• Tuesday, Sep. 9, 2014
Digital Vision unveils lineup for IBC 2014
Kelvin Bolah
LONDON -- 

At IBC 2014 Digital Vision will unveil a revolutionary automated archive workflow, and return to its roots with new software-based transcoding technology, the new Golden Eye 4 scanner, Thor 4K, and updates to both its grading and restoration platforms.

Digital Vision has been able to transition its business across both the broadcast and archive worlds due to its heritage and continued development of its technology in motion compensated standards conversion, automation, media management and monitoring.

The Golden Eye 4 archive scanner, unveiled for the first time in Europe, incorporates many new features and enhancements including universal optics--a single lens, motor driven, multi-axis optical system for precision image sizing, position and focus. Users can scan any film size from 8mm to 70mm without changing the optics.

In addition Digital Vision will present Bifrost Archive Bridge, a unique scalable solution, suitable for archives of any size, comprising various workflow components that can be utilized either as a complete end-to-end solution or integrated into existing infrastructures depending on individual requirements.

Digital Vision will also demonstrate the latest 2014 versions of the Nucoda color grading suite incorporating AJA Kona support. With AJA’s interoperability with established editing products, traditional editing suites can now become grading suites without the requirement for additional hardware or investment.

There are also a range of enhancements to Phoenix, the world’s premier film restoration software, including enhanced Grain, Flicker and Paint tools. Digital Vision will also demonstrate real-time 4K image processing using THOR hardware.

“Our new products like Loki, Thor and Bifrost offer advanced solutions for our traditional client base while also bringing exciting opportunities to take Digital Vision tools to new markets,” said Kelvin Bolah, managing director, Digital Vision. 

  • Monday, Sep. 8, 2014
Ikegami to roll out HC-HD300 HDTV camera at IBC
Ikegami's HC-HD300 camera.
NUESS, Germany -- 

Ikegami has chosen IBC 2014 (Sept. 12-16) in Amsterdam as the venue for the introduction of the HC-HD300, a compact and aggressively-priced high-definition camera designed for a wide range of applications. These include satellite and cable television presentation studios, independent program making, training studios and religious television channels.

The HC-HD300 is equipped with a 1/3 inch bayonet lens mount and employs three 1/3-inch CMOS progressive-scan sensors, each with 2.2 million pixels, in RGB prism formation. It delivers high quality pictures in all commonly used HD video formats: 1920 x 1080/59.94i, 1920 x 1080/50i, 1280 x 720/59.94p, 1280 x 720/50p and 720 x 480/59.94i (NTSC), 720 x 576/50i (PAL).

Typical performance characteristics of the HC-HD300 in 1080/59.94i output mode are 1,000 television lines horizontal resolution, 58 dB signal-to-noise ratio and 2,000 lux sensitivity (89.9 per cent white reflection) at F10 aperture. Equivalent aperture in 1080/50i mode for this light level is F11.

Camera gain be attenuated from mid level to -3 or -6 dB, or increased by +3, +6, +9, +12 or + 18 dB. Integral neutral density filters (100 per cent, 25 per cent, 6.2 per cent and 1.6 per cent) can be switched in as required, plus operator-selectable 3,200, 4,300, 6,300 and 8,000 kelvin electronic colour conversion. An electric shutter can be set to 1/100, 1/120, 1/250, 1/500, 1/1,000 or 1/2,000 second speed.

The HC-HD300 weighs 4.5 kg including FA-300 fibre adapter and measures 139 x 270 x 337 mm (width x depth x height). Operating voltage range is 11 to 16 volts and power consumption (excluding FA-300) is 19 watts. The camera is designed for use within an ambient temperature range of -20 to +45 Celsius and 30 per cent to 90 per cent non-condensing operating humidity.

Available options include the newly-developed FA-300 fibre adaptor and BSF-300 base station. The HC-HD300’s output cable is fitted with a Neutrik opticalCon Duo connector to provide efficient protection against dust. Up to 250 metres of cable can be connected direct to the camera, extendable to 10 kilometres by using external power.

Supporting features of the HC-HD300 include the focus assist and lens aberration correction functions employed in Ikegami’s established UnicamHD range of cameras.

The Ikegami HC-HD300 will be deliverable from December 2014.

Ikegami’s Broadcast and Professional Video Division will exhibit on stand 11.A31 at IBC. Company representatives will include Masanori Kondo (president, Ikegami Europe), Peter Grimm (general manager, broadcast business development) and Michael Lätzsch (broadcast and professional video division manager).

