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Quantic Dream doubles its investment in Vicon to deliver ‘outstanding’ performance capture


OXFORD, UK 17 April 2014 Vicon , the motion capture technology specialist for the entertainment, life science and engineering industries , today announced that Quantic Dream , the world renowned games studio, has invested in 38 additional T-Series T160 cameras. Having previously enlisted Vicon technology for PS3 exclusive titles, Beyond: Two Souls and Heavy Rain , the recent investment will enable Quantic Dream to execute future high-profile projects in a larger full performance capture (FPC) space than ever before.

The upgrade more than doubles the available FPC volume , increasing the space from 3x4x3m, to 6l x 4w x 3h. Guillaume de Fondaumière, co-CEO at Quantic Dream said: “For any project, we usually require a mix of body mocap and full performance capture. Previously, this would mean having to create a new wall of trussing to mount the cameras into a smaller volume and re-configuring the system. This could take anywhere up to five days every time we needed to switch between the two set-ups. Our new system enables us to keep all the cameras on the same rig, meaning we can quickly and easily switch between body and full performance capture saving days of production time.”

The newly equipped studio is now capable of both full performance capture for at least eight people and body capture at any time, providing Quantic Dream with a flexible and cost-effective solution. Vicon’s extensive pre-consultation work at the site ensured that the new studio fulfilled all of the requirements laid out by Quantic Dream in maximising the full potential of the space and providing industry proven, production ready data through the integration of Vicon’s data processing and capture tool, Blade 2.

Fondaumière continues : “The challenge for us was guaranteeing a quality full performance capture rig for our studio space. The Vicon team used their knowledge and expertise to design the studio and delivered over and above what we expected to achieve with fewer cameras than we thought possible. We are truly amazed at the results.”  

Imogen Moorhouse, CEO at Vicon commented: “Quantic Dream are a longstanding and innovative customer; so it was exciting to be challenged by them to deliver increased efficiency.  We’re delighted to have provided them with a studio that fits all requested purposes and exceeded their expectations. Quantic Dream’s further investment in the T160, in combination with Blade 2, is testament to the camera’s data quality and power and the software’s reliability and production ready toolset.”

Vietnam Television Enhances Program Preparation with Dalet Media Life

Paris, France – April 17, 2014 – Dalet Digital Media Systems, a leading provider of Media Asset Management (MAM) solutions, software and services for content producers, announced today that Vietnam Television (VTV) is deploying Dalet Media Life, which is powered by the Dalet Galaxy enterprise MAM, to enhance end-to-end management of program preparation.

Vietnam’s national broadcaster selected Dalet Media Life as the outstanding solution on the market to optimize its Quality Control (QC) workflows and to modernize its compliance editing process. Tightly integrated with VTV’s existing technical infrastructure, the broadcaster has advanced plans to expand Dalet Media Life in support of wider operational and production workflows.

“What we wanted was a comprehensive approach to tracking data and orchestrating the movement of media from one system to another in order to maximize the benefits of file-based workflows and eradicate costly and wasteful errors, which inevitably occur through manual data entry,” explains Mr. Tue Nguyen Duc, deputy director, technical center, Vietnam Television. “We issued a tender that specifically called for a MAM solution to modernize key areas of our existing workflow, and Dalet has proved to be absolutely the right choice of partner.”

Headquartered in Hanoi, VTV is the national public broadcaster of Vietnam. It operates five channels and six regional broadcasting centers serving a mix of news, sports, educational and entertainment programming. When Dalet Media Life goes live this summer, the installation will allow VTV to rationalize its workflow and greatly improve its compliance and QC procedures.

“In today’s competitive times, content quality emerges as one of the critical factors for success, and this key criteria has been prioritized by Vietnam Television. Until now, Quality Control was a tedious task during which an operator had to often view all of the content to detect errors. This is a costly and time-consuming procedure in which metadata could not even be checked,” comments Tomer Azenkot, general manager, Dalet Asia Pacific. “With complete metadata oversight, Dalet Media Life is able to analyze data, detect potential defects and alert QC resources to spot check specific content. We are delighted to take this approach to VTV to help them better utilize existing assets and focus their resources solely on correcting quality issues, saving them considerable amounts of time and money while enabling them to create higher-quality packages for distribution.”

