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Hong Kong’s leading Pay TV service, now TV, selects BroadStream’s OASYS Integrated Playout platform for 20+ channels

Atlanta, GA, USA– 25 November 2015 – Leading automated playout specialist, BroadStream Solutions, today announced that it is providing more than 20 OASYS playout channels to Hong Kong-based now TV, which uses advanced IPTV technology to deliver content to its customers.
now TV was looking for a channel-in-a-box (CiaB) solution to replace its traditional master control playout system in time for the new playout services.
“The OASYS platform was just what we were looking for,” said Alan Chan, VP Broadcast Operations & Engineering, PCCW . “Not only does it provide multi-channel playout of live and pre-recorded content with broadcast quality graphics from a single IT server; the system can also dynamically manage channel redundancy with 1:1, M:1 and/or M:N configurations with channel prioritization. For us this reliability and resilience were absolutely imperative in our purchasing decision.”
now TV is using a single OASYS IT-based playout platform operating on industry standard IT hardware which is controlled via an intuitive user interface, to provide all the functionality that would previously require multiple legacy systems to deliver; including  master control switchers, video servers, character generators, logo inserters, vision switchers and DVEs. The OASYS system, which was installed by BroadStream’s local distributor, Magna Systems, not only saves on investment and space, but also reduces time and resource spent on training and day-to-day operation.
After initially installing 8 primary and 4 backup channels of OASYS for playout services with graphic inserts, now TV gradually expanded the system and now uses the OASYS platform for most of its new services with richer onscreen graphics; program title keying, dynamic scrolls and channel branding.
“Upscaling BroadStream’s OASYS solution is incredibly straightforward. You can literally plug & play to launch a new channel; plus OASYS has IP in/out capability which fits into our future plans for IP playout – we already have an IP infrastructure and are delivering content to our customers using IPTV technology”, Chan explained.
“We’re very pleased with the level of support we receive from BroadStream too,” continued Chan.
”BroadStream helps us solve problems without any red tape, form-filling, or incident reports, which often slow down progress. Any issues or questions we have are dealt with promptly and professionally.”

now TV uses BroadStream’s OASYS Integrated Playout platform to playout 20+ channels and because of the system’s modular design, they can easily license new modules and channels when needed, without having to upgrade their existing hardware.
“Our ongoing relationship with the diligent team at now TV is a testament to the high quality and reliability that all of our customers can expect when they invest in BroadStream’s platform and our people,” said Ben Wolk, President of Sales & Business Development at BroadStream Solutions. 
“We’re incredibly proud to be at the forefront when it comes to improving workflow for companies that embrace technological advances in the way that now TV does.”

NTP/DAD appoints HHB Communications as exclusive distributor for UK and Ireland

London, UK, November 25, 2015: NTP Technology announces a major addition to its global reseller network with the appointment of HHB Communications as exclusive distributor for the UK and Ireland.

The agreement includes the NTP Technology AX32 2U modular audio converter system, the DX32 1U compact digital audio bridge, the Penta 720 modular 2U audio router and the compact 1U Penta 721 audio I/O interface, including the Pro | Mon monitor control options.

"NTP has an excellent reputation for the quality and reliability of its products," comments Steve Angel, HHB’s Group Sales Director. "It has also proved a highly accomplished innovator. NTP routers are widely used throughout the broadcast media business.

"NTP’s DAD product range has arguably the most prestigious client base of any company in the professional audio sector, embracing many of the world’s foremost mastering studios, post-production facilities, orchestras, music venues and record labels.

"The AX32 and AX24 have won global acclaim for their transparent sound quality, including extremely low-noise microphone preamps. NTP was one of the first high-end audio routing companies to embrace Audinate Dante Ethernet networking and has pioneered the successful implementation of uncompressed low-latency IP audio distribution. Combining the AX32 and DX32 creates an extremely versatile ultra-high quality audio capture and playback system, as well as providing a large range of digital audio I/O and powerful routing capabilities in combination with professional monitor processing."

