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Atomos Shogun Bolsters Support for High-end Cinema with RAW, Anamorphic, Cinema 4K – Arri, AJA, Canon and Sony Supported

Melbourne, Australia – 13th April 2015: After only 4 months in the market, Shogun users will receive a major creativity overhaul with their unit gaining 7 significant hardware enhancements, in addition to the 4 OS feature improvements, all of which have been announced at NAB 2015. Available via free download over the coming months, Shogun users will gain the following:



•Anamorphic de-squeeze for Panasonic GH4 and standard lenses

•RAW recording to ProRes, DNxHR and Cinema DNG for compatible RAW formats

•Expanded RAW compatibility to include Sony FS series, Canon, Arri and AJA

•3D LUTs on HDMI/SDI output

•Cinema 4K DCI support

•Uncompressed V210 support

•Genlock



“Expensive RAW is no more.” said Jeromy Young CEO of Atomos. “When we see companies charge over $4000 for the RAW formats we include for free or alienate existing users by adding new features only for new users, we run the other way. We reward the early adopter just as much as tomorrow’s buyer with a steady stream of new functions for free, this is at the core of our product philosophy.”



The new features, available for demonstration at the Atomos NAB Demo booth add thousands of dollars to the value of Shogun at no extra cost. The 7 new hardware features are described in detail below.



i)Anamorphic de-squeeze 2x, 1.5x and 1.3x

Anamorphic lenses use optics to ‘squeeze’ a 2.39:1 image into a 1.78:1 ratio. With a free firmware update due at the end of May 2015, Shogun users will be able to de-squeeze monitored anamorphic content to their true 2.39:1 ratio. In addition to 2.39:1 anamorphic, Shogun will also de-squeeze the Panasonic 8:3 format. These translate into commonly used terms of supporting 2x 1.5x 1.3x anamorphic lenses.



ii)RAW recording to ProRes, DNxHR and Cinema DNG

Handling RAW in high-end cinematography is vital with some cameras on the market only outputting their 4K content in RAW data format over SDI, these include Sony FS700, FS7, Canon C300MkII and C500). On the post production side, some people request to keep the RAW format for grading while others would prefer to encode to a more edit friendly format like ProRes or DNxHR with 3D LUT’s applied. The Shogun will maximise flexibility for the user with the ability to take the RAW data from the camera and record direct to RAW (wrapped as Cinema DNG) or to edit friendly Apple ProRes or Avid DNxHR codecs in 4K, UHD, 2K or HD.



iii)Expanded RAW compatibility to include Sony, Canon, Arri and AJA

RAW recording, until now has been both an expensive and cumbersome challenge. Individual RAW licenses that can cost up to $1995 are now available for free with the Shogun and they can be recorded to affordable, reliable off the shelf SSD from brands like Sandisk, Transcend, Intel etc. With RAW options available for Sony FS series, Canon C500, Arri Alexa and AJA CION no other monitor-recorder on the market offers more RAW recording options than Shogun. Sony FS RAW will be available from mid June, while Canon C500/ Arri Alexa / AJA CION RAW will be available from the end of June 2015.



iv)3D LUTs on output and in recording

Another free update made recently for Shogun users was the addition of 3D LUTs, covering both standard LUTs (C-Log, S-Log 2/3, V-LUT) as well as user defined LUTs in the standard “.cube” format. Up to 8 can be stored on the Shogun which can be accessed via a simple monitor button at the bottom right of screen. Not only are Atomos LUTs flexible, they are also the most accurate on the market, offering 65-point accuracy. At NAB 2015, we will announce that LUTs will be available to toggle on/off not only on the Shogun 7″ screen but also out to a larger TV via the HDMI and SDI loop out. DOPs can record with a LUT applied for maximum post-production flexibility, while director’s can easily see the final image quality during review. LUTs on the output available via free firmware update end May



v)Cinema 4K and 2K DCI support

Shogun will be updated to accept and record Cinema 4K and 2K DCI (4096 x 2160p) in addition to the 4K UHD and HD it already is capable of receiving (3840 x 2160p). Available via free update mid June 2015.



vi)Uncompressed 4:2:2 HD v210 support

A small percentage of customers have requested uncompressed support in the Shogun, especially for green screen and specific post-production tasks. We are happy to offer this group their request free of charge. Available via free firmware update end June.



vii)Genlock

The Genlock connection on the back of the Shogun will be activated via free firmware end of May 2015 to allow synchronous playback across multiple video devices. Placing the Shogun as the ultimate portable 4K play-out deck for any broadcaster or event production house. 

