disaster on its books.

Analysts say the company has been looking to sell or restructure several businesses to generate more money for its mainstay memory-chip business. That's one of the company's strongest divisions but requires ongoing investment to keep pace with technological changes.

The chip business faces "intense global competition and increasing price pressures," according to a recent report from Moody's.

Toshiba is the world's second-largest maker of "flash" memory chips, behind Samsung, but its sales declined slightly last year, according to research firm IHS.

The company projected a loss of 550 billion yen ($4.5 billion) for the fiscal year through March 2016. That means Toshiba is sinking into its second straight year of loss, after racking up a loss of nearly 38 billion yens ($312 million) for the previous fiscal year. Japanese media reports said the latest loss forecast would be a record for Toshiba, surpassing the massive losses during the Lehman financial crisis.

The losses and job cuts come in the midst of an accounting scandal, in which officials have said managers set unrealistic earnings targets, under the banner of creating a big "challenge," while subordinates faked financial results.

Toshiba has repeatedly apologized after acknowledging it had systematically doctored its books over several years to inflate profits by 152 billion yen ($1.3 billion). The scandal at one of the nation's top brands highlights how Japan is still grappling with corporate-governance issues, despite efforts to strengthen independent oversight of companies.

The company said its job cuts in Japan will come through early retirements, but a significant number of overseas jobs will also be involved and steps will vary by each nation. The cuts involve about 6,800 jobs in the consumer electronics, or "lifestyle," segment and another 1,000 positions from Toshiba's corporate staff.

Toshiba said its global PC business will focus on selling to big corporations that buy computers for their workers, although it will continue marketing to individual consumers in the United States and Japan. Analysts say the corporate PC market worldwide has not sagged as much as demand for consumer PCs.

The company also plans to cut back further on TV manufacturing, while seeking more deals to license the Toshiba brand to outside manufacturers. Toshiba already does this for TVs sold in North America and Europe. IHS analyst Paul Gagnon said it's a growing trend among Japanese electronics companies, which are struggling against Chinese and Korean competitors.

Earlier this year, Toshiba said it is selling facilities for making computer chips used in medical imaging systems to Sony Corp. Toshiba says its health-care division is profitable but needs more investment to grow. Rather than put more resources into that operation, Toshiba said it will focus on its energy and memory-chip segments.

AP Technology Writer Brandon Bailey in San Francisco contributed to this report.

  • Monday, Dec. 21, 2015
Avid Pro Tools update accelerates audio editing workflows
BURLINGTON, Mass. -- 

Avid (Nasdaq: AVID) announced a new software update for the industry-standard digital audio software, Avid Pro Tools, available to Pro Tools 12 customers with Avid All Access plans. The latest enhancements further deliver on Avid EverywhereTM by enabling audio and music professionals to collaborate and keep the creative process moving.

Avid continues to provide more value to Pro Tools customers with an update focused on the highly anticipated Track Freeze feature to manage, simplify and speed up processor-intensive sessions, and better facilitate collaborative workflows. These improvements build on the previous Pro Tools 12.3 Commit and Track Bounce workflows, enabling audio professionals to work more efficiently and easily prepare projects for mixing, collaborating with others or final delivery.

With Freeze, Commit, and Track Bounce in Pro Tools 12.4, users have a number of tools to suit any situation and workflow that arises. These include:

    Track Freeze - a great way to quickly free up DSP resources on the fly to keep the creative process moving, and jump back to make a quick tweak if needed.
    Track Commit - another great way to free up DSP resources, but users can also edit and make changes to the newly created clip, and choose what happens to the original track.
    Track Bounce - typically used for making final output renders or stems of tracks for archiving or workflows involving moving audio files to other software platforms.

The new Pro Tools 12.4 update will be available before the end of December and is free of charge to Pro Tools 12 customers with current Avid All Access upgrade plans. New Pro Tools 12 perpetual licenses include a renewable one-year All Access plan that gives customers access to the latest upgrades as well as a new bundle of creative plug-ins for the whole year. All Access plans also come with subscription licenses and are available for the term of the subscription.

