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Robycam goes 4K

Cable camera system Robycam is now available with compact 4K cameras. Visitors of the Broadcast Solutions event – Broadcast Innovation Day in 1 June 2017, will have the chance to see the system in action together with a Grass Valley LDX C86N camera plus Canon CJ12x4.3 optics.

At the event Robycam is installed with full function in the companies’ newly added hall 3. Broadcast Products, a division of Broadcast Solutions, is offering the Robycam system for sale and rental. As part of a series of events Broadcast Solutions hosts a Broadcast Innovation Day at their headquarters in Germany. The one-day event will comprise the largest number of OB Vans in production in Europe, exhibitions, panel discussions, product presentations as well as networking events and is the place to be for all broadcast industry members to inform about the latest technology in broadcasting.

Robycam is a 3D camera system consisting of two elements. Gyro-stabilided camera dollies, which make 1-2D or 3D camera movements possible, and cable camera systems, cranes, sleighs or rails. Together with a powerful remote control, the systems produce spectacular images. During Broadcast Innovation Day the company will present a Robycam 3D system that allows for 360° movements in all axes.

At the event the system is equipped with Grass Valley’s LDX C86N, a native 4K/UHD (3840×2160) compact camera that works as a self-contained camera system with no need for additional base station or external processing unit. The largest Robycam 3D system is ideally suited for large indoor or outdoor events. It uses four real-time controlled automatic winches and a sophisticated motion control system that allows fast camera movements up to 8 m/s and with millimetre-accuracy in all axes. With its transmission power action radiuses of up to 250m x 250m and more are possible.

Together with an OCP the Robycam control unit has full access to all camera and lens functions.

MADI sample rate conversion for live sound with MADI.9648

DirectOut Technologies has announced the shipping of its latest sample rate converter, the MADI.9648, which was first seen at the recent ISE and Prolight + Sound shows.

This new hardware addition to DirectOut’s portfolio of audio converters is based on simple, straightforward design and lowest possible conversion latency. With its solid and reliable hardware, MADI.9648 is the perfect solution for live setups.

High-end live mixing consoles are increasingly operating at 96kHz. In practice, however, the mix of different system components typically involves both 48kHz and 96kHz operation, which can be very challenging for a sound engineer. With MADI.9648, network specialist DirectOut offers a MADI sample-rate converter that addresses this problem in an easy and reliable way.

Equipped with eight MADI ports, the device provides four independent SRC blocks for bidirectional conversion of 128 audio channels. A 1 FS MADI stream with 64 audio channels is converted into two 2 FS MADI streams carrying 32 channels each. Conversely, two 2 FS streams are converted and combined into a single 1 FS stream.

MADI.9648 features six BNC ports (in keeping with the interfaces widely found on live mixing consoles), while two optical SC ports extend the connection options for 1 FS signals. This enables easy integration of external equipment with most current live consoles operating at 96kHz. With the plug-and-play design of MADI.9648 there is nothing to adjust – a fixed signal routing and automatic signal detection of frame format and channel mode facilitate the installation.

“The new MADI.9648 offers many nice features in a single device,’ states Jan Ehrlich, CEO and sales manager at DirectOut. “Of course, the focus is the exchange and the processing of audio signals at a very low latency – especially for live applications. Our development team achieved this target with a round-trip latency of just eight samples (1FS-2FS-1FS). The product hits an attractive price point, particularly when you consider that it also provides format conversion. Furthermore, the 1RU design saves space, as combined systems are larger,’ he adds.

SACF applauds the ICT policy breakthrough

The South African Communications Forum (SACF) welcomes the breakthrough by its members and the Minister of Telecommunications and Postal Services, Dr Siyabonga Cwele in successfully negotiating a model for the implementation of the Wireless Open Access Network (WOAN).

The breakthrough is a significant step towards furthering a more competitive and representative ICT sector through the level of equity to be held by black entities in the WOAN and the realisation of some of the other transformation goals of the ICT White Paper. The breakthrough was facilitated through the Economic Chamber of the National ICT Forum, which brought incumbents and new entrants together to find sufficient agreement enabling the breakthrough on the implementation of the ICT White Paper.

The chairperson of the Economic Chamber, Loren Braithwaite Kabosha noted “This would not have been possible without all critical role players being able to make some concessions on their individual positions in the national interest. We commend all parties and for their foresight and commitment.’