"HHB is one of the UK’s longest established and most successful pro-audio equipment specialists," adds NTP Technology Sales Director Mikael Vest. "Established nearly 40 years ago, the company is highly respected both in the broadcast and wider professional audio sector. HHB employs a very talented and experienced team of people who clearly understand and enjoy what they do. Working with HHB on the recent Goldcrest Post Production project was a real pleasure and we are confident that it will lead to new business throughout the UK market."

SGO’s Ongoing Expansion Attracts Key Recruits – new Regional Sales Manager and Marketing Manager

Tech industry veteran Jose Luis Montero has been appointed as Regional Sales Manager for SGO’s Latin American sector, where he will play an influential role in promoting Mistika. An accomplished sales manager with over 18-years experience of developing complex I.T. projects, along with his vast background in electronic engineering and extensive knowledge of the European and Latin American market, makes him the perfect fit for SGO. He is also an impressive linguist, with proficiency in fluent Spanish, English and Portuguese. 


Jose Luis Montero says, “The technological innovation at SGO is beyond world-class and I am impressed by the brilliant Mistika artists and the cutting-edge projects they embrace. I look forward to playing my part in placing Mistika on the Latin American map as the most popular colour-finishing post production system.” 


In addition, Tanya Walker has been hired as SGO’s new Marketing Manager. She is a savvy marketeer with broad experience working with market leaders and big-brand innovators including Virgin Media, Vue Entertainment, Clarks and BMW. Tanya has recently relocated from London where she worked as an account director for a global marketing agency to Madrid, where SGO’s Head Office is based. Well-versed in all aspects of marketing, she is equipped to readily address the challenges of the post production arena. 


“I am delighted to be included in such a dynamic and brilliant team of developers working in a fast-paced creative industry. I have ambitious plans to further push Mistika’s brand world-wide like never before, armed with strong marketing campaigns, as well as help cultivate existing customer relationships, establish brand-new ones, and build-up and strengthen partner relationships in SGO’s best interests.” Tanya Walker affirms. 


“This is a very exciting time at SGO. We are passionate about our much valued customers and the creative industry they work in. Jose Luis and Tanya both share our vision, and bring with them a wealth of experience and energy. They will help us drive the Company further forward, ensuring we maintain impetus with expanding our international presence in the market. SGO’s technology has revolutionised the way post production works and these excellent additions to the team will play a crucial role in this ongoing process.”  states Miguel Angel Doncel, SGO’s CEO.


Geoff Mills, SGO Group’s Director of Global Sales and Operations adds, "We are pleased to welcome Tanya and Jose Luis as key members of the team. As SGO expands further, it is imperative that our sales and marketing strategies are in place as demand increases. They are both excellent assets with relevant expertise and knowledge and will bring enormous value to SGO and the industry.” 


Vision247 develops anti-piracy VOD platform

24 November 2015

• Secure transcoding technology delivers trackable content with unique embedded watermark for each user
• Streaming platform provides control and distribution of content

Media content distribution and IPTV specialist, Vision247, has created a bespoke video-on-demand (VOD) screening platform that enables content distributors to share and stream media assets with partners and clients around the world securely and without the risk of piracy.

Vision247 has created a unique technology that transcodes content at source before leaving a dedicated server, stamping it with a viewer specific watermark embedded into the video stream. An un-watermarked copy of the content never leaves the server. This allows simple control and management of content but also enables content providers to identify and track content if it is shared without permission.

“The current norm within the entertainment industry is to distribute using DVDs. This is outmoded, expensive and an open door to widespread piracy,” comments Petra Oblak, CEO of Vision247. “To date, DVD Distribution has been a necessary evil as review copies of most shows and movies are required. By considering how to combat piracy from the outset and building this into the distribution model created by Vision247, content providers can ensure the integrity of all its content assets.”

Easily integrated into existing infrastructure, users can view content from the password protected media content areas. Management tools such as the simple uploading of VOD content and usage monitoring, have also been designed to be incorporated into a company’s website portal.

“With Vision247’s expertise in cloud-based OTT technology we have delivered a cost-effective media streaming and viewing platform that gives businesses autonomous control and management of content and offers an accessible service for its partners to view content quickly. It is also one of the most cost effective and secure platforms on the market,” Oblak concludes.