Existing customers with older versions of Pro Tools can purchase an All Access annual upgrade plan starting at $99 each between now and December 31, 2015. Plus, through the end of the year, purchases of perpetual licenses, All Access $199 Annual Upgrade and Support Plans, and Annual Subscription licenses come with the acclaimed Eleven® guitar plug-in included (Education products and Pro Tools | HD upgrades/subscriptions not included). Starting in January, prices of All Access plans for customers with Pro Tools 11 or earlier versions will start at $299.

The Annual Upgrade Plan for Pro Tools | HD systems costs $599 for the first year and includes upgrades, access to the HD plug-in bundle and standard support for one year. All new Pro Tools | HDX and HD Native systems come bundled with this plan, which can be renewed for $399 each year thereafter. Starting in 2016, plans that lapse can be reinstated for $999.

  • Monday, Dec. 21, 2015
Quantum’s Alex Grossman to discuss industry challenges, advances at Storage Visions Conference
Alex Grossman, Quantum Corp.'s VP of media and entertainment
SAN JOSE, Calif. -- 

Quantum Corp. (NYSE: QTM) announced that Alex Grossman, the company’s vice president of media and entertainment, will present “How Storage Efficiencies Enhance Content Production” at the Storage Visions 2016 conference. Grossman will examine challenges presented by a changing media production landscape, explain the shortcomings of general-purpose, IT-centric storage in addressing modern workflow demands, and discuss how the latest advances in workflow-optimized storage are aiding companies of all sizes in achieving greater production flexibility and efficiency. He will also share insights on how this new technology enables users to consolidate and simplify the addition of clients, ease configuration and maintenance issues and establish a powerful platform for the tools and applications that support their business.

His Storage Visions presentation is slated for Tuesday, Jan. 5, 1 pm PT, at the Luxor Hotel in Las Vegas.

“Today’s ‘always-on’ society, with video expected everywhere, anytime and on any device, places unprecedented demands on content producers and their storage infrastructure,” said Grossman. “The Storage Visions 2016 conference offers media production companies a valuable opportunity to learn about the latest storage technology and the ways in which the right solution can significantly enhance and accelerate the production workflow.”

The two-day Storage Visions 2016 conference will feature keynote presentations from industry leaders, as well as sessions and exhibits highlighting the latest architectures in memory and storage technologies.

  • Saturday, Dec. 19, 2015
Jets developing VR experience to bring fans even closer
In a Sunday, Dec. 13, 2015, photo, New York Jets quarterback Ryan Fitzpatrick, left, warms up before an NFL football game against the Tennessee Titans as cameras film him at MetLife Stadium in East Rutherford, N.J. (AP Photo/Julio Cortez)
EAST RUTHERFORD, NJ (AP) -- 

Ryan Fitzpatrick is so close you could tug on the New York Jets quarterback's beard and wish him luck.

Better look out, or you'll be run over by some of those big offensive lineman making their way out to the field.

Well, not in reality, but virtual reality. It's all part of a unique experience — "Jets Virtual Sideline" — the team is working on giving to their fans through some cutting-edge technology.

"Man, it's cool," said fan Phil Dinhofer of Merrick, New York. "It's the wave of the future."

The Jets certainly think that's the case.

Using virtual reality technology from STRIVR Labs, the team conducted a beta test at MetLife Stadium during six home games so far this season. Wearing headphones and Oculus goggles, fans have a choice of six experiences: running out to the field with the team (the most popular); taking part in the coin toss; being on field for the national anthem; standing on the sideline during a touchdown catch by Brandon Marshall; participating in a Flight Crew performance; or being in the crowd for the J-E-T-S chant.

You get 360-degree views and the sounds are vivid, making you feel as though you're right in the middle of the action. It seems like something straight out of "Star Wars."

"Oh, it's great," a smiling Dinhofer said. "I was ready to join the cheerleaders and do the dance."