About Atomos Shogun

The latest 4K cameras are arming the Pro Video world with amazing sensors, but falling short when it comes to Recording & Monitoring capability. Shogun completes the solution for professionals, combining advanced Record, Play, Monitor and Edit capability that can be added to existing cameras. Shogun delivers 422 10-bit ProRes and DNxHR/DNxHD for Apple and Avid workflows, a 7″ 1920 x 1200 IPS 320ppi monitor with an advanced suite of setup tools (3D LUTs, 2:1/1:1 zoom, focus assist, vectorscope, false color and more), XLR audio monitoring with 48V phantom power, playback capability on screen or out to a larger TV and editing capability on the fly with cut in/out points and favourite/reject tagging. Price point is MSRP US$1995 for the “Battle Ready” edition including over $500 worth of accessories or US$1695 for the “Bare Bones” unit only edition.


Avid Enters Into a Definitive Agreement to Acquire Orad Hi-Tec Systems for €5.67 Per Share

Burlington, MA, April 13, 2015 – Avid (Nasdaq: AVID) today announced that it has signed a definitive agreement to acquire Orad Hi-Tec Systems Ltd., a Frankfurt stock exchange-listed public company with its headquarters in Kfar Saba, Israel, for €5.67 per share in an all-cash transaction. Orad is a leading provider of state-of-the-art 3D real-time graphics, video servers and related asset management solutions. The acquisition is consistent with Avid’s stated growth strategy and Avid believes it will continue to deliver on the company’s Avid Everywhere vision, by adding key content creation and media management solutions to the Avid MediaCentral Platform, the industry’s most open, innovative and comprehensive media platform.



Transaction Highlights



                                     

  • Avid expects that the combined company will further Avid’s position as the most comprehensive provider of content creation to distribution workflows for broadcast and media customers around the world.
  •                                      

  • Avid believes the addition of Orad’s products to the Avid platform will further enhance the value of the platform to Avid customers. 
  •                                      

  • Joining the larger Avid organization opens opportunities for Orad to gain operating efficiencies and to make the innovation investments most important to Orad customers.
  •                                      

  • Avid expects the transaction to be accretive on an Adjusted EBITDA and cash flow basis, and will be financed by a new $100 million senior subordinated credit facility.




  • “We have followed Orad’s success in the market for many years and are excited about the prospects of what our combined companies can accomplish,” said Louis Hernandez, Jr, Chairman, President, and CEO of Avid. “Our industry is in a period of significant transition, in which our customers are demanding a single platform to connect creation with collaboration, asset protection, distribution and monetization. We believe this transaction further differentiates Avid as the partner with the most comprehensive solution, and accelerates our momentum as we enable our customers to operate more efficiently and profitably.”



    “Avid has a long-standing heritage of industry leadership, and it’s clear that both Avid and Orad have a common commitment to innovation and customer success,” said Avi Sharir, CEO and President of Orad. “Our solutions are highly complementary to the Avid product suite, and together we believe we can create the most comprehensive solution for the media industry. Further, Avid’s global scale and distribution network provide significant opportunities for customer support, growth and market expansion. We are confident that joining the Avid family will create more powerful opportunities for our customers, partners, and employees.”



    Transaction Overview



    Under the terms of the definitive agreement, Avid has agreed to pay €5.67 in cash for each share of Orad common stock which, at today’s exchange rate equals approximately $60 million, net of estimated cash acquired. We believe this valuation represents an approximate 6x multiple of EBITDA, net of estimated cost synergies leveraging our platform thus generating attractive economics for us and a richer, more efficient experience for our customers, said John Frederick, Avid’s Executive Vice President, Chief Administrative and Financial Officer. The transaction is subject to customary closing conditions, including approval by 75% of Orad’s shareholders and closing is expected to take place in June 2015. Avid has entered into voting agreements with holders of a majority of Orad’s outstanding shares of capital stock, pursuant to which they agree to vote in favor of the transaction. Avid intends to fund the purchase price with a $100 million secured term loan for which it has received a financing commitment.