D+P Multimedia / Camerakit.ie supplies IDX System to Power Live Video Transmissions for Cricket Ireland

Dublin, Ireland, November 23, 2015: IDX CW-F25 two-way wireless HD-SDI transmitters form the communications core of a remotely controlled video capture system recently completed for Cricket Ireland. Each transmitter is configured to carry data from a compact control unit to a remote television camera with an integrated motorised pan/tilt/zoom head. Full 1080i high definition video is simultaneously carried back from the cameras to a Panasonic AW-HS50 production mixer.

"We needed a system which would allow us to stream live television coverage of matches over the internet while also benefiting our performance analysis for the players," comments Cricket Ireland coach Peter Johnston. "A vital requirement was the freedom to place cameras at any location without worrying about power supply cables or signal feeds.

"After surveying the available sources, we approached D+P Multimedia Products Ltd who specialise in providing all leading broadcast equipment brands. They designed a complete solution for us based on Panasonic AWHE40S compact pan/tilt/zoom cameras. Video is fed back wirelessly from each camera to the control suite. The production equipment is housed in two flight cases and includes video monitors, a network switch plus a live streaming interface.

"The system is reliable, easy to learn and very efficient to operate. The IDX transmitter and Panasonic camera combination gives excellent quality high definition video in any lighting levels cricket would be played in, as well as night mode if that were ever required."

"We recommended and installed IDX CW-F25 transmitters which are fully up to the standard needed for high quality on air video contribution," adds Tommy McManus, technical sales manager at D+P Multimedia Products. "They have proved very reliable and are fully certified for licence-free use throughout Europe. Transmission range is more than sufficient for the distance required in cricket coverage. It is enhanced by the use of beam-forming technology operating over 4 x 4 MIMO channels. Adaptive variable bit rate ensures stable output under all signal conditions.

"All control, production mixing and monitoring equipment is housed in two Gator wheeled 10U flight cases which operate from AC mains. Each of the portable racks is fitted with power, video and network distribution along with slide out shelves and equipment boxes.

"Each camera is enclosed in a Dotworkz outdoor housing with custom power distribution, mounted to a portable mast which can be raised to a height of over 7.5 metres. This is a seriously strong custom-made aluminium pump-up pneumatic telescopic mast with a fully integrated tripod. It has a huge 59 mm top tube and extra thick 101mm base tube making it an exceptionally strong and portable mast that packs down in to a portable case.

"The Panasonic AWHE40S camera is connected to an IDX CW-F25 transmitter. Camera and transmitter are powered by a custom made Pelicase with six V-Lok plates wired in parallel plus IP rated waterproof connectors and six IDX CUE-D150 rechargeable batteries per mast. The batteries provide ample energy capacity to allow an entire match to be televised between charges.

"Network signals from a Panasonic AW RP50 remote controller are transmitted via the outbound link of the IDX CW-F25 to the two Panasonic cameras. Each camera is a complete one-piece head with a motorised 30 times optical zoom lens and integrated pan and tilt plus a preset memory capable of storing up to 100 positions. The camera operator can remotely guide the head through a +/- 175 degree pan range and -30 to +90 degrees of vertical tilt.

"The IDX CW-F25 transmitters simultaneously carry H.264 High Profile video back to the Blackmagic Duo video source monitors and a Panasonic AW-HS50 vision mixer which allows live mixing from both masts along with inputs from other local sources. A third Blackmagic Smartview HD monitor is configured for programme and preview multiviewing. A combined video and audio output feed is then sent to a Blackmagic Ultra Studio Express interface which encodes the live output stream on a Apple MacBook Pro using Telestream Wirecast Pro to send out to the web. Each of the two CW-F25 Transmitters supports return video, intercom, tally, RS422 remote and Ethernet networking, giving the remote camera operator the full features of a wired link. The system includes an IDX VL4S battery charger plus 12 IDX CUE-D150 146 watt-hour high-grade Lithium Ion V-Mount batteries."