Central to VTV’s new content preparation platform is Dalet Media Life, a versatile, scalable MAM-based solution built on the Dalet Galaxy enterprise MAM platform. The combination manages all media files and associate metadata with deep integration into VTV’s existing best-of-breed systems including Tektronix Cerify, Avid edit stations, Harmonic MediaGrid and NetApp storage, as well as Etere automation and VTV’s in-house traffic system.

“From our successful experience working with Dalet on this project and with our confidence in Dalet Media Life powered by Galaxy as a high-performance, easily scalable MAM system, we are currently exploring ways we can capitalize on its full range of capabilities to further enhance our operational and production workflows,” says Mr. Tue.

In the enterprise deployment, which was led by the local systems integrator Tekcast, tape- and file-based media is ingested into VTV’s NetApp proxy storage facility under Dalet’s control. Web-based access to content lets users quickly search the content catalogue and archives, retrieve media, add metadata, and make shot selections. The installation features purpose-built production tools such as Dalet WebSpace and Dalet Onecut interfaced with Avid Media Composer craft stations through Dalet Xtend to supplement program preparation. Packages finished in Avid Media Composer can be saved for manual (eyeball) or automated QC in Tektronix Cerify before playout or distribution to VTV’s regional broadcast centers. Metadata is tracked at every step across the workflow.

“Because Dalet Media Life manages assets from ingest to archive, across systems and subsystems, it maintains detailed metadata information throughout the entire workflow,” explains Azenkot. “The core workflow engine can be configured to analyze metadata that has passed through QC processes and flag problem areas, automatically issuing alerts to operators and generating locaters that can be accessed by non-linear editing systems should content need to be ‘fixed’ in post.”

Alongside automated QC, the Dalet MAM workflow engine drives many back office processes at VTV such as automated transcoding, accelerated file transfers and content delivery. Dalet Media Life also facilitates the fluid exchange of content stored for longer-term archive on VTV’s Harmonic MediaGrid.

Panasonic launches super narrow bezel display video wall

Panasonic launches super narrow bezel display video wall


Panasonic has supplemented its professional LED range with the launch of a 47” video wall display aimed at retail and leisure.


The TH-47LFV5 direct-LED backlight display features a super narrow bezel of just 4.9 mm (bezel to bezel) for seamless video walls and complements the existing Panasonic video wall product line, the 55-inch TH-55LFV50 (high brightness version for retail) and TH-55LFV5 (matt version for broadcast and rental).


With high visibility, high durability and a beautiful, yet robust, design to avoid breakage, the TH-47LFV5 delivers large, impactful digital signage with a variety of potential applications in the broadcasting industry and surveillance stations


The display features 500cd/m² brightness, an IPS Direct-LED panel that provides a wide viewing angle and anti-glare surface treatment for reducing reflection of ambient light, high visibility is ensured even in brightly lit rooms.

4.9mm (0.19”) bezel makes for vivid, dynamic and natural images that are seamless and virtually uninterrupted in their appearance. In the competitive digital signage environment, TH-47LFV5 promises eye catching advertisements with vibrant images reproduced in Full-HD quality.


The Panasonic TH-47LFV5 has a screen depth of just 109mm (4.3”), low power consumption and improved black levels and contrast ratio.


The use of a highly durable panel and electronic components allows continuous 24-hours operation, ideal for installation in public places and surveillance control rooms.

The strong metal frame is shock-resistant and can prevent deformation through heat.

Input Media upgrades with Custom Consoles Module R furniture

Leighton Buzzard, UK, April 16, 2014: Input Media, one of Britain’s leading specialists in sports television production, has invested in Custom Consoles Module-R furniture as part of a major technical upgrade at its studios in west London. The new installation includes seven desks and several bench tops for voiceover booths.

Three control suites have been equipped with a pair of desks in a front and back configuration. Each of the three front desks have four work positions and incorporates a Snell switcher control panel, a Yamaha DM1000 audio mixer plus auxiliary technical equipment. The front desks have a two-pod audio bridge mounted behind the audio mixer, each with 5U of integrated racking for equipment. Three monitor screens are mounted to the rear of the desk on user-adjustable Ergotron arms.

The rear desk is designed for use by three to four operators. This is equipped with four hybrid monitors on user-adjustable Ergotron arms, for computer or video feeds.

The third suite incorporates two desks in the same configuration as the other three but accommodating a larger front desk housing a Yamaha O2R96 audio mixer.

The final two suites incorporate a larger single desk in the same configuration, but with a reduced-size audio bridge module due to space limitations.