    The Tiffen Company Debuts Its New Breed of Diffusion Filters at NAB 2015

    Las Vegas, NV – April 12, 2015 – The Tiffen Company, a leading manufacturer of Academy Award-winning solutions, will highlight the latest from its full line of Diffusion Filters with demonstrations of the subtle, yet dramatic effects of Tiffen’s Pearlescent, Satin and Black Satin diffusion filters, along with the new Black Diffusion filters at NAB 2015. This year’s recipient of the Academy of Motion Picture Arts and Sciences Scientific and Technical Achievement Award for the development of IRND Filter Technology, Tiffen filters are industry-renowned and are the choice for imagemakers worldwide. The highly anticipated Black Diffusion filter lineup will be on display at the Tiffen booth (C6019), where attendees are invited to be among the first to experience side by side filter demonstrations.



    All three of the new Black Diffusion filters will be available for demonstration and testing at NAB 2015. The selection includes:



    Black GlimmerGlass

    The new Black GlimmerGlass filter offers all of the same classic beauty-enhancing qualities as the original GlimmerGlass filter with even more subtlety. It softens fine details by adding a unique mild glow to highlights, removes harsh sharpness from modern lenses and adds a pleasing overall blending to contrast levels.



    Black Pearlescent

    Tiffen’s Pearlescent filters create a subtle new look and a special atmosphere by softening excess sharpness and contrast. Designed with its original Pearlescent predecessor in mind, the Black Pearlescent filter adds a crisp halo to spectacular highlights and gently softens the overall image with a smooth glow.



    Black Soft/FX

    Using a pattern of tiny “lenslets,” Tiffen’s Soft/FX filter lineup puts fine image elements such as wrinkles and blemishes out of focus while sharpening larger details. The Black Soft/FX filter, the latest addition, adds a special touch by giving photos a continuous softening effect with increasing atmospheric haze.



    NAB attendees are invited to see the new Black Diffusion filter line in Tiffen’s booth (C6019) for comparison with other Tiffen Diffusion Filter favorites. The live demonstration area will have two identical cameras for filter testing, set up on tripods and mounted with matte boxes to reduce the amount of environmental light from the show floor. The 4K live feed will appear on two separate split-screen monitors. On the left side of each monitor, the original image will be shown, and on the right side, the image as it appears through the chosen filter will be shown. Attendees can choose from a variety of Tiffen filters to compare images between different filters or between a filtered and non-filtered image.



    Available filters will include, but are not limited to, all three Black Diffusion filters, the original GlimmerGlass, Pearlescent and Soft/FX filters, the Bronze GlimmerGlass filter and the Black and White Satin filters.



    Pricing and Availability

    Filters from the new Black Diffusion line are now available from Tiffen. For more information, or to explore other award-winning Tiffen filter options, please visit http://tiffen.com/tiffen-filters/.

    Panasonic remote cameras chosen for Utopia

    The German version of Dutch reality TV show Utopia has selected the Panasonic AW-HE60 for the new series, which began broadcasting last month.



    A total of 37 PTZ cameras bought by Infostrada, the technical partner of Talpa Global, have been used for indoor shooting for the ProSiebenSat.1 production, airing successfully in Germany on SAT.1 and online, starting in February 2015.



    “We have chosen the Panasonic AW-HE60 cameras thanks to the good picture quality with the light conditions we create (for indoor use) inside,” said Willem Roskam, Global Technical Consultant for Utopia. “The main reason is because they come with an IR option included, that gives us the opportunity to use all the cameras during the night when there is no light inside. We are very happy with the quality of the content that is shot with the Panasonic AW-HE60 cameras.”



    Utopia is one the most recognised reality shows in the World. In The Netherlands, ‘Utopia’ airs daily on SBS6 and has nearly quadrupled the channel average in the extremely competitive early evening.



    The AW-HE60 has a 1/3 type FulI-HD MOS sensor, 18x optical zoom and 10x digital zoom, it is used extensively in reality TV, as well as in conference facilities and education.



    Andre Meterian, Director for Europe, Russia and CIS at Panasonic Broadcast & Pro AV Solutions division, said “It’s a real coup to be involved in the Utopia franchise. Reality television is at its best when participants forget they are being filmed, the super quiet movement and IR capability of the AW-HE60 sets it apart in this genre”

    Touch-screen control of ALEXA Mini and AMIRA cameras via new Transvideo StarliteHD5-ARRI monitor

    (10 April 2015, Munich)  Transvideo and BKSTS Sponsor ARRI are collaborating on a specially adapted version of Transvideos StarliteHD 5 OLED monitor. The resulting StarliteHD5-ARRI will be able to control the new ARRI ALEXA Mini and also the ARRI AMIRA.



