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The Quicklink TX integrates Dante Audio IP Technology

Quicklink Video Distribution Services Ltd has announced a strategic partnership with Audinate, a provider in digital media networking for the A/V, conferencing, public address and broadcast industries. The partnership enhances the Microsoft Skype TX experience delivered through the Quicklink TX product by adding in Dante Audio over IP connectivity.

Quicklink TX is a professional hardware solution powered by Skype TX software. Quicklink TX allows broadcasters, producers, engineers and studio managers to seamlessly manage Skype video/audio for broadcast without the need to scan convert from a PC. An easy-to-use hardware and software combination that allows Skype video calls from anywhere in the world to be seamlessly integrated into any production.

Quicklink TX will ship with Dante Virtual Soundcard software pre-installed, allowing broadcaster to easily route high-quality digital audio streams over a standard IP distribution network throughout their production facility to other connected Dante enabled equipment.

When installed in the Quicklink TX, Dante Audio IP Technology can bring multiple benefits to the broadcaster which includes:

·         Simple to maintain – One Unit with fewer cables

·         Easy integration:  the Quicklink TX will easily integrate into your current Dante system

·         Control Remotely: Audio input/output routing can be remotely controlled from any computer connected to the same network.

Dante is a complete, reliable solution for high-performance audio distribution over standard IP networks, supporting hundreds of simultaneous channels of uncompressed audio with ultra-low latency and sub-microsecond synchronization accuracy. Dante provides manufacturers and users alike with a full suite of tools and capabilities for full plug-and-play operation, including automatic device discovery, software-based signal routing, and complete integration with PCs. Over 190 manufacturers now support Dante, allowing true interoperability across an incredibly wide range of products in broadcast, live sound, recording and commercial installations.

“Inclusion of the Dante technology ensures that the Quicklink TX will be able to elevate the audio quality to a professional grade, allowing producers, technical directors, writers and editors to enrich their broadcast and media programming experience through the Skype software,” explains Bethan Hill, Head of Sales and Development at Quicklink.

“We are excited to partner with Quicklink on their Skype TX product,” explains Lee Ellison, Audinate CEO.  “Dante’s audio over IP technology is quickly becoming the leader in the broadcast industry, and this partnership will ensure that broadcasters get the highest quality digital audio throughout the entire audio stream.”

The Quicklink TX will be on display on the Audante Stand AT ISE2015 Amsterdam from 10-12th February 2015, in Hall 7-W190.


Baldock, UK – 29th January 2015EBS, the leading full-service provider of EPG data for platforms and channels worldwide, has announced that it has further expanded its contract with dedicated motorsport channel Motors TV. EBS has worked with Motors TV for a number of years, supplying EPG data via its Pawa software solution and portfolio of EPG data services to the Sky and Virgin platforms. This latest expansion sees EBS further support Motors TV in its recent move to provide viewers with a free-to-air service on Arqiva’s DTT capacity, via Freeview channel 71.


Launched in 2000, Motors TV offers the widest range of motorsport coverage in the world, with over 120 different series and championships shown on the channel, including FIA World Rally Championship, FIA World Endurance Championship, NASCAR Xfinity Series, V8 Supercars and British GT. EBS provides Motors TV with a clear, defined workflow taking all the scheduling information for the channel and restructuring it to meet the requirements of the platform, aggregating all data through a central system for consistency and ease of use.


“We’re really excited to deliver the widest range of live motorsport to terrestrial TV viewers in the UK. The EPG plays a huge role in capturing and retaining our audience and it’s really important that it’s accurate at all times. When viewers switch to the channel they need to know immediately what’s on. Working with EBS we’re able to provide a high-quality EPG service,” explains Frédéric Viger, Head of Programming & Acquisitions, Motors TV.


Viewers can access Motors TV on Connect TV like any other platform, by selecting channel 71 from the Freeview guide or by selecting the channel number on the remote. They then see a full screen picture with additional information such as programme name, start/end time and a synopsis, all supplied by EBS.


Keith Bedford, EBS Managing Director adds, “We’re delighted to continue working with Motors TV and assisting with the EPG data workflow for additional platforms so that more viewers in the UK can enjoy the exciting variety of motorsport that’s available. Our Pawa solution provides a full portfolio of EPG data services that meets the needs of today’s modern broadcast world.”