Alcons extends the Cinemarray™ cinema line-array range

Aimed at medium-to-larger sized premium cinemas, the Alcons three-way Cinemarray™ CRA24WX is designed for Digital Cinema applications where maximum quality sound reproduction and perfect coverage are required.

Featuring two patented RBN401 pro-ribbon drivers, the CRA24 delivers remarkable clarity, intelligibility and delivers an uncompressed linear response at any SPL. With up to 90% less distortion and very high (1600W) peak power handling, the HF section allows maximum screen compensation without any audible stress on the driver. The patented horizontal dispersion also extends the stereo imaging to a larger number of seats in the auditorium.

Along with the twin RBN401 HF drivers, the CRA24WX features a pair of vented 6.5′ mid-range drivers and a pair of vented 12′ woofers, with 3′ voice-coil design for LF reproduction. With a usable frequency response of 39Hz – 20kHz and a system efficiency of 105 dB, the CRA24WX delivers sound of exceptional quality and impact for any content.

By implementing line-source technology throughout the system, a flat SPL coverage from front to rear is realised, with the “proximity’ effect dramatically improving the cinema experience for the audience further away from the screen. The precise projection also minimises unwanted acoustic reflections.

Two different horizontal dispersion models are available, the CRA24WX/90 (90º) and CRA24WX/120 (120º), both offering vertical coverage of 30º. The enclosure design enables the assembly of wide vertical coverage arrays (multiple CRA24WX only), or as under-fill in mixed arrays (CRA24WX under CRA24N array).

The Cinemarray™ system is powered by an ALC Sentinel amplifier loudspeaker controller, offering system dedicated processing, optimisation and protection in factory presets for maximum sound quality and the ultimate operation reliability.
The Signal Integrity Sensing™ pre-wiring ensures complete cable/connector compensation between the CRA24WX and ALC, significantly increasing response accuracy, regardless of cable length and system impedance, delivering tight, accurate mid and bass response.

Philip “Dr Phil’ de Haan, Alcons co-founder and R&D chief on the design concept behind the Cinemarray series: “The market request was to bring Alcons’ renowned line-source technology to the cinema, in a more cost-effective package without any compromise on sound quality and reliability.’

The result was Cinemarray™; the first scalable, full-range array system for sound-for-picture applications, that enables an optimal cinematic sound experience from the first to the furthest seat in even the largest cinema applications.
Phil continues: “in answer to the cinema-specific dynamic content and significantly raised patron’s expectations, Cinemarray™ offers the crystal-clear experience of the original sound source, with up-to 90% less distortion and with the proven reliability from our sound reinforcement systems.’

As such, the Cinemarray™ is also increasingly installed in theatre/cinema hybrid applications, such as Clay Center in Charleston, WV USA, Lucas Theatre Savannah GA USA. Other cinema references include Pathe Tuschinski Amsterdam, VUE cinemas, Eye Film institute the Netherlands, CinemaxX Mannheim Germany, Oslokino Colosseum Norway.

BBC Earth partners with humaniod robot to explain what it means to be human

BBC Earth has revealed the first look trailer of its Being Human season which over the next 18 months will explore the human race – examining what it means to be human, how we might improve the way we live, and what the future could hold for civilisation.

Created by Hanson Robotics, BBC Earth has partnered with one of the world’s most sophisticated humanoid robots, Sophia, to act as the spokesperson for the new season. In the trailer we see the camera slowly pan from the back of her head to reveal her face as audiences hear her speak about the wonders of humanity. Highlighting that even something as technologically advanced as Sophia can never truly match the complexity of humans.

The Being Human season will feature several household favourites including Michael Mosley in his new series Meet the Humans (5×50′) which puts human behaviour under the microscope. Other highlights include Jimmy Carr’s one off special The Science of Laugher, (1×60′) which tries to get to the bottom of what laughter is and why we enjoy it so much. New series, Civilisations (9×55′) will look at the extraordinary role of art and artists in the development of human culture and the story of global art spanning millennia. While Joel Dommett and Nish Kumar star in Tribal Bootcamp (6 x50′) and go on an adventure of a lifetime to immerse themselves in the lives of the strongest, fittest and toughest people in the world.