    Constructed from aviation-grade aluminum, the rugged StarliteHD5-ARRI monitor is the size of a smartphone and weighs less than 200 g. Its compact form factor makes it ideal for weight and size-critical shooting situations, much like the ALEXA Mini. Working together closely, ARRI and Transvideo are developing a touch-screen interface for the StarliteHD5-ARRI that will allow it to control key ARRI camera functions.



    The StarliteHD5-ARRI will also be compatible with other cameras because it retains all of the monitors original functionality, including waveform, vectorscope and histogram displays, as well as a built-in recorder for H.264 rushes on SD cards. However, Transvideos regular version of the StarliteHD does not feature the additional ARRI bus interface and therefore cannot be used to control ARRI cameras.



    Stephan Schenk, ARRI Managing Director, says: Transvideo is one of the most renowned monitor manufacturers in the industry. The high standards of engineering and build quality at Transvideo will ensure that the StarliteHD5-ARRI is as robust and reliable as any other product carrying the ARRI brand.



    Jacques Delacoux, President of Transvideo, says: “We are extremely satisfied by this co-development with ARRI, which merges the creativity and know-how of our companies in their respective areas of excellence. At Transvideo we are all proud to see our name associated with ARRI cameras.”



    The StarliteHD5-ARRI will be sold exclusively through ARRI sales channels, while the standard StarliteHD 5 monitor will continue to be sold through Transvideo and its distribution network.

    THAT Studio Effects to Debut new Adobe Premiere Pro and After Effects Integration at NAB 

    San Francisco, CA: Apr. 8, 2015 . . . THAT Studio, the San Francisco-based technology and postproduction company, will showcase THAT Studio Effects, its comprehensive library of practical effects and assets at NAB next week. A new THAT Studio Effects Panel provides easy access to practical effects and assets inside Premiere Pro CC and After Effects CC. Editors, VFX artists, and independent filmmakers now have access to a complete repository of high-quality tools to enhance their creative work that they can preview, buy, and use within their Adobe applications.  



    Co-founded by entrepreneur and filmmaker Kanen Flowers, THAT Studio is building a reputation as the go-to source for filmmaking tools developed by practitioners and tested daily in real-world production conditions. In addition to offering resources for video professionals, THAT Studio is a successful production company with a unique, distributed pipeline and artists based around the world.  



    THAT Studio Effects offers over 100 GB of royalty-free assets (and growing monthly), comprising practically shot content, custom-crafted effects, plugins, presets, audio effects, and soundtrack music. Visual effects include snow, film scratches, dust, fire, smoke, and much more. The new integrated panel means that filmmakers and post artists can use them directly in Adobe Premiere Pro or After Effects.  



    “I used THAT Studio Effects on The Hunger Games: Mockingjay – Part I to add smoke, fire, and muzzle flashes to my timeline,” said Alan E. Bell, ACE. “Having the ability to embellish the cut with great effects is a no-brainer and I will use these tools on all my shows in the future.” 



    “Our goal was simple: make the whole bundle cheaper than it would be if you had to go out and shoot just one of these effects yourself,” said Flowers, Chief THAT Officer. “When we need an effect, we go out and shoot it ourselves. This is how feature films and television do it and it’s the right way to make effects look real, but not everyone has the resources or the time to do that.”  



    THAT Studio Effects are designed and tested from the user’s point of view and eliminate the need for artists to patch separate technologies together or search around on hard drives. “THAT Studio Effects doesn’t just give you a bunch of files,” explained Flowers, “it delivers a workflow.” 



    “The THAT Studio Effects Panel in Premiere Pro allows everyone who sits down at the edit station to quickly get to the footage without ever having to move too far from the timeline,” said Ko Maruyama, creative director and lead animator at Treelined Media. “Whether an assistant editor or a lead editor starts the job, the huge array of footage options allow everyone to quickly extend the potential of the cut. The clips are real footage, of practical elements, and are unlike digitally created elements. THAT Studio Effects footage looks real because it is real.” 



    Purchase includes lifetime updates and downloads of new effects in the purchased bundle. The complete library is available as high-quality QuickTime files, which are integrated directly into an Adobe Premiere Pro and After Effects panel.  