LONDON, UK – 28 January 2015MOOV, the UK’s leading broadcast graphics company, has extended its services into Outside Broadcasting with a three year production deal with the Professional Squash Association (PSA) to provide production services for its World Tour events. The first event in the contract is the J.P. Morgan Tournament of Champions, held on 16-23 January 2015 from inside Grand Central Terminal in New York City.


Nev Appleton, Director, MOOV, said, “MOOV has 15 years experience working in live sport productions, which has given us the invaluable insight that has allowed us to expand in to the production services sector. Winning the PSA contract demonstrates that we are a diverse and expanding business. Initially we will focus on similar-sized projects that require a streamlined, economical but high-quality production, but as we expand our experience and resources we will also look at bigger projects.


MOOV contracted Timeline TV to design, build and operate the flyaway kit for the duration of the three year contract. The Grand Central event flyaway includes six Panasonic remote cameras, three video servers and a talkback infrastructure.


The PSA World Tour will visit many unique locations which will present challenges when setting up production areas. Erecting a state-of-the-art glass court at the Grand Central Terminal involves dealing with varying light levels from the chandeliers and iconic windows, as well as tricky acoustic levels from all areas of the hall.


Appleton adds, “This fast paced tournament is played literally feet from the public and space is limited, so the flyaway was built to be flexible. In addition to a radio camera, we decided to use remote cameras in six other locations so we no longer have to worry about having locked off shots when there’s no room for a camera operator. This gives the production a more flexible and creative choice of  shots than is usually seen in squash coverage.”


Dan McDonnell, MD of Timeline Television, said: “We are delighted to be partnering with MOOV on this long term contract with the PSA. Our expertise and heritage in outside broadcast, system integration and on the ground operations will help MOOV  bring squash fans around the world these exciting tournaments.”


PSA Chief Executive Alex Gough said:  "We’re excited to have reached an agreement with Moov and look forward to working closely with the team over the next few years across the PSA World Tour. Ensuring that we have a high quality and well-rpdouced platform on which to display the unbelievable skill and fitness of our athletes is integral to our long-term strategy and we believe Moov will play a pivotal role in helping us achieve our ambitions.”


BT Sport and 15 other international broadcasters will take the live feed from the Semi-Finals and Finals. Early rounds will be streamed live on the PSA website and various other watch and bet websites.



Manchester, UK – 29 January 2015 – Pro Motion Manchester will be opening its doors on 2nd March 2015 as a forward-thinking facilities house servicing all digital content and shooting needs for the North of England. Run by directors Alain Lolliot and Jessica Reese, the facility will provide a wide range of technical training courses and events, along with digital equipment, crew hire and 24/7 support, supplying an all-round solution.


Pro Motion Manchester aims to create a digital knowledge base for the North of England.  Opening its doors at The Sharp Project, the company will offer a collaborative approach to a wide range of digital content providers, and create a freely accessible, open source platform for technical knowledge. Pro Motion Manchesters training courses and events will include camera workshops, in-depth self shooting courses, equipment maintenance sessions, guides to 4K/UHD, and data management advice. There will also be informal equipment open days allowing the opportunity to browse and see demonstrations of a selection of the latest kit available.


Pro Motion Manchester is a joint venture between its Directors and Pro Motion Hire, which celebrates its 10 year anniversary this year. Pro Motion Manchester becomes the Northern base that will provide the same high levels of service that are seen at the companys London and Brighton facilities.


Duncan Martin, Managing Director, Pro Motion Hire, said, Opening a Manchester facility at The Sharp Project represents an exciting opportunity for us to join and support this vibrant, evolving and collaborative community for digital content. Alain and Jess offer a unique combination of production and technical expertise that will help content creators in the region get the most from their equipment and make the best content possible.


Jessica Reese joins Pro Motion Manchester as Facilities Director. She has 10 years experience in production, on set and in facilities, which has given her first hand knowledge of production and crews needs. Her passion for technology has ensured that she has developed a wide knowledge base across all broadcast and digital equipment, which is key to providing clients with the right information, equipment and support to ensure that their shoots run seamlessly.


Technical Director Alain Lolliot is widely respected in the industry for his in-depth equipment knowledge, technical expertise and approachable training style. During his 10 years in the film and television industry the last eight with Pro Motion Hire – he has specialised in digital cinematography, bringing it to the mainstream for the benefit of Pro Motions clients. He works across all technical areas from camera matching for studio productions to designing data management workflows.