The Jets purchased the STRIVR technology in the spring and began using it during training camp for on-field drills. Several NFL and college teams have done the same, helping quarterbacks, in particular, train and improve performance by providing a complete field of vision from practices.

"The impetus was the football team," Jets President Neil Glat said. "But we always had in the back of our mind when the decision was made to buy it that we think there's a fan opportunity here as well."

The Jets began filming game day footage during preseason home games in August, using high-tech cameras in various spots.

"We kind of worked out the kinks using it for football and figuring out what are the best ways to shoot things and cut things and how fast we could turn it around," said Tim Tubito, the team's video director. "And then, it kind of opened up to where are the areas where we can use it on game day to really give the fans a different type of experience?"

The team ran its first test in MetLife Stadium's Commissioners Club during the home opener — and it was a hit. The Jets have also given sneak peeks to fans at other locations, including the Coaches Club during pregame.

"People's first reaction is just the coolness factor," said Seth Rabinowitz, the team's senior vice president of marketing and fan engagement. "You've never seen this before, so there's a 'wow' factor. We're still getting a lot of different feedback on what people really want. Do they want to do just a minute, just like a little thrill ride? Or, do they want to do a longer form?"

The team is exploring several options on how to most effectively use the technology before it officially rolls it out. The Jets want to completely learn what the technology can do from a fan experience standpoint, what operation issues are involved and what the fans like.

It could end up becoming a 10-minute attraction, something in the offseason for fans clamoring for football, used in various areas of the stadium before games — or, all of the above.

"I'd say the short-term vision is an enhancement to a segment of fans at the stadium," Glat said. "That's, to me, No. 1. No. 2 is probably something in and around the offseason. And then, we'll see where we go from there. To me, it's how do we make it better when you're coming out to the stadium?"

The technology is constantly evolving and could potentially someday be run on a hand-held device instead of a laptop.

"I think you'll see this a lot in the mainstream consumer marketplace, like video games and other things," Rabinowitz said. "You're going to start to see it very quickly and, by spring, it's going to be all the rage."

And, Jets fans will be able to reach out and — virtually — touch their favorite team.

"This is a walk-before-we-run thing because it's great for a handful of people to check out and get feedback," Glat said. "But if you really want to get hundreds and thousands of people through on game day and we're going to put our name on it, we want it to be really good."

  • Friday, Dec. 18, 2015
Panavision and Light Iron unveil joint facility in New Orleans
Panavision/Light Iron's facility in New Orleans
NEW ORLEANS -- 

Panavision, a leading designer, manufacturer and rental provider of high-precision optics and camera systems, has announced the opening of an expanded New Orleans location. The new 30,500-square-foot space will also house Light Iron’s first brick-and-mortar facility in Louisiana. The state-of-the-art facility represents the first location occupied by the two companies since Panavision acquired Light Iron, a leader in digital workflow solutions, earlier this year.

The New Orleans location leverages the strengths of both companies to offer turnkey technology solutions from pre-production through delivery. “Panavision has been committed to serving filmmakers in Louisiana for more than a decade,” said Kim Snyder, CEO and president of Panavision. “During that time, the infrastructure and crew-base have built up significantly, and the number of projects being shot has grown such that we needed to expand our footprint to support the community’s needs. Incorporating Light Iron into the new facility brings an unprecedented level of service offerings under one roof to the local filmmaking community.”

Panavision’s new high-tech space houses a full range of filmmaking equipment, and access to the company’s technicians and optics specialists. The new location also features an expanded prep floor, a private prep room for larger projects, and a 40-by-40 foot room with an 18-foot ceiling, optimized for shooting test footage.

Michael Cioni, president of Light Iron, added, “At Light Iron, we’ve always believed in the marrying of camera and postproduction. Having Light Iron co-located with Panavision in a vibrant shooting destination like Louisiana is a case study of what the future will look like. Providing comprehensive services under one roof is exponentially more valuable when most everyone is on location. When a cinematographer or crew member has questions about workflow, we have the onsite resources available to answer them in real-time.”