    THAT Studio is bringing six other products to NAB. 



    THAT Studio Colour 



    An innovative approach to colour correction and grading, THAT Studio Colour features 100 corrections and pre-built Looks, allowing a unique colour scheme to enhance your film, while providing a simplified toolkit for complex tasks like shot matching and balancing. Pre-built Looks provide a way to give images a more striking look and feel. 



    “THAT Studio Colour was developed by a colorist, not just a coder.” said Flowers. “They are precisely crafted tools that let you apply the right looks to add punch and emotional impact to your projects.”  



    THAT Studio Atmospheres II 



    This is a new library of royalty-free music for film and television that can be used as background music for drama, suspense, comedy, or horror films. With 50 atmospheres designed to move your story forward, each atmosphere is a wave file that comes with its stems. 



    The atmospheres are created by award-winning composer, Jesse James, who has scored film and TV. James will be at the THAT Studio booth during NAB to speak with visitors. 



    THAT Studio Presets for AE 



    More than just a collection of knobs and buttons, THAT Studio Presets are handcrafted After Effects Project files with high-quality images and layers that make sense and are easy to use. They allow motion graphics and visual effects artists to add film grain, film scratches, lightning strikes, smoke, fire, and more to their After Effects compositions. 



    THAT Studio Effects for Final Cut Pro X 



    The first That Studio collection for Final Cut Pro X includes over 100 different practical visual effects, that are automatically composited into any scene. Users simply drag the effect into their footage and choose the type of effect they want, such as fire, smoke, dust, lightning, lights, or many other options. Footage is instantly transformed into a powerful, pre-composed shot thanks to these single-click visual effects. 



    Conform Studio 



    With Conform Studio, users can automatically pre-compose their shots, batch rename them using customizable presets, extract compositions into separate files, and trim the media to reduce the amount of data they distribute to their artists. After the work is done, compositions can be replaced with rendered files, automatically updated to the latest version, or the renders can be replaced with graded files from another folder. 



    Trim N Collect 



    Trim N Collect allows After Effects artists to trim and transcode all of the media clips in an Adobe After Effects project, automatically gathering only those required, and relink to these files. Additional options provide control over the size of handles that remain, processing of images and multi-channel EXR sequences, as well as how the files are collected. This offers a single-click solution for streamlined collaboration, delivering projects to clients and partners, or archiving completed work.  



    See THAT Studio at NAB 



    Meet Kanen Flowers and see THAT Studio Effects and all THAT Studio products during NAB in Las Vegas, April 13-16 at booth SL6106.

    Launch of the TICO Alliance to Move to 4K/UHD in Live Broadcast Production.

    Las Vegas, NV – April 8, 2015 – Leading Broadcast equipment manufacturers, OEM providers, broadcasters, electronics brands and technology companies announced today the launch of the TICO Alliance.



    TICO is a new lightweight compression technology, which enables 4K/UHD to be transported over legacy SDI infrastructure and modern IP production and contribution networks. TICO has been developed by intoPIX and work is now ongoing at the SMPTE to publish TICO as Registered Disclosure Document (RDD) for the benefit of the entire broadcast and media industry.





    The alliance is a coalition of companies united to set the bar for next generation infrastructure by establishing TICO in the new IP-based Live production ecosystem that allows to seamless update and upgrade the existing SDI-based workflows. The group is created to ease 4K/UHD adoption over the current SDI and the new IP-based infrastructures.





    The group is formed by leading companies supporting intoPIX’s effort to promote TICO compression for UHD workflows: Altera Corporation, Artel Video Systems, Embrionix, Grass Valley – a Belden Brand, Image Matters, Imagine Communications, Keisoku Giken, Macnica Americas, Nevion, Ross Video, Xilinx and will be extended to all new supporters and adopters.





    Benefits of TICO compression for UHD, SDI-based and IP Live Production



    To support transportation of UHDTV streams across the IP network or the existing 3G-SDI infrastructure, a new smart, fast and light compression is needed. 10 GB Ethernet or 3G-SDI networks are widely deployed and operated cost effectively within the Broadcast landscape.





    TICO will help Broadcasters to fully benefit from a seamless, integrated and high-quality Ultra-HD ecosystem from end-to-end. With a visually lossless compression up to 4:1, TICO enables the mapping of a single 4K/UHD 2160p60 stream over a single 3G-SDI link. Over 10Gbps Ethernet, it allows the simultaneous transmission of up to 3 streams of 4K/UHD 2160p60.