Lolliot said, Technology and how we use it is constantly evolving and Pro Motion Manchester will be part of this evolution, building a digital community around our equipment hire and knowledge base. We want to ensure that everyone in the digital and technical industries in this region has an approachable, current and dependable company to call on, a company that can offer a wide range of training and also act as a free resource for education to help individuals and companies alike.


Sue Woodward OBE, Founder of The Sharp Project said: Its fantastic that Pro Motion has selected The Sharp Project for their northern training centre. This not only allows a broad range of content creators in the region to access specialist, tailor-made courses on their doorstep  but it also means they can further develop their digital skills, making the most of the latest technology.   Pro Motion also plan to provide technical and creative employment opportunities over the coming years as they grow their northern base. Its also great to see a successful woman playing a prominent part in this very male-dominated tech sector.


Richmond-upon-Thames, UK – 29th January 2014 – Five Arrows Leasing Limited has been renamed and rebranded as Five Arrows Media Finance Limited in the latest development at the Rothschild-owned Five Arrows Leasing Group. This sees the merging of the three trading divisions Fineline Media Finance, Five Arrows Leasing and Capital Professions Finance into a single identifiable brand. Five Arrows Media Finance will continue to be headed up by Gareth Wilding, who was previously Managing Director of Five Arrows Leasing Limited.


The re-organisation and rebrand simplifies company operations by having a single company to contact for the leasing or financing of a wide range of products across three specialist markets.


Gareth Wilding, Managing Director, Five Arrows Media Finance, said, “In everyday terms, nothing will change for our clients except the logo on our paperwork.  We will continue to be the pre-eminent funder of media, broadcast and AV equipment in the UK and Northern Europe; we will continue to deliver vendor sales-aid leasing products in the specialist professions markets; and we will continue to provide innovative contract-based financing solutions for a range of requirements from enterprise level software vendors to receivables discounting options for accelerating revenues.


“However, the substantial backing we have enjoyed for the last 16 years from our shareholder, Rothschild – one of the largest financial advisory organisations in the world – will now be more visible as we prepare to meet the growth challenges of the 21st century.”


New CORIOmaster Feature Enhancements at ISE 2015

MARGATE, KENT, 28 January 2015 - tvONE (www.tvone.com), a leading designer and manufacturer of cutting-edge video and multimedia processing equipment, will demonstrate new exciting feature enhancements to the CORIOmaster & CORIOmaster mini at ISE 2015.


The C3-540 CORIOmaster and C3-510 CORIOmaster mini offer a new, more efficient approach to building video display arrays. tvONE’s CORIO®3 technology gives designers and users access to unexplored realms of video processing power. CORIOmaster delivers true power to the technical and imaginative minds driving today’s stunning creative and dynamic video wall exhibits.


At this year’s ISE, tvONE will showcase two major advances in the CORIOmaster system, including live video window transitions and custom output resolutions. Using the live video window transitions, users can create dynamic visual effects on source windows, such as grow, shrink, fade through black, spin or flip as sources change or move in and out of the visible area. "With the addition of these dynamic transitions, CORIOmaster becomes a great option for live events or real-time broadcast environments," said Frithjof Becker, EMEA Sales Director for tvONE. "We are extremely excited to demonstrate this new power for the AV community."


A new resolution editor has also been developed to allow each output to be set up for custom, user-defined resolutions. This allows CORIOmaster to be used as a video wall processing solution for a vast array of LED and custom display products. In addition, the resolution editor allows for custom resolutions to be created and uploaded into the unit to be used as input or output resolutions. This benefits the efficient power of CORIOmaster and CORIOgrapher to displays of almost any resolution including many tile-based LED systems. New resolutions can be created through the units API commands for each output or created by using the updated CORIOdiscover app on initial system installation and then selected by the user for each output and auto detected as an input resolution.


The CORIOdiscover app, which is also new at this year’s ISE, allows the user to log into a unit to update the firmware, change communications settings and create new custom resolutions that can be used as an input or output resolution. This app runs independently of CORIOgrapher to aid in initial setup of the unit during installation. Communication and firmware updates can also be made through CORIOgrapher.