  • Monday, Sep. 8, 2014
Grass Valley to demonstrate new IP Technology at IBC
Grass Valley's NVISION 8500 IP Gateway
MONTREAL -- 

Broadcasters seeking to accommodate viewers’ demands for high-quality live programming, delivered in real time and on demand across multiple platforms, are increasingly considering developing IP-based workflows to handle changing bandwidth, scalability and flexibility requirements. Grass Valley, a Belden Brand, will feature a series of IP-enabled solutions at its IBC 2014 booth to help customers choose the right option for their needs.

A technology demonstration of Grass Valley’s nonproprietary SDN (software defined networks)–based solution for managing an IP network will serve as the cornerstone of Grass Valley’s IP display at IBC. The breakthrough SDN-enabled control application is the key to establishing a familiar, broadcast-centric control environment that supports a hybrid workflow, controlling both serial digital interface (SDI) and IP simultaneously, and builds a bridge to the future.

“The SDN-enabled system is the foundation of our unique approach and design of a control system for broadcasters to make the transition to IP. It enables them to use available third-party routers and switches and a control architecture they’re already familiar with,” said Mike Cronk, sr. VP of strategic marketing, Grass Valley. “This flexible platform will evolve into our integrated configuration and control system for future-proof performance, expansion and reliability as customers embrace IP.”

With Grass Valley’s SDN-based control application, broadcasters will be able to control SDI and IP routing using the same common control panel surface already in their facility. Grass Valley’s SDN-based solution will support the use of third-party IT routers and switches and provides a reliable means for switching video and audio in the IP realm alongside standard SDI using a new integrated router configuration and control system. Grass Valley’s SDN-enabled solution is designed to function in both production and playout applications.

In addition to the technology demonstration of its SDN-based application, Grass Valley’s other IP-enabled products making their European debut at IBC 2014 include current modular and router products like the NVISON 8500 IP Gateway and the IRG 3401 IP Gateway module for Densité.

The NVISION 8500 IP Gateway converts and packetizes real-time, uncompressed, baseband video using SMPTE 2022-6 for transport over 10 GbE Ethernet networks. Once SDI signals are packetized, they can easily be distributed rack-to-rack, truck-to-truck, between floors of a facility and even between buildings or campuses, over IP networks. All signals support frame-accurate switching for use in live production environments. The IRG-3401 IP Gateway is a high-density, bidirectional DVB-ASI/IP gateway card, which runs on the Densité modular platform. The IRG-3401 IP Gateway card makes it possible for broadcasters to keep incoming DVB-ASI signals from remote locations fully operational—and jitter-free—while connecting them to IP networks.

Other solutions in Grass Valley’s IP portfolio include: IRD-3802/3811 MPEG decoders, SME-1901/11 streaming media encoders; Axino-400 IP transport stream loudness processor and the Kaleido IP series of multiviewers.

“The road to IP is just now being paved,” said Cronk. “Customers can expect to see a steady stream of IP-enabled solutions from Grass Valley as we deliver on the promise to keep our customers future-ready.”

Grass Valley is exhibiting at IBC 2014 from Sept. 12–16, 2014 in Hall 1: Stand D11.

  • Saturday, Sep. 6, 2014
Christie marks 14th straight year at Toronto Film Festival
The Elgin Theatre venue.
TORONTO -- 

Christie, a leader in advanced cinema technologies and visual displays, brings the 39th Annual Toronto International Film Festival (TIFF) into sharper focus this year by lighting up an expanded list of venues with Christie 4K-resolution digital cinema projection.  With 4K submissions to the festival having doubled from 2013, Christie, the official projection sponsor for 14 consecutive years, will offer 4K screening capability at Roy Thomson Hall, Princess of Wales Theatre, The Elgin Theatre’s Visa Screening Room and Ryerson Theatre.  All TIFF Bell Lightbox cinemas also feature Christie 4K projection.

The Toronto International Film Festival is the world’s largest and most acclaimed public film festival, this year screening 392 features and 139 world premieres from 79 countries.  The Festival began Sept. 4 and runs through Sept. 14.

“In the short span of a decade, nearly 100 percent of Festival screenings have gone from traditional film to digital, reflecting a global technological revolution that has transformed the filmmaking world,” said Diane Cappelletto, TIFF’s director of technical production services. “Christie’s increasing presence throughout the Festival as the official digital projection partner has been instrumental in helping us meet the evolving needs of filmmakers by keeping pace with the speed of these changes.”