The Light Iron space houses a DI theater, which can facilitate remote DI sessions with the company’s Los Angeles and New York facilities. The theater can also be used for reviewing camera tests, setting looks, and screening dailies. In addition, the new facility offers offline editorial suite rentals.

“We’ve worked on many great projects in Louisiana over the years with our popular OUTPOST division,” noted Cioni. “With the growing needs of customer demand there, as well as Panavision’s footprint in the state, we felt this was the right time to have a physical presence in New Orleans. The Light Iron team is very excited to be collaborating with the local film community.”

“Louisiana is an important production hub for the filmmaking community,” concluded Snyder. “We made this investment to support the filmmakers in the region and this move makes it possible for us to provide a full portfolio of innovative, creative solutions, as well as physical resources and experts more expediently.”

Paramount’s Jack Reacher: Never Go Back was the first project to utilize the capabilities of the new Panavision location in New Orleans, followed by an additional unit for Fox’s Scream Queens.

  • Thursday, Dec. 17, 2015
Travel industry embraces virtual reality as marketing tool
In this Sept. 19, 2014, file photo, Anan Bishara, left, and Denise Burrell, right, both from New York, check out a virtual reality display that lets visitors explore the Pike Place Market and other attractions atop the Space Needle in Seattle. The high-tech attractions are part of an explosion of virtual reality in the travel industry. (AP Photo/Ted S. Warren, File)

From roller coasters to cruises to destinations, virtual reality is exploding as a way to market travel.

You can parasail and paddle-board using virtual reality content produced by Florida's Visit St. Pete/Clearwater Tourism Board. You can land a jet on Hamilton Island in Queensland, Australia, then go swimming with tropical fish in the Great Barrier Reef. You can watch the opening song "Circle of Life," recorded at a live Broadway performance of "The Lion King," and peer around the theater at everything from the aisles and audience, to the performers and props, to the conductor and backstage. And even if you can't afford Dubai's luxury Burj Al Arab Jumeirah hotel, you can take a 3-D online tour of a royal suite, lobby, helipad, bar, spa, restaurants, marble staircase with cheetah-print carpet and rotating canopy bed.

"VR is taking the world by storm, similar to what mobile did seven years ago," said Abi Mandelbaum, CEO of YouVisit, which has created over 300 VR experiences for destinations, from Vatican City to Mexico's Grand Velas Riviera Maya. "Virtual reality is the most realistic experience you can have of a place without being there. It's powerful. It gets people excited and engaged and interested in having that experience in real life."

Virtual reality offers immersive, 3-D experiences via videos and images with 360-degree perspectives, using a $100 headset from Samsung or a virtually free cardboard contraption designed by Google. You need your own smartphone, and the $100 headset works only with certain Samsung models. You can also watch VR videos online with a 360-degree view, though they're not as immersive as using a headset because you're not shutting out your surroundings.

Whichever your method, by moving the device or cursor in different directions, you can see the sky, the floor, down a hallway or around a corner. Mandelbaum said the average user spends 10 minutes on a VR experience, "an eternity" in the digital world.

Dolly Parton's theme park, Dollywood, in Pigeon Forge, Tennessee, created a VR experience to introduce a new ride, Lightning Rod, billed as the "world's fastest wooden coaster."

"You can take your phone and spin it up and down, look behind you, to the left or right, to get an idea of what this ride is like," said Dollywood spokesman Wes Ramey, comparing the VR experience to looking at photos or reviews before booking a trip. "The ride will not open until March, but this builds buzz around it. It gives people an opportunity to ride it virtually before it's completed."

Mall of America in Minnesota is launching its first VR videos this month, showing its onsite aquarium, Nickelodeon Universe theme park, Santa exhibit, a shopping wing and a choral performance. Carnival Corp.'s new Fathom brand, which plans voluntourism cruises to the Dominican Republic and Cuba, is working on VR content that shows participants in onshore activities like planting seedlings in a reforestation program, reciting English with school children, dancing to Latin music and sharing a meal with locals.