For a full demonstration of these new features in action visit the tvONE stand 1-M45 throughout the entirety of the ISE Exhibition.

Mistika’s In-Depth Post Works Swimmingly in Lake Baikal 4K Documentary

Referred to as “The Blue Heart of Siberia”, Lake Baikal is the deepest lake on earth and magically lures different cultures to coexist and fuse peacefully within its realm of mind-blowing beauty. Moscow-based RSS Production set out to capture the essence of this unique area in the exquisite new documentary film “Baikal” directed by Alexander Dukhon. The compelling portrayal was entirely produced and post produced in 4K native Stereo 3D using SGO’s Mistika technology at RSS Studios. Post involved editing, colour grading, sound design and CG and took two months to complete. Native stereoscopic 3D optimisation was successfully accomplished in Mistika by Daniel Ovrutsky.

Using the industry’s most powerful visual formats and resolutions that Mistika can easily muster and deliver, helps us to plunge audiences into a high quality film such as Baikal. The visionary technology we now have at our disposal in productions such as these, play a vital part in exposing viewers to the beauty of stunningly remote locations such as this ancient Siberian lake, bringing intense clarity like never before.” states director Alexander Dukhon, “Our aim is to make Baikal the first of many future documentary series dedicated to awe-inspiring places on our planet, and at the same time using the world’s most innovative technologies, such as Mistika, which contribute enormously to enrich our work.”

RSS Production invested in Mistika in 2013 predominantly for colour grading and finishing. Mistika was put straight to work on various projects including blockbuster Stalingrad, directed by Fedor Bondarchuk. It was heralded as Russia’s first movie ever to be completely produced with Stereo 3D technology and digitally re-mastered into the immersive IMAX® 3D format.

Baikal’s Filming commenced in February last year with eight adventurous RSS Production film crew members embarking on a gruelling ten-day trip through the Lake Baikal region. Located in central Asia, it was declared a UNESCO World Heritage Site in 1996, and also contains approximately twenty percent of the globe’s unfrozen fresh surface water. The shoot took place in just seven days in extreme weather conditions of minus thirty degrees Celsius with few sunlight hours over the short winter days. The team made their way along the lake’s western coast, visiting Olkhon Island and Ulan-Ude, the capital of the Republic of Buryatia in Russia.

Baikal’s Footage was shot using RED Epics and Stereotec 3D rigs, including RSS Production’s unique set-up on a small sized sightseeing helicopter for aerial footage. “This approach makes filming native stereoscopic 3D aerials much easier, avoiding the need to use large vehicles with massive stabilisation systems, and reduces costs as well.” noted Alexander. In addition, the soundtrack music was especially written and composed from scratch and produced exclusively for the film. It was creatively intertwined into the sound design to reflect the eerie atmosphere of Lake Baikal’s land and spirit. The film warmly depicts the human element in a sub-zero and unearthly landscape by sharing endearing stories of the local people whose hearts belong to it.


Media Information

View the 2D Trailer here

View the 3D Blue-Red Anaglyph Trailer here

Directed by Alexander Dukhon
Written by Iliyas Akhmedov, Jennifer Eremeeva
Post Production System and Technology is SGO’s Mistika
Filmed with RED Epic and Stereotec 3D Rig
DP Sasha Romm
Steadicam Operator Nikita Rozhdestvensky
Edited by Sonya Kapnik
Native Stereo Optimisation by Daniel Ovrutsky
Colourist Artem Ignatov
Music by Andrey Bochko, Dmitry Bochko
Sound design and mixing by Rustam Bekmuratov
(c) 2014 RSS Production

Images of the Baikal expedition, Courtesy of RSS Production


In-stream Video Recommendations Increase Consumption 50 Percent

//Los Angeles, California,. January 27th, 2015//


IRIS.TV, the leading in-player video recommendation engine, reports that its programmatic video delivery technology, Adaptive Stream™, has increased video consumption by 50% across all of its clients’ implementations. The results of these findings further solidifies that the consumption of online video is significantly enhanced by a personalized user experience.