    TICO provides an extremely low latency (limited to just a few pixel lines), preserves video quality across multiple generations of encoding/decoding, fits into the smallest cost effective FPGA devices and runs efficiently in software. This technology is designed to enhance live IP systems by increasing efficiency and reducing cost for both HD and 4K/UHD video.



    First step toward standardization and adoption



    In December 2014, intoPIX announced the creation of a Registered Disclosure Document (RDD) at SMPTE. This will ease the integration process of all new adopters and supporters of the TICO compression and shares recommendations to map 4K/UHD TICO streams over 3G-SDI or IP Networked infrastructures. The members of the TICO alliance are closely collaborating with intoPIX on the SMPTE RDD draft document.TICO Alliance.

    A Fistful of Euros – The Future of Film Financing in Europe. The European Audiovisual Observatory announces this year’s Cannes workshop.

    The Future of Film Financing in Europe is the theme of this year’s Observatory workshop in Cannes. This workshop will take place on Saturday 16th of May from 11.00 to 13.00 in the Salon des Ambassadeurs, Palais des Festivals, Cannes. Entry is free to all accreditations to the Marché du film or Festival. The registration form can be downloaded here.

    This year’s Observatory conference will give film professionals a valuable European overview of the current state of film financing in Europe. Kicking off with the usual round-up of key developments in last year’s world film markets (presented by Martin Kanzler), the Observatory will then give its analysis of the state of film funds in Europe (trends in direct funding presented by Julio Talavera Milla). The financial role of broadcasters, distributors and VoD services in film financing will be examined from a legal point of view (their financing obligations will be presented by Maja Cappello) as well as from an economic point of view (the actual volume of this financing will be explained by André Lange). Jonathan Olsberg of Olsberg•SPI will round off the first part of this workshop with an analysis of tax shelters, credits and rebates in Europe.

    Having given a complete round-up of film financing in Europe today, the Observatory will ask “where do we go from here?” with a panel of experts all involved in film finance in Europe. The panel discussion will include Jacek Fuksiewicz, Advisor for European Affairs at the Polish Film Institute, Caroline Van Weede, Managing Director of Cable Europe and representatives from the European Commission and film producers.

    “If you’re looking for money, you’ll come to the right place” said Susanne Nikoltchev, Executive Director of the Observatory. She added that this year’s Observatory conference would offer a “one stop shop analysis of the state of film financing in Europe” as well as asking the key questions about the future.

    The European Audiovisual Observatory will be present throughout the Marché du film on its stand (number 18.02 level 01) on the central alleyway leading to the cafeteria. Journalists and market or festival participants are very welcome to drop by in order to sign up for our workshop, receive a demonstration of our free databases or hear about the Observatory’s latest film market intelligence. The FOCUS – World Film Market Trends publication which the Observatory edits for the Marché du Film will be available on the Observatory stand (free to accredited journalists) and each Marché du film participant will receive a copy in their market bag.

    Observatory team members will be presenting their market analyses at other conferences during the Festival and Market and these will be announced in the coming weeks.

    arvato Systems Press Release: arvato Systems presents IT solutions for success in Broadcast & New Media

    April 8, 2015

    (arvato Systems) Gütersloh/Cologne – arvato Systems continues to expand its TV and new media consultancy and software solutions activities beyond European boundaries. International trade shows such as CABSAT and the upcoming NAB Show in Las Vegas are the ideal platforms to present a customized solution portfolio. arvato Systems IT solutions are built so that TV, Production and Media organisations are able to respond to the challenges of digital transformation. From April 13 – 16, at NAB 2015, we will present our range of tools and services for Broadcast and Media.

     

     

    The challenges which TV and Media organizations face through digital transformation are similar across continents. Successful workflow management means today that linear and non-linear processes in areas such as Media Asset Management, Rights Management, Program Planning and Advertising Sales, must be brought together. This applies to the European as well as the North American TV and Media industry.

     

    It is just this area that arvato Systems is focused on. The Toronto-based arvato Systems team, experts in the area of digital transformation, moved into new premises at the beginning of the year, ready for further growth. The new location boasts not only flexible office space and the latest technology, but also a location that enables arvato Systems to be much closer to our customers. The New York office has also shown its readiness for the future with a move to a new location.