Media Links Sponsors Sports Video Group (SVG) Europe

23 November 2015, Media Links EMEA part of Media Global Links Co., Ltd. (MGL), Technology and Engineering Emmy® Award winner, and the market leader in media and data transport over IP solutions, has announced it has become a gold sponsor of the independent pan-European trade association SVG Europe. 


“We officially launched Media Links EMEA at IBC this year,” confirms John Smith, head of Media Links EMEA.  “We are now looking forward to continuing to set new standards in developing advanced video technology and cement our leadership in Ethernet and SONET based solutions for contribution video for our clients across the region.  Becoming a sponsor for SVG Europe will enable us to work more closely with European sports broadcasters and introduce our technology to enable them make live remote production over IP a reality.”


Media Links’ solutions enable the process of remote production over IP through the implementation of IP gateways which work by allowing traditional 3DHDI/SDI and 4K broadcast signals to be encoded into an IP data stream.  Sync is ensured with IP Genlock over multiple points on the network, using IEEE 1588V2 Precision Time Protocol.  This space and time coding means broadcast clients can  now achieve signal transport and clean switching over both local and also, more importantly, wide area networks.


Media Links’ solutions are deployed globally by broadcasters, and major telcos and recently have been used to provide live content contribution for the Sochi Winter games and World Cup soccer, experiencing 100% uptime.

Sync, TV-to-Mobile Advertising and Engagement Firm, Launches New Mobile Ad Format

PARIS and NEW YORK – SYNC today announced its spin-off from Visiware, the award-winning Paris-based developer of interactive TV experiences. SYNC will focus on the development of Sync2AD, the new disruptive mobile ad format that offers rich synchronous experiences for agencies and brands, and its flagship Sync2TV companion screen publishing platform for broadcasters and content producers. Visiware International will continue to market its leading PlayinTV interactive TV games platform on multi-system operators (MSOs) worldwide, including Dish Network in the US.

Sync2AD, the missing link between the power of TV advertising and the performance of digital When a spot runs on TV, Sync2AD, the industry’s first TV-to-mobile advertising engine, launches a fully synchronized “rebound” ad on the mobile devices of multi-screening consumers.

First campaigns confirm the engine’s performance SYNC launched Sync2Ad initially in France with major media buying agencies such as Havas, GroupM, and OMD for brands that include Air France, Brother, Canal+, Dunlop, Rue de Commerce, Gillette, and Renault, among others, in partnership with leading mobile publishers such as the Lagardère Group, Marie-Claire Group, and Mondadori. The click-through-rates (10-35%) for the recent Sync2Ad campaigns are well above the market average for mobile display (1-5%). Sync2Ad will launch in the US in early 2016.

“The resulting performance of the Sync2Ad campaigns confirms the power of the solution and thrills advertisers,” said Colas Overkott, CEO of SYNC. “Sync2Ad enables brands and distributors to really engage consumers on the crucial mobile screens at the best moment.”

A new advertising format for engagement and activation Sync2AD amplifies TV campaigns, reaching consumers precisely when they are exposed to the spot on the big screen and potentially interested, and makes the spot interactive, independent of the network and operator.
Sync2AD creates branded engagement by completing the spot’s storytelling, but also allows for impulse purchase, registration, social sharing, and couponing, in a way that no other solution allows, when the user is receptive.

Approximately 84% of TV viewers are dual-screeners (according to Mary Meeker KPCB Internet Trends 2014). More significantly, those dual-screen viewers are spending about 50% of their viewing time using a second device (Millward Brown Adreaction, ‘Marketing in a Multiscreen World, 2014). During ad breaks, 67% of the audience’s attention shifts to mobile (United Internet Media, 2014).

Sync2TV, the leading companion screen publishing platform SYNC also provides its Sync2TV solution, which provides networks and producers with a way to create and operate companion services and apps for TV shows and TV channels with next-generation storytelling and content that includes social, gamification, memes, and video-sharing. It has been used in more than 3,500 shows produced in 25 countries. Sync2TV has powered leading global TV experiences, including those from the NFL, ESPN, ‘Who Wants to be a Millionaire,’ and ‘Money Drop,’ among others. Sync2Tv has engaged more than 100 million users and has been used by as many as half a million users on some shows.