Because so few consumers own viewing devices, some VR producers set up at trade shows, shopping malls, pop-up stores and even on the street where they can provide the headsets. The Miami-based Newlink public relations firm created a VR experience for the Dominican Republic that can be seen on YouTube in a simple 360-degree version, but the company also showed it at trade shows, supplying VR headsets so viewers could get the full effect. As a marketing technique, said Newlink spokeswoman Lourdes Perez, "it is the next big thing."

Is there a risk that viewers will be so satisfied by the VR experience that they won't need to see the real thing? Visitors to Seattle's Space Needle observatory sometimes focus less on real views of the city out the windows because they're so mesmerized by virtual views on the observatory's walls, screens and videos.

But Mandelbaum's not worried. When YouVisit set up tents in Manhattan where more than 1,000 visitors used VR headsets to experience a Carnival cruise, "the reactions were incredible. They would say, 'I didn't know I could do all that on a cruise.' Once they see what it's like, they're more inclined to book."
 

  • Wednesday, Dec. 16, 2015
SMPTE UK formally created; Bruce Devlin named 1st governor
Bruce Devlin
LONDON -- 

The Society of Motion Picture and Television Engineers (SMPTE) Board of Governors has formally approved the creation of the SMPTE U.K. Region and appointed Bruce Devlin, chief media scientist at Dalet, to serve as its first governor.

The SMPTE U.K. Section’s growth from 83 members in 2012 to more than 500 members in 2015. Any Section reaching the 500 member milestone is eligible to petition the Board of Governors for creation of a Region, which will provide that Section with formal representation on the Board.

“The widespread support for the SMPTE U.K. Section and its work, evident in rapidly increasing attendance at meetings across the U.K., reflects the growth occurring across the Society as a whole,” said William C. Miller, SMPTE membership vice president. “SMPTE now has more than 6,400 members worldwide, and students represent the fastest-growing group of members. As we move into the Society’s centennial year, it is exciting to see that our work is relevant and important to the newest members of our industry.”

Devlin had previously been elected by the membership to serve as 2016-2017 governor for the Europe, the Middle East, Africa, Central, and South America Region. The SMPTE Board of Governors has now appointed Siegfried Foessel, head of the department of Moving Picture Technologies at Fraunhofer IIS, to assume that role while Devlin will represent the SMPTE U.K. Region on the board.

“The growth and influence of the SMPTE U.K. Section are due solely to the dedicated involvement of our members, who have helped us to expand our activities across the country to meet the demands of the broader U.K. media communities,” said Peter Weitzel, SMPTE membership director and secretary/treasurer for the SMPTE U.K. Section.

Re-established in 2012 and chaired by Chris Johns, chief engineer of broadcast strategy at Sky, the SMPTE U.K. Section has seen a high degree of interest and support from individuals and companies across the creative, manufacturing, broadcasting, and service organizations. The Section holds regular meetings across the U.K. and each month in London, giving members time to network and the opportunity to explore a wide range of topics with industry experts. The Section also holds an annual one-day seminar in London and Salford.

Members of the SMPTE U.K. Section have a strong history of supporting students, new graduates, and new members of the industry, and the SMPTE U.K. Region already boasts its first student chapter. The inaugural meeting for the newly approved SMPTE Student Chapter at Southampton Solent University was held in November when the university celebrated the installation of Dolby Atmos in its 3D cinema. During the event, Richard Welsh, CEO at Sundog Media Toolkit and the current SMPTE Governor for the Europe, the Middle East, Africa, Central, and South America Region, presented university student Louis Arrigoni with the award for Best Use of Creative Virtual Reality (VR) Technology in Storytelling. The award recognizes Arrigoni’s short film “PhaseShift,” presented at the SMPTE-HPA Student Film Festival during the SMPTE 2015 Annual Technical Conference & Exhibition.

“SMPTE has seen a surge in student membership, thanks to the charitable work of members led by Bill Miller, who has donated funds to allow students to join SMPTE for free in their first year,” Welsh said while speaking at his alma mater. “The SMPTE Student Membership Challenge is one of the most important initiatives in the Society, as these young people are the future of our industry and, of course, SMPTE itself.”