"We needed partner companies we could trust and which could deliver to a tight schedule without disturbing the other ongoing work happening within the facility," comments Nick Symes, Director of Technology at Input Media. "Module-R gave our systems integrator, Gearhouse Broadcast, the freedom to specify furniture that exactly suited our needs from a standard set of desk and storage elements, but with bespoke components to fit our specific requirements. The Module-R furniture is strongly built, popular with our operators and highly practical in terms of access to integrated equipment. The project, which centred on an expansion of our high-definition capabilities, has proved a great success."

Custom Consoles’ Module-R product range includes high-quality single-bay, dual-bay and triple-bay desk sections with front or rear access, work surfaces in matching widths, and corner desk sections in 90 degree, 45 degree or 30 degree angles. Also available are integral worktops, a slide-out keyboard drawer, equipment pods with 3U, 6U or 8U capacity, a 19 in storage pedestal and a 27U equipment bay.

Module-R desks incorporate steel-and-aluminium vertical supports with internal cable ducts. Resting on a broad load-bearing skid, the legs provide high strength and stability, protect studio carpet and allow easy relocation if required during technical rebuilds.

Module-R furniture is available as off-the-shelf units in beech, cherry, maple or oak finish with a choice of hard-wearing arabesque, black or blue marmoleum worktops. Cabinet construction is in veneered MDF with continuous brush-strip edging and easy cable access.

[TVP] Camera Corps Q3 takes centre stage at 2014 NAB Show

London, UK, April 16, 2014: Camera Corps reports a swarm of interest in its new Q3 compact robotic head among television production creatives attending the 2014 National Association of Broadcasters’ Show in Las Vegas, April 7-10. Five years on from the launch of the multiple-award-winning Q-Ball, Q3 is completely redesigned to offer more features, greater sensitivity and higher image quality.

"Q-Ball gave television producers the freedom to place cameras literally anywhere, for daytime or infra-red-illuminated night operation, without having to risk the safety of camera operators or sending the crewing cost into the stratosphere," comments Camera Corps managing director Laurie Frost. "Up to 100 remote heads could be operated from a single panel. Q-Ball2 introduced the ability to store presets in non-volatile memory. Q3 adds a raft of refinements including twice the zoom range, a new high-performance imager with nearly double the sensitivity, ultra-smooth pan/tilt/zoom, the ability to intercut with studio cameras, and by popular request a cue light. Q3 can be controlled via a wide range of serial data formats including IP and our own audio-based data system."

"Q-Ball was easy to install, operate and de-rig, making it very popular for outside broadcasts, stage productions and reality shows as well as our own work at major international sports events such as the Olympics," adds technical director Jim Daniels. "Q3 takes that simplicity to a new level by allowing control data, genlock, power and return HD-SDI to be sent over a pair of single-mode fibers using an optional built-in fiber card. Q3 retains the compact spherical housing which made Q-Ball unobtrusive and therefore easy to place within view of other cameras. Q3 is just a few millimeters greater in diameter than the original DVD-sized Q-Ball. All commonly used HD formats are accommodated, interlaced and progressive, with up to 60 hertz frame rate plus quick. The format can be selected from the operator’s control panel. An enhanced pan/tilt/zoom drive gives producers the freedom to match the precise acceleration and deceleration of much larger robotic heads when tracking moving performers on-air."

The Camera Corps Q3 can perform an unlimited number of 360 degree lateral rotations, 3 gigabits per second video being transferred over high-quality slip rings to ensure complete freedom from cable-snagging. Pan and tilt speed are adjustable from an ultra-slow 360 degrees in 90 minutes to 90 degrees per second. Motion control sequences of up to 25 seconds duration can be stored to internal non-volatile memory.

Q3 is compatible with all high-definition and intermediate-definition video formats currently in common use, including 1080 or 720 progressive or interlaced at 60, 50, 30, 25 or 24 frames per second. A concurrent PAL/NTSC output is available. Minimum illumination requirement is 0.5 lux (color mode) or 0.02 lux (monochrome). Camera alignment features include gamma correction, white balance, 16-step edge enhancement and a 2 second to 1/10,000 second shutter. A genlock input with user-adjustable sync timing offset is provided. The camera can be locked to external C sync or tri-level HD sync. An optional optical-interface provides data control, genlock and 3 gigabits per second video over a pair of single-mode fibers.