Kully Kaur-Bains, head of Programming South Africa, BBC Worldwide, “BBC Earth tells the greatest stories on the planet, and there is no greater story than what it means to be human. Being Human is a major new strand of programming that will explore the complexities, wonder, and magnificence of humanity. It will bring entirely new perspectives to the biggest questions of all time – who are we? How do we live better? And what is our future? Being Human is the ultimate view on ourselves – a global selfie’

Watch the Being Human trailer:

ABonAir offers budget solution for wireless microwave transmission

With the newBroadcast Solutions AB405TM system, ABonAir now offers a budget solution for wireless microwave transmission to the broadcasting industry. With this new system Broadcast Products makes premium wireless microwave transmission technology now affordable to all, offering professional quality and robustness at an affordable budget for distances up to 750 metres.

ABonAir’s AB405™ wireless video system enables camera teams to wirelessly transmit video directly from cameras to media centres or OB Vans. Designed for ENG teams, and for video assist where link stability cannot be compromised and picture quality must be high. The AB405™ system is also optimised for basic sport coverage in universities and high school.

Built on a bi-directional radio channel between transmitter and receiver, ABonAir’s systems acknowledge the correct acceptance of each group of pixels, thus providing exceptionally robust and reliable transmission.

The AB405™ enables video transmission of up to 750 metres (2500 feet) while utilising full MIMO radio employing two antennas at the transmitter and receiver to enhance performance and ensure coverage even in extreme radio signal environments.

AB405TM technical advantages:
– Wide coverage distance up to 750 metres
– Robust and uninterrupted signal and coverage with bi-directional radio with per pixel acknowledgement
– Frequency selection knob
– LCD display
– Automatic setup for quick and easy installation
– Superior coverage utilising MIMO OFDM Radio
– Broadcast level high-picture quality (+52dB PSNR): with new revolutionary H.264 CODEC technology
– Full resolution supports to 1080p (up to 60 fps), 1080i, 720p, NTSC, PAL
– 40 msec delay for live event coverage and real time video assist
– Unlicensed frequency

For more information click here.

Serpent screens at Cannes

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Last week, producer, Anant Singh announced that the suspense thriller, SERPENT from debut feature director, Amanda Evans will be screening at the Cannes Film Festival. He also announced that SERPENT will premier in the Nightfall Section of the Los Angeles Film Festival on Saturday, 17 June with Evans in attendance.

Produced by Enigma Pictures and Videovision Entertainment, the film is based on a script selected for the Berlinale Official Co-Production Market in 2012. Sarah Dumont (Scouts Guide to the Zombie Apocalypse, Don Jon, 6 Below) stars in the film and Tom Ainsley best known for his roles in Versailles and The Royals.

SERPENT unwraps during a romantic escape to nature which turns into the ultimate moment of reckoning when a husband and wife are trapped in a tent, with a deadly snake. Unable to escape and with certain death looming, the tent becomes a heated confessional to a cataclysmic truth. The couple find themselves spiraling into a dark and dangerous space, of which only one can escape. SERPENT is a tightly wound, psychological time bomb that unravels with an intense, disturbing conviction.

“Amanda Evans is an extremely talented director and we are thrilled to be screening her debut feature in Cannes,’ said Anant Singh. “We are also thrilled to have SERPENT selected for the Nightfall Section of the prestigious LA Film Festival as it is acknowledged as the leading platforms for new works from emerging and established independent filmmakers.’

SERPENT is an Enigma Pictures and Distant Horizon/Videovision Entertainment production in association with The Department of Trade and Industry South Africa. The film stars Sarah Dumont and Tom Ainsley. Music is composed by Andrew Schar, edited by Andrea Shaw and Mandy Roberts with Jacques Koudstaal as Director of Photography. Executive producers are Sudhir Pragjee, Sanjeev Singh, Robert Naidoo, Brian Cox and Dugald MacDonald. It is produced by Anant Singh, Greig Buckle and Amanda Evans and written and directed by Evans.

Behind the extraordinary rise of Cape Town’s GetSmarter

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The world of higher and professional education is changing rapidly. Digitally-enabled learning, in all its forms, is here to stay. In the past five years, massive open online courses have allowed universities to share their expertise with millions across the world. This shows how rapidly developing digital technologies can make learning accessible.

These new technologies are shaking up traditional classrooms, too. And as the nature of work changes professionals are turning to high level, online courses to keep pace with new demands.

But much of this new technology is the preserve of private sector companies. This means that universities must work with them. Yet partnerships with for-profit companies still don’t feel right for many in the higher education sphere. Knowledge has long been seen as a public good, and education as a basic right. Many of today’s universities were shaped by the principles of public funding.