  • Monday, Dec. 14, 2015
Alliance for IP Media Solutions trade association launched
Mike Cronk, senior VP of strategic marketing, Grass Valley
BOTHELL, Wash. -- 

A group of broadcast and media industry suppliers, including Grass Valley, Imagine Communications, Lawo, Snell Advanced Media and Nevion, have collaborated to form the Alliance for IP Media Solutions (AIMS). This new, independent trade association’s mandate is to bring IP solutions to market that offer complete interoperability, are based on open standards, and integrate seamlessly into media workflow environments to foster industry innovation and efficiency. The group’s efforts will be focused on promoting the adoption, standardization, development and refinement of open protocols for media over IP, with an initial emphasis on VSF TR-03 and TR-04, SMPTE 2022-6 and AES67.

As broadcasters and other media companies look to use IP workflows to speed and streamline the movement and management of increasingly complex content and adapt their businesses to better compete with other content options such as over-the-top (OTT), open standards are the key to protecting current investments and ensuring long-term interoperability.

Specifically, AIMS will prioritize three key strategies:

    Initiatives that facilitate the education and adoption of open standards
    Facilitation of activities that accelerate the development of solutions that support these open standards
    Nurturing the creation of new standards by supporting standards bodies with participation and testing in real-world environments

“The mission of the Alliance for IP Media Solutions is to endorse open standards and protect the choice that broadcasters and media companies must have when selecting the right solution for their particular needs,” noted Steve Reynolds, CTO, Imagine Communications. Mike Cronk, senior vice president of strategic marketing, Grass Valley, related, “Our intent is to avoid perpetuating a future where suppliers push their proprietary technologies only to lock media companies into technologies that don’t work well with other systems or are not easily scaled and upgraded.”

Andreas Hilmer, director of marketing & communications with Lawo, added, “AIMS’s support of open standards and technical recommendations such as TR-03, TR-04 and AES67 afford us an opportunity to eliminate the fragmentation of implementations that our industry has endured over the last 20 years—our chance to avoid repeating expensive and time-consuming mistakes of the past.“ Tim Thorsteinson, CEO of Snell Advanced Media (SAM) said, “In this transition to IP, we need one set of standards that become as ubiquitous as SDI. SAM is throwing its weight behind AIMS because it supports the only set of standards for IP that have been collaboratively developed and that meet the needs of future business models.”

Open standards work for the IP transition is already underway by the 74-member Video Services Forum (VSF), with the support of organizations such as SMPTE and the EBU. AIMS endorses the work of the VSF and will continue to lend support in the development of a standard approach to IP. More than 30 broadcast equipment manufacturers are actively testing and validating the VSF’s approach today.

AIMS provides specific guidance in its bylaws to its members and to the media industry via the AIMS Roadmap. The organization endorses an IP transition plan that includes support for SMPTE 2022-6, AES67 and VSF recommendations TR-03 and TR-04.

A number of solutions are already on the market to help media companies begin the transition by introducing IP components to an SDI workflow. The transition represents a significant investment and will not happen overnight. An open standards approach allows media companies to implement the technology over time and transition at the pace that makes sense for their businesses.

“The rate of change in broadcast and media is unprecedented, so it is critical that the industry rapidly aligns with open standards to the benefit of all—from suppliers to end users,” said Brad Gilmer, executive director of VSF. “The approach that AIMS is endorsing is already enjoying broad industry support and is well suited to the industry’s future, providing IP’s enhanced flexibility and cost efficiencies by leveraging the huge investments being made in off-the-shelf IT technology.”

Membership in AIMS is available to all individuals and companies that support open standards and share a commitment to the group’s founding principles.

For more about the importance of open standards and interoperability in the broadcast and media industry, visit the alliance website and download the Alliance for IP Media Solutions’ new white paper “An Argument for Open IP Standards in the Media Industry.”

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