     

    The arvato Systems team for NAB 2015 has brought experts from all over the world together in one place, so as to be able to offer customers and prospects precisely the kind of information and advice they are looking for. From April 13-16 at Stand SU7821 in the South Upper Hall visitors have the opportunity to get to know exactly all about the areas of our solution portfolio which respond to the requirements of the TV and Media industry.

     

    Our focus will be especially on:

     

    •         New: Collaborative Editing

    arvato Systems‘ new  EditMate application enables professional project management and collaborative working for different Adobe Premiere Pro CC users and editing seats. .

     

    •         Media Asset Management

    For optimal workflow management within the digital value chain, various Media Asset Management systems are available. VPMS and Avamio ensure that all media and their metadata are in the right place at the right time.

     

     

    •         Studio Production

    For content generation, capture and playout, arvato Systems Studio Production tool ClipJOCKEY provides a professional Ingest and Playout tool for TV broadcasters and Production houses.

     

     

    •         IPM/Rights Management

    Customers rely on Avatega and Avatega On Demand to manage centralized information and workflows – including program scheduling, contract and rights management – for all types of distribution platform.

     

    •         Cross Media Sales

    Advertisers and agencies insist on cross-media campaigns. The media sales solutions AdStore and S4AdSales help media companies with their effective implementation. S4AdOpt is also used for optimization of advertising inventory and to schedule spots.

     

    •         Media Research

    Avaresco is able to bring together, prepare and analyse all types of TV ratings information. The success of media content can measured and presented quickly, transparently and in the way you want to see it.

     

    The success of a media enterprise, in a world of digital transformation, doesn’t depend on the best migration of specific areas. The key factors is to find a way of linking all the core areas together in a collaborative, coherent and fully cross-media way. Making this possible is the arvato Systems media solutions mission.

     

    Learn more about us and what we do during the NAB Show in Las Vegas from April 13-16 at Stand SU7821 or online at www.arvato-systems.com

    BBC S&PP Digital Media Services bolsters team with new hires and promotions

    8 April 2015: BBC Studios and Post Production’s (S&PP) award-winning Digital Media Services division has bolstered its operations, business development and restoration teams with a series of new hires and promotions. With this new talent on board, combined with its existing expertise, the company will expand its service offerings and target new markets in the media sector.

     

    Daniel New joins as Operations Manager from TC Soho, where he held the role of Head of Operations. Prior to that he held positions at Crow Television and Oasis Television. With extensive knowledge of the post-production industry spanning 20 years, in this newly-created role, Daniel is responsible for overseeing the growing number and development of services and workflows Digital Media Services offers.

     

    James Mills joins as Account Executive from Screenocean, a media licensing and content management company. He is responsible for developing new relationships and revenues with production companies, distributors, archives and a wide range of other content owners.

     

    In addition, BBC S&PP Digital Media Services has made a series of promotions. Experienced digital media specialist Kevin Shaw has been promoted to Technology and Restoration Lead and Sheona Henderson takes up the role of Archive and Restoration Specialist Lead. These promotions strengthen the management of the restoration team and add senior level representation at the division management team level.

     

    In the commercial team, Scott Bayliss has taken on the new role of Bookings Manager. Managing a team of six, he ensures all clients have a central point of contact and consistent experience working with Digital Media Services. Delia Harris has also been promoted to Facilities and Office Coordinator and looks after the day-to-day management of the purpose-built facility in South Ruislip.

     

    “I’m delighted to welcome Daniel and James on board and congratulate the team on their new roles and well-deserved promotions,” said Charles Tugendhat, Director of Digital Media Services at BBC S&PP. “As we continue to expand our service offerings and target new markets, it’s vital we’re backed by a team that can handle anything clients ask for. I’m confident that with this new talent, combined with our existing expertise, we’ll succeed in delivering a seamless client experience.”

     

    BBC S&PP’s Digital Media Services team provides specialist media management services including tape duplication, compliance checks and editing, digital film restoration, storage and delivery. Recent projects include the remastering of cult classic British crime-drama, The Professionals, and the British murder mystery series Miss Marple. The company’s remastering of the David Attenborough nature documentary series, Life on Earth (1979) and Trials of Life (1990) earned its a team a FOCAL International Award. To mark the 50th anniversary of Sir Winston Churchill’s death, the team recently digitally restored the historic footage of the momentous state funeral for BBC Parliament.