Fully compatible with all existing Camera Corps control systems, the Q3 robotic pan/tilt/zoom/focus head is deliverable now.

Gearhouse Broadcast’s Flyaway Pods put Sky Sports in Pole Position for 2014 F1 season

Watford, UK, 22 April 2014 – For the third year running, broadcast solutions supplier Gearhouse Broadcast is providing Sky Sports with a complete flyaway production solution for its comprehensive Formula 1 coverage. The interconnecting pods designed, built and integrated by Gearhouse’s special projects team, will travel by road or air to all of the 19 races scheduled during the 2014 season which kicked off in Melbourne, Australia in late March.

The bespoke Flyaway system comprises of four matching pods which link into Sky Sports’ onsite production facilities. All of the distribution, routing and camera control equipment is installed in the MCR pod, while the EVS, Avid and SAN storage is housed in the server pod. A dedicated pod houses the 5.1 audio control room, while the fourth handles all the storage requirements.

In terms of the equipment that Gearhouse has implemented, the pods include: EVS XT3 servers; Harris Glue; Pro-Bel router; a Grass Valley Karrera HD vision mixer; a Lawo MC 56 audio console; Riedel communications system; Panasonic 3100 cameras and Fujinon lenses.

“Sky Sports is giving Formula 1 viewers a depth of coverage never offered before, so it’s vital that our production infrastructure meets the huge demands placed on it across an entire race calendar,” said Keith Lane, Sky director of operations. “This is the third year that we’ve used Gearhouse Broadcast’s Flyaway Pods, so our production team now know them well and can concentrate on the coverage that we’re delivering, rather than worrying about the facilities.”

“With all races being broadcast in HD and 5.1 audio, Sky Sports require a solid and dependable production facility at each circuit,” said Kevin Moorhouse, COO at Gearhouse Broadcast. “Our Flyaway Pods deliver the necessary high specification facility that ensures Formula 1 fans get the viewing experience that the sport warrants.”

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3H Sound Studios installs seven Fairlight Systems

TAIPEI, Taiwan: Fairlight, a global manufacturer of audio post, live and video production systems, has completed a major installation at 3H Sound Studios, a leading film production house in Taipei, Taiwan.

3H Sound Studios’ extensive facility includes Foley and ADR rooms, and seven post production studios, six of which are equipped with Fairlight XYNERGI desktop systems with fader sidecars. HD video is available in all of the studios, one of which also runs dual-stream video for 3D work. Three studios are 7.1 capable for editing and mixing, while the rest of the rooms offer 5.1.

Fairlight’s integrated immersive 3D surround sound technology plays a major role in the mixing capabilities of 3H’s main room, which is equipped with a 36 fader EVO post production console, fitted with Dolby Atmos and Barco’s Auro-3D.

Mr. Duu-Chih Tu, founder of 3H Sound Studios and winner of multiple Golden Horse Awards for Best Sound Effects, and Technical Grand Prize winner at Cannes International Film Festival comments that Fairlight systems are, “So state-of-the-art that it would take any other post production facility at least five years to catch up.” Agnes Liu, one the main audio engineers at 3H states: "I’ve been using Fairlight products for almost eight years. They’re fully designed for post, not like others, which are more about music

purposes in many ways. The editing work on Fairlight is just a lot easier because you have everything you need right in front of you. I don’t think I can do sound editing with a mouse and keyboard anymore, and why should I?” Agnes Liu continued “The best part about choosing Fairlight is their service. They are always responsive and helpful.”

Panasonic to launch Full-HD 16,000 lumen projector

The PT-DZ16K has been specifically designed to reduce Total Cost of Ownership (TCO) for customers seeking a reliable, high brightness and low-maintenance product.

The projector features low power consumption and has a long lamp replacement cycle of up to 3,000 hours and an up to 12,000 hours maintenance free eco filter.


Tom Gibson, Marketing Manager of Panasonic, said, “With a highly efficient optical design using four lamps, liquid cooling system and a relay mode for 24/7 operation, the PT-DZ16K projectors are ideal for events and use over an extended period, such as in permanent large venue installations.


“The compact projectors offer built-in edge blending and colour matching function as well as multi-unit brightness control for projections on to wide screens and surfaces, creating an immersive experience.”


Basic installation flexibility is supported by a comprehensive optional lens selection that supports a wide range of throw distances. 360 degrees projections are also possible, allowing displays on both floors and ceilings.