Freeview Play Delivers Next Generation TV User Experience with HbbTV 2.0

GENEVA — November 23, 2015 — The HbbTV Association, a global initiative dedicated to providing an open standard for the delivery of broadcast and broadband services through connected TVs and set-top boxes, is pleased to announce the successful launch of Freeview Play last month. Freeview Play, a Freeview and Digital UK co-initiative, is built on the HbbTV 2.0 standard which was released earlier this year.

Freeview Play allows viewers to access advanced TV services like catch-up TV from leading broadcasters – including the BBC, Channel 4, ITV and Channel 5 – on their own schedule. It is built with HbbTV 2.0 technologies which supports the development of a range of features including HTML5 user experience and support for Ultra HD and HEVC. Free from subscription and supported by all existing broadband services, with Freeview Play viewers can watch their favourite shows whenever they want.

"The HbbTV Association celebrates last month’s successful launch of Freeview Play, which was co-developed and co-marketed by Digital UK and Freeview," stated Klaus Illgner, Chair, HbbTV Association. "HbbTV 2.0, released in February of this year, paves the way for the creation of new services which will delight and excite viewers and these features can be seen in Freeview Play."

Ilse Howling, Managing Director of Connected TV at Digital UK, "Freeview Play brings the natural next step in television and is now available on a range of Panasonic TVs and digital recorders from Humax, with more manufacturers set to launch products in 2016. Digital UK has worked closely with Arqiva to build a technical platform that can support advanced TV services through HbbTV 2.0."

Guy North, Managing Director of Freeview, "The launch of Freeview Play brings connected television to the mass market and, with our largest ever marketing campaign, we aim to make it the new normal way to watch TV in the UK."

BHS Celebrates 75th PlayBox Technology System

Hatfield, Hertfordshire, UK, November 23, 2015: PlayBox Technology, the global leader in broadcast television playout and channel branding, has completed the latest in a series of system expansions for BHS Telecommunications. The project included the integration of 10 additional channel-in-a-box servers at BHS facilities in Europe and the Mediterranean region. At the core of each channel is a PlayBox Technology AirBox server with TitleBox interactive graphics.

"We are a multi-service organisation offering a wide range of broadcast facilities and services on a worldwide basis," comments BHS Telecommunications’ CEO Hamid Rahmani.  "Our television playout business has expanded steadily to the point where we now operate 75 channels on PlayBox Technology servers. These are located at various sites around the world and operated remotely by each customer via a secure internet link. We have been adding extra AirBox servers on a steady basis over several years."

"The reliability and structural compactness of AirBox are greatly appreciated by our playout centre staff," adds BHS Telecommunications’ CTO Ghorban Shirzad. "We are also pleased to see PlayBox Technology expanding its product range with the recently announced CloudAir option which has very interesting potential for fast-start-up auxiliary channels. A key aspect of working with PlayBox Technology is the knowledge that we have access to efficient round-the-clock technical support. It is very rarely needed but adds greatly to our operational confidence and the level of service we are able to give our customers."  

"BHS has partnered with us for many years, providing remote playout and satellite broadcasting services for clients in many countries," adds Ananth Sam, PlayBox Technology Director of Solution Sales. "Each system is individually configured with the facilities specified by the relevant BHS customer, and with the desired level of redundancy.  All 75 playout channels are equipped to allow live pass-through in addition to automated pre-scheduled playout and graphics, giving each BHS client the ability to edit interstitials up to a few minutes before transmission or to inject late-breaking news. Playout can also been reconfigured to match each BHS customer’s evolving creative and technical expectations."

AirBox is a content playout and streaming system capable of operating both in standard-definition and high-definition. Designed for 24/7 unattended operation, it can be connected easily to third-party devices. AirBox supports MPEG1/2/H.264, HDV and DV streams from practically any production platform capable of providing AVI, MPEG, MXF, QuickTime or WMV content. Files from third-party broadcast content servers are natively supported.