In addition to the use of Christie Solaria Series 4K and 2K DLP Cinema projectors, Christie is providing the Christie HD10K-M projector  with dual HD-SDI input module, and six Christie CineIPM 2K digital cinema image processors.

Christie is also supporting TIFF’s inaugural Festival Street initiative, September 4 – 7, during which King Street West will be transformed into a “pedestrian playground.” The event will feature live music, a pop-up show, food trucks, and art installations.  A Christie Roadster HD20K projector will illuminate the Rdio Music Zone and the Steve and Rashmi Gupta Family Stage, where high-energy performances will entertain the crowd. A full list of performers and more details can be found on TIFF’s website.

Christie will additionally support legendary filmmaker and Academy Award-winning visual effects pioneer Douglas Trumbull, who will lead a discussion, “Ad Infinitum: Bigger, Faster, Brighter Movies – The Changing Creative Landscape of Digital Entertainment,” on September 11 as part of TIFF’s Industry Conference, a professional development forum for registered Festival delegates.  Trumbull will demonstrate the power of 3D 4K 120 frames per second (fps) projection by presenting his groundbreaking short film, UFOTOG, on a Christie Mirage 4K projector. This film originally premiered in May at the Seattle Cinerama Theater’s 2nd Annual Sci-Fi Film Festival using the Christie Mirage 4K, the world’s first and only 4K DLP resolution projector running at a true 120Hz.

“With Christie’s unswerving support, I have been able to explore an emerging new and immersive cinematic experience that is made possible via 3D 4K at 120 fps. The screen seems to disappear, becoming a ‘reality window,’ which offers a powerfully emotive new relationship between viewers and the movie. As a writer/director this offers an exciting new challenge and opportunity to substantially improve and differentiate the cinema experience, bringing back a sense of awe and spectacle that is not possible with conventional 24 fps 2K,” said Trumbull.

“Christie continues to set the new standard for uncompromising image fidelity, brightness, and resolution, allowing filmmakers to share their visions with audiences in ways they never could before,” said Kathryn Cress, vice president of global and corporate marketing at Christie. “We considered it an honor to be a trusted digital projection partner of the Festival, providing our acclaimed 4K technology to help convey the stunning power of entries like Monsoon, which offer compelling and emotional visual experiences that only true 4K technology can deliver.”

Vividly shot in 4K, Sturla Gunnarsson’s Monsoon is a powerful and emotional reflection on the devastating rains that descend upon India, and their chaotic yet necessary impact on the country’s agriculture, economy, and lives of the people.  In addition to screening the film in 4K, Christie will also be powering some of this year’s other buzz-worthy selections. Among these is an account of the Pink Floyd frontman’s continent-crossing concert tour of The Wall Live Tour with the film Roger Waters the Wall, directed by Roger Waters and Sean Evans. 

“The Festival offers an unparalleled opportunity for both established and emerging artists to bring their vision to a world stage,” noted John Hallman, Christie’s director of Canadian sales. “With 4K-resolution becoming the new standard in digital cinema, Christie screenings at the Festival are as close to realizing filmmakers’ vision as one can imagine, offering the brightest and sharpest images in the industry.”

Around the globe, Christie’s digital projection sponsorships include Cannes, the British Film Institute and the prestigious Shanghai International Film Festival, where a Christie 4K projection system screened the fully restored classic Chinese film, Stage Sisters, revealing the film’s finer details that were not visible prior to 4K.

  • Friday, Sep. 5, 2014
RaceTech invests in Ikegami HDK-55 cameras
Ikegami's HDK-55 camera
LONDON -- 

RaceTech, a supplier of television pictures and other services to the British horse-racing industry, has chosen Ikegami HDK-55 cameras as part of a continuing major upgrade into high-definition production. The initial order is for 18 complete HDK-55 camera chains including triax adapters and base stations plus OCP-300 control panels.

“The HDK-55 is a high-performance fully digital HDTV camera which is ideally suited to the demands of live outside broadcast sports,” stated Mark Capstick, general manager of Ikegami Electronics UK. “Six of the 18 cameras have been delivered with SE-H750 system expanders which convert the portable camera into a full-facility studio camera. RaceTech has also ordered 20 OLED color viewfinders. This combination of options gives RaceTech’s OB crews the freedom to equip the cameras for a wide range of productions including the ability to reconfigure quickly and easily.”