The PT-DZ16K series can be remotely monitored and operated using Panasonic ET-SWA100 multi-projector monitoring and control software. 

Altibox & Witbe renew partnership

Paris, April 8th, 2014 – Witbe, the Next Generation Quality Monitoring Company, today announced that Altibox, a leading provider of triple-play solutions in Norway, has deployed its Video Quality Assurance solution to automate testing of all their OTT Video Contents and services on PC, Smartphones and Tablets.

Altibox has been working on perfecting their Quality of Experience with Witbe’s solutions since 2011. The partnership began when Witbe won the bid for Test and Validation of services through the operator’s Set-Top Boxes. Appreciating the efficiency of the solution, its ease of use and implementation, Altibox decided to extend the scope of their automated tests to their OTT video services on iOS and Android mobile devices and on their new on-Line Video Platform “TV Overalt”.

“Mobiles devices have grown to become an integral part in our customer’s lifestyle to view the contents we provide. It became manifest, we needed to apply very strict quality standards to these new video services just as we do for IPTV” Says Jarle Johnsen Head of IPTV of Altibox. “We were highly satisfied with Witbe’s products and professional services so far, that’s why we chose to extend the functional scope of their solution when we decided to transpose the test automation processes to our multiscreen applications with the OTT challenges.”

The selected solution, composed of multiple post-device End-to-End Monitoring Witbe Robots, entitles to emulate real-life actions of video/OTT on Smartphones, tablets and PC. Witbe’s Robots are able to perform complex test scenarios; on cross-device converging services among others, and reiterate them systematically and repeatedly on delimited time frames. It becomes possible to identify malfunctions, their root-causes and to delimit liabilities (inter-domain responsibilities) to proactively solve issues. Tests results are rendered, in real-time, via Witbe’s Experience Center platform, in intuitive and easy-to-read dashboards.

Thanks to Witbe’s test and validation solution, Altibox resources will be able to be used at best: The validation process is fully automated, free-flowing and quick. Engineers will gain efficiency on test execution but also on reporting, they can focus their attention on quality improvement instead of finding ways to reproduce malfunctions and to test services in real-life conditions 24/7

Grass Valley Joins with Marquis Broadcast to Enhance GV STRATUS Capabilities

MONTREAL, April 8, 2014 As part of its ongoing commitment to open standards architecture, Grass Valley, A Belden Brand, today announced a partnership with UK-based Marquis Broadcast to expand the functionality and capability of its GV STRATUS Nonlinear Media Production toolset and the K2 Summit media server. Grass Valley will incorporate Marquis’ MEWS API services to enable the quick and easy exchange of files between GV STRATUS and Avid solutions, as well as other third-party products. Marquis’ technology will also be used to enable the interoperability with other products requiring OP Atom file creation and additional file transfer types.


Founded in 1998, Marquis Broadcast develops software solutions for the seamless interaction between various workgroup technologies, working closely with large broadcast entities and major technology manufacturers across the globe. Demonstrations of this new solution will be provided at the upcoming NAB Show at Grass Valley’s booth, SL206.


“Partnering with Grass Valley will open new doors for the entire broadcast media chain. Our sophisticated MEWS API solution coupled with Grass Valley’s technology lets customers transfer files back and forth between third-party solutions more quickly and simply, resulting in a huge time-savings for broadcasters and customers across the board,” commented Peter Davies, Director, Marquis Broadcast.


GV STRATUS is a complete and versatile software-centric platform that lets users work in a truly nonlinear fashion. Its service-oriented architecture (SOA) allows customers to purchase, combine, and configure just the functional components they need to build and orchestrate the most efficient workflows for their unique production environments with GV STRATUS News, GV STRATUS Live, GV STRATUS Digital Media Platforms (DMP), and GV STRATUS Playout.


A key benefit of GV STRATUS for the newsroom is its full compatibility with the MOS protocol, which allows it to interface with and take programming instructions from most newsroom computer systems. It also integrates with Grass Valley K2 media servers and storage to offer an expandable foundation for new applications and workflows.


“The open nature of GV STRATUS enables us to bridge media interoperability across a wide range of video server vendors—enhancing the customer experience. The combination of GV STRATUS and K2 Summit with Marquis’ technology is a pivotal next step in our commitment to provide tools that improve the usability of our products for a more streamlined workflow for our customers,” said Mike Cronk, Senior Vice President of Strategic Marketing, Grass Valley.