By integrating Adaptive Stream™ in their video players and mobile apps, IRIS.TV’s clients are able to deliver their viewers the most relevant streams of video; just like TV. Yet unlike TV, viewers’ feedback is captured in real-time through interactive buttons, allowing the stream to dynamically adapt to the changing preferences. IRIS.TV’s personalization has a proven track record for increasing audience engagement and retention. In general, viewers tend to watch a video and bounce to another site or app. However, when users are presented with an IRIS.TV stream of recommended videos, they tend to watch four to five times as much content- higher than what is typically observed with loyal viewers. These findings indicate that value may not only lie in reducing the bounce of unique views, but in extending the viewing experience of retained audiences.


“We have carefully constructed the most dynamic viewing experience to date, allowing users to enhance content consumption and maximize video view inventory for content publishers," said Richie Hyden, COO of IRIS.TV. Much like programmatic ad tech has revolutionized the advertising space, IRIS.TV is bringing the future of TV to the present by optimizing the delivery of single video assets to users. These results prove that users will increase their consumption when personally relevant content is delivered to them.” 


Based on IRIS.TV’s current and past data analysis, personalization and average revenue per user (ARPU) are positively correlated. This supports the notion that customizing online video content will improve a company’s overall revenue by keeping users watching more, watching longer, and watching often. Even more fascinating is the positive impact personalization and recommendation engines have on long-tail content discovery. By recommending the most relevant videos regardless of recency, IRIS.TV increases the value of the entire video library. This means videos added to the library months ago can still have a high view rate, essentially extending the lifespan of long-tail content.


"Engagement is the goal for content owners because it translates to revenue and satisfied end users,” said Mike Green, VP of Marketing for Media at Brightcove. “A great video playback experiences with streams of relevant content is the TV-like recipe that Brightcove and IRIS.TV are collaborating on to drive that engagement.”


For IRIS.TV, increasing consumption by 50% across clients isn’t just promising for the company and its partners, but for the entire online video industry. From advertisers, to publishers and content owners, dynamic, real-time personalization is the critical ingredient for achieving longer engagement times and higher revenues.

ATG Middle East at CABSAT 2015

Amman, Jordan, January 28, 2015: ATG Middle East maintains its annual presence at CABSAT, showcasing its full range of systems integration services for the broadcast, multimedia, cable, fibre, digital terrestrial and satellite transmission markets. The company will exhibit on stand B4-20 in Hall 4. CABSAT 2015 will be held at the Dubai World Trade Centre, March 10-12.

The capabilities of ATG Middle East include design, project-planning, equipment installation, software-configuration, commissioning, documentation, on-site training plus ongoing support and maintenance for TV studios, playout centres, editing facilities, digital news rooms, digital archives, transmission and satellite uplink systems. The company’s customers in the MENA region include major TV broadcasters, programme production companies and telecommunication service-providers

"CABSAT attracts broadcasters, programme-makers, post-production and multimedia specialists, digital terrestrial and satellite transmission companies from Africa right across to India," comments Dr. Fares Lubbadeh, Managing Director, ATG Middle East. "We will be promoting our proven ability to handle broadcast, media and transmission projects of any scale, either from start to finish or in partnership with our clients’ own technical and operational staff.

"We have the experience and resources required to design, install and commission fully coordinated systems which are easy to use, reliable and readily expandable to meet future business requirements. We are also equipped to offer high quality training and ongoing technical support.

"Recently completed projects include a 50-channel broadcast media compliance facility for a national broadcast authority. This system includes Linux-based IT-style servers which capture content every hour of the day, every day of the year. Recording, cataloguing and purging are performed fully automatically.

"We have just signed two contracts for the upgrade of a state broadcaster’s television studio to high definition and for the upgrade of a satellite uplink teleport. These projects will be implemented within the first half of 2015."

ATG Middle East will also promote the Dalet AmberFin range of broadcast file management, FileCatalyst file transfer and Vidcheck quality control software. These are available for incorporation into existing server infrastructure or complete with auxiliary infrastructure to form a stand-alone ingest or QC facility.

Co-exhibiting with ATG Middle East at CABSAT will be Hiltron Communications, a sister company within the Dan Technologies Group. Hiltron offers complementary services and equipment in the field of satellite-based transmission links, head-end receivers and digital satellite newsgathering system design.

ATG Middle East, located in Amman-Jordan and in Dubai-United Arab Emirates, is part of the Dan Technologies Systems Integration Division which operates from offices in Denmark, Germany, Jordan, Norway, Spain, Sweden, the United Arab Emirates, the United Kingdom and Vietnam. Dan Technologies is one of the world’s leading suppliers of video, audio and transmission products, digital media solutions and systems integration services.