Ikegami’s HDK-55 incorporates a 16-bit A/D and matching 16-bit digital signal processing to maximize the benefits of high bit-rate quantisation, providing natural colour even in shadow areas of the picture. 2/3-inch 2.3 megapixel AIT CCDs are employed to deliver a horizontal resolution of 1,000 lines with 60 dB signal to noise ratio at F10 (1080/59.94i) or F11 (1080/50i) sensitivity. The camera can be docked to an optional fibre adapter or triax adapter. In additional to the main output, auxiliary channels are available for a teleprompter and external monitor.

A fine-detail function further increases the realism of the HDK-55’s output by compressing the detail edge component when shooting high contrast scenes. Highlight-detail and several other detail functions can also be switched in. Lens aberration correction minimises the blur and coloured edges caused by chromatic aberration in lenses. A viewfinder-detail function allows the camera operator to increase the detail edges to the viewfinder video for easy focusing. This is augmented by a Quick EZ Focus function which enhances signal edges in the viewfinder so that the camera operator can make precise focus adjustment.

  • Friday, Sep. 5, 2014
SGO set to open office in France
Sergio Ochoa
PARIS -- 

Based in Madrid, SGO expands its European horizons further with the launch of a new office in France which will open its doors next month to serve a thriving creative community. Sergio Ochoa, credited with over 25-years as colorist and postproduction artisan, has been appointed by SGO to head its new Parisian-based subsidiary. With premises based in central Paris, SGO France will host Mistika color grading and finishing services and support.

“Strategically, it is of great importance for SGO to have a world-class location in France,” said Miguel Angel Doncel, CEO of SGO. “The new office will benefit our regional customers, and further extend SGO’s global philosophy to provide outstanding customer service. Sergio is an asset to SGO and his experience is an immense advantage.”

Ochoa, director of SGO France, noted, “I have known SGO for many years, as a Mistika customer from some of the world’s top post facilities while working on well-known commercials and feature films....I am very familiar with the French market which has been embracing Mistika for a while now, and the timing is right to set-up a permanent SGO presence in the region.”

Many leading French post companies have already invested in Mistika to provide creative solutions for film and broadcast productions. Level S3D used Mistika to post-produce the Oscar-winning Mr Hublot, whereas cutting-edge visual effects house Digitaline, with Mistika at the helm, works on commercials for major brands such as M&M, Citroen, Playstation, Pepsi, as well as feature films. Furthermore, Mistika was selected at Paris’ Digimage for the entire postproduction of The Young and Prodigious T.S. Spivet, directed by Jean-Pierre Jeunet. In addition, Digimage also chose Mistika for the French-language feature film Asterix & Obelix: On Her Majesty’s Service with Ochoa credited as stereoscopic postproduction supervisor on the project.

  • Tuesday, Sep. 2, 2014
ALEXA ProRes3.2K scheduled for release in early 2015
ALEXA XT ProRes 3.2K for UHD TV
MUNICH -- 

ARRI announces ProRes 3.2K, a new recording format for its ARRI ALEXA cameras that will become available through a software update scheduled for release early next year. ProRes 3.2K allows the same easy upsampling in post to UHD deliverables as ARRIRAW Open Gate does to 4K. These formats, combined with ALEXA’s dynamic range, make the camera suitable for any type of production with any distribution requirements.

The majority of digital film and television productions continue to capture, postproduce and distribute in HD or 2K, formats for which ALEXA provides a solution. Widespread adoption of UHD/4K post workflows, as well as availability of UHD displays in consumer homes and 4K projection in movie theaters is at least one to two years away--even in the most progressive markets. However, some film and program makers are already concerned about protecting their work for future developments. The ongoing debate regarding high dynamic range (HDR) displays, which have an even greater effect on viewing experience than higher spatial resolution, only adds to these concerns.

ALEXA product manager Marc Shipman-Mueller commented, “Designed from the outset to be adaptable and future-proof, ALEXA can easily accommodate productions that choose to follow a UHD or 4K workflow. The camera’s stellar overall image quality in combination with ProRes 3.2K or ARRIRAW Open Gate allows for simple up-sampling to UHD or 4K in a quality at least as good as other contenders. And because of their unequalled exposure latitude and highlight handling, ALEXA images are already uniquely HDR-compatible. Put simply, ALEXA remains the safest available capture tool for asset longevity, no matter what future standards come to fruition.”