This world was changing well before the disruptive impact of digital technologies, with tuition fees rising above the rate of inflation and the emergence of private universities as part of the higher education landscape. But there’s still unease about technology and its role. The reality, though, is that higher education institutions will have to get over their queasiness if they’re to survive in this brave new world.

Universities may not have the know-how or the money to match the innovations coming onto the market through private tech companies. The decision by Nasdaq-listed technology education (edtech) company 2U to acquire Cape Town-based start-up GetSmarter for R1,4bn (US$103m) is the largest price tag yet for a South African company working in digital education.

This is an indication of what it would cost a university to set up a full online division. Few institutions will have this money, or the ability to raise it. The alternative is to reconsider the advantages of public-private partnerships, taking care to retain authority over quality. For many universities, this could be the only way of keeping pace with the changing world of education.
The story of a start-up

The story of how GetSmarter got off the ground is a textbook case of how a simple idea, combined with guts and luck, can reap huge rewards.

GetSmarter was launched in 2008 with a tiny budget and offered just one online course, in wine evaluation. By 2016, its annual revenues had grown to about R227m. The foundation for this expansion has been a wide range of courses developed and offered in partnership with the University of Cape Town and, more recently, the University of the Witwatersrand and Stellenbosch University.

GetSmarter’s key breakthrough into the international realm came with professional programmes in association with the Massachusetts Institute of Technology (MIT) and Cambridge University. GetSmarter’s first course with HarvardX will soon be presented.

After its acquisition was announced, I talked to the company’s CEO, Sam Paddock, co-founded with brother Rob. We discussed the lessons for other small digital companies — and for universities that are mulling the value of digital learning.
The Paddock brothers leveraged the cash flow from their father’s niche law firm to launch their first online course. They then used upfront payments for that course and the courses that followed to keep financing their next offerings. In the nine years that followed, edtech has become a crowded and complex field.

GetSmarter’s purchase price has garnered a lot of media attention: it’s high, in US dollar terms, and is a vote of confidence in the company. The price represents a valuation of a company’s assets, intellectual property and know-how, and strategic positioning for the future.

But what does it say about the kinds of investments and partnerships that conventional universities will have to make as they adapt to the full disruption from new digital technologies? The key aspect of GetSmarter’s success is how its partnership with universities has played out. As Paddock points out: “We are starting to realise the potential of public-private partnerships, where the credibility and resources of great universities can be combined with the skills of nimble private operators.’

This acquisition is also good news for South Africa’s digital economy. Paddock says GetSmarter will employ more South African graduates and give them international experience and expertise.

And, he says, ecosystems often develop from one significant investment in an individual company. “This was how Silicon Valley started, as well as London’s “silicon roundabout’. Cape Town, GetSmarter’s home city, has been trumpeted as South Africa’s own Silicon Valley: “Silicon Cape’.

The opportunity to lead in digital innovation and application has been widely recognised, for example through the work of Accelerate Cape Town. The Cape Innovation and Technology Initiative (CiTi) has a range of initiatives underway, including a three-year partnership with Telkom intended to build the digital workforce.

Last year, Vodacom announced an investment of R600m to assist in developing South Africa’s digital skills.

GetSmarter’s big win is good news and proof — if universities needed it — that such initiatives can bolster higher education’s offering in a rapidly changing world. Universities in Africa know that they need to keep up with the relentless march of digitally enabled learning. GetSmarter’s journey from bootstrapped start-up to a billion-rand enterprise is a case study worthy of attention.The Conversation

– Martin Hall is emeritus professor, MTN Solution Space, Graduate School of Business, University of Cape Town

– This article was originally published on The Conversation

Telestream focuses on multiscreen operations

Telestream, a leading provider of digital media tools and workflow solutions, will use Broadcast Asia 2017 to showcase new functionality within its enterprise-class streaming and media processing products. Forming the centerpiece of its technology showcase, Telestream’s Vantage® Media Processing Platform is the foundation for a broad range of enterprise-class transcoding and workflow automation software products that allow content owners, producers, and distributors to quickly, easily and efficiently ingest, edit, transform, package, monetise and distribute their media.

Broadcast Asia 2017 is the first APAC regional exhibition since Telestream acquired quality control (QC) specialist, Vidcheck, and IneoQuest, a global leader in video quality monitoring and analytics solutions for content distribution across managed and unmanaged networks. In Singapore, Telestream will demonstrate how these two strategic acquisitions extend Telestream’s market reach and enhance its customer proposition in a multi-platform OTT environment.