TitleBox delivers on-air graphics which can be controlled interactively. Multi-layered simultaneous crawls, rolls, animated logos, clocks and text templates can be activated by a mouse click. TitleBox provides total control during on-air session, including text selection, running speed and transitions.

FilmLight delivers end-to-end colour control at Arab Telemedia Group

LONDON — 23 November 2015: Emmy Award winning and MENA region leading production company Arab Telemedia Group has added an integrated Baselight colour pipeline to its production and post workflows. The new pipeline allows Arab Telemedia to increase both value and productivity for its television productions.

Arab Telemedia Productions, an Arab Telemedia Group subsidiary, has been producing high quality television for the Arabian market for the past 30 years. In 2008 it won the first ever Emmy for a foreign telenovela, Al Ijtiyah (The Invasion). The company handles all aspects of a show’s creation, from idea development, production to post and final delivery.

To boost the quality of the imagery and to speed delivery, Arab Telemedia has now installed a comprehensive colour management workflow from FilmLight. This starts with four FLIP units for on-set pre-visualisation, each capable of handling four input channels. Where drama productions regularly use the same set, this is a very efficient way of creating a strong look at the point of acquisition, by adding colour correction to the output of each camera.

FLIP is part of the Baselight environment, so the colour grades imposed on set are not burnt in, but stored as metadata in FilmLight’s Baselight Linked Grade (BLG) file format – the essential component in enabling looks to be exchanged between all FilmLight systems. The BLG enhanced format contains all grade information, even Truelight cubes, conform metadata and keyframes, and can be passed to the Baselight TWO colour grading workstations in post-production where the final grade is finessed. 

As well as the FLIP on-set look management system, Arab Telemedia also uses five Daylight systems for on-set dailies and high-performance transcoding. The colour grade from the FLIP can be further refined and rendered at this point, but more commonly the BLG metadata is attached to each shot, and the grade is imposed in real time using several Baselight Editions for Avid – a software plug-in which resides in the Avid edit workstations and completes the workflow. In addition, with the new free-to-read capability in Baselight for Avid, which is now available and means that grades can be read accurately without purchasing a license, last minute grade changes can be provided in an updated AAF to any Media Composer system without rendering or licensing.


The ability to exchange the onset grades as BLGs with the editorial department, then pass them to the grading suite, ensures the DOP’s intent is displayed consistently throughout the post process. The editor always sees the latest grade during the edit and can also make adjustments where necessary. It makes the final grade a much easier and shorter process.

“We first used this set-up on Waed Al Ghareeb (The Promise),” said Talal Awamleh, CEO of Arab Telemedia Group. “This is a high-value, high-profile 30 part episodic and we wanted it to have great production quality, even in a tight timescale. We talked to the FilmLight team at IBC in 2014 and realised that the renderless, metadata-driven colour environment they had built using Baselight tools and the BLG workflow had huge potential.” 

“At that time we were making a huge investment in Avid technology, so the fact that Baselight Editions could add colour grading to the edit stations was a significant benefit,” he explained. “It means we can see precisely what the finished product is going to look like, at any point from the set to the finishing suite. Producers are reassured and we know we are getting the best possible quality, quickly and economically, because we have a colour pipeline that is without equal in the Middle East.”

Arab Telemedia is currently producing two high-end drama series, Malik bin Al Rayeb and Rakan Bin Hithleen. The TV series will be aired during the next Ramadan (June – July 2016) and are utilising the same FilmLight and Avid workflow.

Mark Burton, sales director at FilmLight added, “High pressure drama production is being transformed by the Baselight collaborative workflow. Scenes that appear regularly will always look the same because standard looks can be developed and repeated, so everyone in production gets to work with the latest grade – meaning there are no compromises in post and the creative intent remains. Additionally, because we are only building metadata, there is no waiting for renders or for large files to be transferred again and again.

“The result is that everyone, from the DoP on set to the editors and the final colourist, can concentrate on getting the very best out of the material without any restrictions on the creative process,” Burton said. “All that means a better programme, delivered faster.”