For TV productions looking for a UHD deliverable, ALEXA XT cameras and ALEXA Classic cameras with the XR Module upgrade offer the new and cost-efficient ProRes 3.2K recording option. At data rates far below uncompressed ARRIRAW, ProRes 3.2K provides the benefits of the well-established and efficient ProRes workflow. As an additional benefit, most lenses fully cover the 3.2K image circle that results from the 16:9 ProRes 3.2K image. A straightforward up-sample from ProRes 3.2K using standard post tools delivers UHD images of the highest quality for broadband and broadcast.

Many high-profile movies have been shot in ARRIRAW 2.8K and up-sampled to a 4K DCP with spectacular results, an example being the last James Bond film, Skyfall. To further improve upon this option, ARRI introduced the ARRIRAW Open Gate recording format for ALEXA XT cameras earlier this year. Open Gate records the full 3.4K ALEXA XT sensor area for an optimal up-sample in post to a 4K DCP.

Open Gate has been enthusiastically received by the feature film industry and is in use on numerous productions already, including Warcraft, San Andreas, Pixels, Goosebumps and Sicario, the latest movie lensed by Roger Deakins, ASC, BSC. Other feature films are shooting ARRIRAW 16:9 or ARRIRAW 4:3 and using Open Gate selectively for VFX shots, including Terminator: Genesis, Fantastic 4, Agent 47 and Deus Ex Machina.

Recent demonstrations of high dynamic range (HDR) displays have shown the extraordinary visual impact of increased dynamic range and sparked a debate over how and when they will be introduced. ARRI has been working with Dolby at major trade shows to help showcase Dolby Vision display technology, which is capable of 100 times more brightness than a conventional TV. This has contributed to a spreading awareness in the industry that dynamic range is an even more important factor than spatial resolution in creating a superior visual experience. Recognizing this, other companies such as Thomson, Philips and the BBC are working on their own HDR solutions.

ALEXA’s unrivalled exposure latitude, highlight handling and color science already result in images beyond the capabilities of current display technologies. The Dolby Vision presentations have revealed how much better ALEXA images look when displayed with extended dynamic range, proving the enormous and as-yet untapped potential of ALEXA-originated material to be remastered for future HDR display standards.

  • Tuesday, Sep. 2, 2014
Codex to advance workflows at IBC 2014
Codex Panasonic V-Raw Recorder
LONDON -- 

Codex, a leader in RAW recording and workflow, will showcase the ease with which Codex Vault Platform and Codex recording systems can be integrated with the latest production, monitoring and DI post technologies--from partners including ARRI, Panasonic, Canon, Sony, RED, Dolby, FilmLight and Leica--to deliver robust, streamlined workflows for motion picture, television and commercials production, at the Codex stand (Hall 11.C71) during IBC 2014, September 12-16, in Amsterdam. Codex will also show new workflows for ARRI’s AMIRA UHD ProRes output, and Codex Action Cam, now shipping, the new ultra-compact, all-in-one, digital cinema camera and recording package for 2D and S3D production.

Chief among the Codex exhibits is Vault Platform, the modular workflow system providing fast, reliable transfers of camera data to internal storage, plus metadata management, transcoding to a multitude of dailies formats and archiving to LTO tape. The latest Vault Review module enables the playback of HD, 2K and 4K material for review, QC and basic color grading--making Vault a fully featured dailies, QC and archiving system. Plus it adds the power of GPU processing, enabling transcoding at speeds far greater than real time. Brand new at IBC, Codex will show Vault Platform running on the latest Mac Pro workstation.

Codex has extended support to encompass even more digital cinematography cameras, and will highlight its end-to-end RAW recording solutions for ARRI ALEXA XT and Canon C500 cameras, as well as showing how Codex workflows, powered by Codex Vault, support the latest 4K cameras from Sony and RED. Codex now delivers ProRes UHD workflows for ARRI’s AMIRA camera, via Vault and the Codex CFast 2.0 dock for ARRI AMIRA. Additionally, Codex is partnering with Leica to showcase the latest Leica Summilux-C series lenses, as used in the Codex/ARRIRAW workflows on Dawn Of The Planet Of The Apes and X-Men: Days Of Future Past, plus a selection of Leica’s new Summicron-C Prime lenses.