“We arrive at Broadcast Asia at a fascinating stage in Telestream’s development,’ comments Scott Murray, VP of Corporate Marketing at Telestream. “We have posted our 17th consecutive year of profitable global growth and sales of our flagship Vantage intelligent media processing platform are growing across the APAC region. The strategic acquisitions of Vidcheck and IneoQuest provide clear differentiation in our customer proposition. In a dynamic multiscreen environment where consumer churn is a real issue, Telestream is the only tech vendor that can guarantee high quality media delivery right up to the point of consumer consumption, on any device.’

Live streaming focus at Broadcast Asia 2017
Live production and live linear (VOD) applications form a key focus for Telestream at Broadcast Asia: the company will demonstrate how it is ramping up extensive, elegant features and functionality that address the specific needs of the live market. Lightspeed Live Stream, and Lightspeed Live Capture are two applications that deliver real-time, enterprise-class streaming and capture for media and entertainment companies, corporations, government and education.

Lightspeed Live Stream solves the problem of preparing real time content for adaptive bitrate live streaming while Lightspeed Live Capture can independently record multiple channels of SD, HD or a single channel of UHD.

Telestream developed Lightspeed Live Stream in response to increased demand among news, sports, and special event broadcasters to simultaneously push live programmes OTT. Lightspeed Live Stream encodes a live programme at highest quality and simultaneously streams the output via an origin server or CDN.

The Lightspeed Live Capture application can be installed on the same server to simultaneously capture the source video into Vantage for further processing. Until now, file-based and siloed systems demanded a more serial workflow. By closely integrating the latest parallel file-based open workflows in Telestream’s Vantage platform together with the combined CPU/GPU power of Lightspeed Live, the fastest possible delivery of all assets is realised.

“At Broadcast Asia, we will showcase a number of product innovations that will enable APAC broadcasters and facilities to work more effectively, more efficiently and more profitably within a multiplatform environment,’ stated Paul Turner, VP of Enterprise Product Management at Telestream. “These practical, real-world advances enable users to enhance and clearly differentiate their multiplatform OTT services while creating significant savings in their operational and content delivery cost structures.’

Showmax strikes deal with mobile operator in Poland

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Showmax, which launched its internet TV service in Poland in February 2017, has agreed a deal with the Polish mobile network operator Play to supply the Showmax service to Play’s entire contract customer base, totalling more than eight million subscribers. The transaction will see Showmax accelerating the rollout of Showmax in Poland.

Play, one of Poland’s leading mobile networks and the country’s fastest-growing operator, has total a customer base of 14 million subscribers and a market share of 26%. As part of the transaction, Showmax will be included for 12 months at no extra charge to the majority of Play’s postpaid customer base, with the remainder getting one month’s access to Showmax.

Showmax CEO John Kotsaftis said: “The level of interest in Showmax since our launch in Poland earlier this year has exceeded even our most optimistic estimates. The Play transaction is a big deal for us because it gives us instant access to millions of customers and I’m hoping will help us build on the great start we’ve already had in the country.’

Showmax launched in Poland with a specialised local offering that included short films directed by leading Polish directors Patryk Vega and Wojciech Smarzowski. Showmax had also secured the rights to the popular political satire series Ucho Prezesa (The Chairman’s Ear).

Showmax’s operations in Poland are based in Warsaw and headed up by former Google executive Maciej Sojka. Prior to joining Showmax, Sojka ran YouTube partnerships for Central and Eastern Europe, the Middle East and Africa. He also set up the well-known 24-hour news channel TVN24 before moving on to the role of CEO of satellite pay-TV platform owned by ITI Neovision.

Showmax Poland’s executive team also includes Grzegorz Esz as Head of Marketing (ex-UPC Polska and T-Mobile) and Jerzy Dzięgielewski as Head of Content (ex-HBO Central Europe).

Speaking about how the Play deal fits in with Showmax’s hyperlocalisation strategy, Kotsaftis said:

“Our strategy runs deeper than light-touch localisation. We’ve built our business in Poland around the premise that success requires having boots on the ground, having a deep understanding of customer needs, and having a willingness to make more than cosmetic changes to meet those needs. We’ve made good progress by partnering with incredibly talented local producers and directors, and it’s great to now expand that partnership approach and work with one of the leading mobile networks. ‘

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