Representatives attending CABSAT 2015 will include Dr. Fares Lubbadeh (Managing Director, ATG Middle East), Christoffer Kay (Managing Director, ATG Danmon), Russell Peirson-Hagger (Commercial Director, ATG Danmon), Jonathan Hughes (Head of Systems Integration, ATG Danmon) and Raed Gotta (Sales & Support Engineer, ATG Middle East).

Gearhouse provides world class broadcast facilities for AFC Asian Cup 2015 football



Watford, UK, 28 January 2015 – Following selection by the Football Federation of Australia (FFA) Asian Cup Broadcast Services (ACBS), the entity that is the combined efforts of Gearhouse Broadcast as technical facilitator, McGuire Media as production service provider and HBS as production consultant, is providing all the host broadcast services and facilities for the current AFC Asian Cup 2015 in Australia.

From its humble beginnings in 1956, the AFC Asian Cup has grown into the continent’s biggest football event bringing together Asia’s top national teams every four years. The 2015 competition is proving to be a global phenomenon with Asia’s 16 top nations participating. Television viewership figures for the group stages of the AFC Asian Cup in China, Japan and Korea Republic hit record numbers while the number of people attending the games in Australia has reached over 400,000. The official Twitter feed @afcasiancup, which is running in five different languages, has reached more than 1.82 billion, making it one of the most talked about Asian football events in history and videos on YouTube have clocked in excess 3.3 million views, with more than five million minutes watched. The tournament’s qualifying nations include regional football powerhouses Australia, Japan and Korea Republic alongside Iran, Korea DPR, Kuwait, Oman, Uzbekistan, UAE, Bahrain, Saudi Arabia, Jordan, China PR, Iraq, Palestine and Qatar.

Gearhouse Broadcast Sales Director and AFC Asian Cup 2015 Project Director Manny Papas explained the company’s involvement saying, “Gearhouse Broadcast has provided technical and broadcast facilities for many FIFA football world cups and it’s this experience that we have brought to the AFC Asian Cup 2015.”

Gearhouse’s involvement in the AFC Asian Cup 2015 includes providing all the technical and broadcast facilities for the host broadcaster and international unilateral rights holders such as TV Asahi and NHK from Japan.

Papas continued, “We have brought a world class production to Australia and this includes bringing in some world class people, such as famous FIFA football world cup director John Watts to direct the top tier games. Our goal is to make this the best football coverage ever seen in Australia.”

Gearhouse is providing 18-cameras (consisting of Hitachi SK1200, SK1500 and NAC ultra slow motion cameras) at each of the five stadiums (Sydney, Melbourne, Brisbane, Newcastle and Canberra) linked into its fleet of HD supertrucks that also use the latest in EVS replays, Lawo audio, Vizrt graphics and Riedel comms systems. Gearhouse has also arranged fibre connectivity between the venues and the Stadium Australia transmission hub in Sydney.

COO of the FFA John Kelly said, “Gearhouse has used all of its FIFA football world cup experience to organise the entire technical and broadcast facilities from the ground up including the provision of all crew. As a result the level and quality of football coverage has been excellent and the event a huge success for football in Australia and throughout the region.”

CEO of the AFC Asian Cup Local Organising Committee Michael Brown added, “I’m delighted to say we have appointed a host broadcaster that has done the job with incredibly high standards and without any issues for us and our associated partners.”

Together with McGuire Media, Gearhouse has also increased the number of camera angles, replays and pre-planned sequences for the AFC Asian Cup to give it a true FIFA world cup and world class feel. There are also more mics, audio and crowd effects than ever before at an Australian sporting event – something which significantly adds to the viewer experience.

Manny Papas concluded, “From a technical standpoint we have significantly raised the bar. As part of the host broadcast team Gearhouse is in essence its own client, which means we have to provide a seamless, full turnkey solution of the highest order that cannot fail. Fortunately we have much experience to draw on. Also, as all Gearhouse OB trucks are identical we have the added benefit of being able to mix and match crew without issues. This helps producers, directors and operators do their jobs to the best of their abilities which, in a high pressure broadcast environment, is absolutely critical.”

The AFC Asian Cup 2015 runs throughout this month until the final on Saturday 31 January at Stadium Australia.