Codex is now shipping Codex Action Cam--the small camera with a big workflow. The new product can be deployed as an Action | POV camera system on commercials, TV and movie productions, as a companion camera when regular packages are too large for the situation or location, or as a Witness Cam to capture depth information for VFX compositing or stereoscopic conversion. Codex Action Cam comprises a tiny HD camera head and a Codex Camera Control Recorder that delivers full remote control of the camera, plus the proven workflow of the industry-standard Codex.

At NAB 2014 Codex and Panasonic announced a strategic product development alliance, whereby Codex is working exclusively with Panasonic to deliver the only compact, high-speed 4K uncompressed RAW recorder for Panasonic’s VariCam 35 camera. The dedicated recorder, to be shown at Panasonic’s stand during IBC (Hall 9.D40 and 9.C45), captures uncompressed 4K VariCam RAW at up to 120fps. Codex’s Vault workflow system supports the rapid transfer of digital camera originals for post-production and archiving. The Codex V-RAW recorder connects directly to Panasonic’s VariCam 35 camera eliminating cabling completely, to facilitate greater efficiency and higher mobility while shooting. It is compact and lightweight and provides the reliability that customers expect from Codex solutions.

Focusing attentions on critical on-set procedures, Codex and FilmLight will demonstrate the results of their successful technology collaboration that links Codex Vault to the Baselight grading system. This allows grading decisions, made on-set with the Baselight FLIP real-time image processor, to be viewed and rendered into dailies deliverables on Vault.

There will also be a technology demo of Dolby’s Dolby Vision Display Prototype that supports Dolby Vision, utilising breakthrough quantum dot technology to create over 2,000 nits of brightness while retaining a 0.003 nit black, delivering an astounding 600,000:1 contrast ratio or 16eV (f-stops) of dynamic range. The Dolby Vision Display Prototype will be integrated with the ARRI ALEXA XT, FilmLight FLIP and Codex Vault.

Codex recording and workflow technology has been used on hundreds of motion picture productions worldwide. Recent and forthcoming releases to rely on Codex products include: Dawn Of The Planet Of The Apes, Jupiter Ascending, Hercules, Hunger Games: Mockingjay, Guardians Of The Galaxy, Sin City: A Dame To Kill For, The Fault In Our Stars and Mad Max: Fury Road.

  • Sunday, Aug. 31, 2014
Tiffen releases Steadicam Curve for GoPro
Steadicam Curve
HAUPPAUGE, NY -- 

The Tiffen Company, a manufacturer of digital imaging accessories, announced the availability of the Steadicam Curve for GoPro. Steadicam’s most lightweight and compact camera stabilizer yet, the Curve can be purchased online and in stores.

Curve is designed specifically for action-packed, one-handed GoPro camera shoots. Combining Curve’s compact form factor with Steadicam’s legendary stabilization technology, the possibilities for shake-free video have now opened up for GoPro users. For the most adventurous shoots, GoPro users can lock in the ergonomic handle for a rock-solid grip. Weighing in at just a half-pound, Curve is the perfect accompaniment for any journey, be it shooting school sports, taking it for a thrill ride in the skate park, or zooming down a mountain on skis or snowboard.

Steve Tiffen, president and CEO of The Tiffen Company, said “With GoPro filmmaking now at an unprecedented level, we knew we had to design a Steadicam device laser-focused on the needs of these action users. We’re excited to see Curve on shelves across the country, and look forward to viewing the never-before-possible adventure shots GoPro users create with the help of Steadicam Curve.”

  • Sunday, Aug. 31, 2014
Digital Nirvana to introduce Media Management Platform at IBC
Digital Nirvana's Media Management Platform
FREMONT, Calif. -- 

At IBC 2014 in Amsterdam, Digital Nirvana will introduce its Media Management Platform, which offers a suite of applications that allows users to capture, edit, share, and manage content--as well as prove compliance, monitor and analyze video. Digital Nirvana will exhibit this platform in the booth of EMEA Gateway during the IBC convention--Hall 9, Stand B14.

Professionals using the new Digital Nirvana platform can capture content from multiple live video feeds in original recording and proxy format; edit, capture and store live video feeds; quickly repurpose content for multiple platforms and export it for final editing, rebroadcast, MAM, and archiving; manage and search content using advanced search terms; log and monitor video for regulatory or licensing requirements and quality control; and compare, review and analyze content for competitive analysis, legal reviews, and cross-functional collaboration.

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