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Hospital group Artemed selects TV servers of company Motama (Press release)

Saarbrücken, March 3rd, 2015

Wireless live TV at the patient’s bedside available on Android tablets

Hospital group Artemed has successfully installed an advanced TV system provided by company Motama in two of its ten hospitals: ‘Hospital zum Heiligen Geist’ in Kempen and hospital Tabea in Hamburg (Germany).

As part of the system, TV signals are received by satellite and forwarded to the IP network of each hospital. At the patient’s bedside specifically configured tables of company Samsung are provided running the Android operating system.

By distributing TV streams wirelessly, the inconvenience of installing an expensive wired network can be avoided. For saving bandwidth in the Wifi network, servers of company Motama convert the original TV streams into the more efficient AVC/H.264 format and distribute them to the tablets using a protocol for adaptive streaming best known from the Internet, the so called HTTP Live Streaming protocol (HLS). Using this approach, channels of German public broadcasters, private broadcasters and the pay-TV group Sky are provided within the hospital network.

In addition, TV sets with large screens are also integrated into the TV network by connecting them to set-top boxes of company Amino Communications, which are also served by Motama servers.

‘We are very satisfied with the products and the support of Motama. Therefore, it was an easy decision for us to select Motama again for the second installation,’ says Stefan Vogel, Head of Information Technology at Artemed.

For realizing a user-friendly control and user interface for the tablets at the patient’s bedside, Artemed group has developed a custom management system, which will be installed in all upcoming installations.


London, UK- 3rd March 2015Altered Images, a leading reseller of technology for the television production and corporate communications markets, has today announced a major contract win from London Tamil Media, worth over £1 million. Altered Images has been selected to deliver an international television station with TV studios and radio studio complex at the broadcaster’s new site in Ruislip, providing an end-to-end solution from consultation and design through to system integration and support.


A UK-based community channel with a strong focus on social integration with the Tamil community worldwide, London Tamil Media will go live in April 2015 and broadcast via the Eutelsat 9A satellite. Installation of the new facility is now underway and will comprise a TV studio, galleries, and two radio stations, including the first Ross Video three-camera virtual studio in the UK.


Altered Images will supply and install Ross Robotics, Ross Inception for social media integration, Ross XPression graphics, Broadstream Oasys for integrated playout, WideOrbit Automation for Radio, a Phonebox comms system, Object Matrix and EditShare storage solutions, Geevs ingest servers, XenData archiving, five Sony HD camera chains,  Adobe Creative Cloud editing licenses and Custom Consoles desks.


David Johnson, Altered Images Managing Director comments, “This project is very exciting for us as it gives us exposure and builds our reputation outside our traditional post production base and we’re delighted that London Tamil Media has chosen to work with us. For a fast turnaround project like this – just two months from signing the contract to on air – our expertise and in-depth understanding of the products being installed is a unique advantage.”



Fareham, UK – 3rd March, 2015 SGL, a leading provider of content archive and storage management software for media and entertainment, has announced a major sale of its FlashNet content management system to an established TV and radio broadcaster in Japan. FlashNet will provide an end-to-end digital archive workflow for drama content production.


The installation sees SGL FlashNet fully integrated with the broadcaster’s Avid Interplay | Production workflow. Under the control of Avid Interplay | Production, SGL FlashNet archives and restores material to and from Avid ISIS | 7500 online storage and Avid ISIS | 2500 nearline storage devices. Operators have the additional capability to utilise an SGL FlashNet watch folder to archive material shot on Sony’s HD SR (444) format.


SGL FlashNet provides the engine that drives Avid Interplay | Archive. Built around a clustered architecture, FlashNet allows virtually infinite scalability of the archive, providing Avid users with an integrated archive regardless of size, from the smallest stations to the largest network operation.


Donald Li, SGL’s Director of Sales APAC says, “We’re delighted to accommodate the archive requirements for the drama programming output of this renowned broadcaster in Japan. This is an important production process that requires careful management in order to preserve and to safeguard valuable content. Utilising FlashNet will ensure the broadcaster’s content is protected while its archive is future-proofed for many years to come.”


Boinx Hits the 2015 New Media Expo Floor to Show Off BoinxTV 2 Beta

Puchheim, Germany – February 27, 2015 – Making their way to the site of one of the biggest broadcasting shows of the year, Boinx Software will be joining the ranks of innovators at New Media Expo 2015, taking place in conjunction with the NAB Show from April 13th through 16th at the Las Vegas Convention Center. Exhibiting at booth N8012 video experts from Boinx will be showcasing the latest version of its broadcast truck-in-box broadcast solution, BoinxTV 2. A plug-and-play broadcast production package, the Mac-based BoinxTV lets users combine live camera video, clips, photos, 3D graphics, lower thirds and audio to create recordings and stream live presentations, podcasts, concerts, sporting events and more. Boinx will also unveil the new BoinxTV Broadcast Graphics Machine.

To demonstrate its immense power and suitability for podcasters and broadcasters of all levels, attendees to the show can stop by to see BoinxTV 2 Beta in action as experts put on a production live from the NMX show floor. Taking productions to the next level, the much anticipated BoinxTV 2 features native streaming support via RTMP to YouTube, Ustream, Twitch.tv and more; direct manipulation via a newly designed, easy-to-use UI; and 64bit support, which makes running out of memory virtually impossible. Combined with the all-new BoinxTV Broadcast Graphics Machine, a hardware/software solution for broadcast graphics with support for SDI playout with alpha channel, booth visitors will see how BoinxTV 2 is the perfect solution for all of their live production needs.

What’s New With BoinxTV?
BoinxTV 2 (Beta version scheduled for end of April)

·         Native streaming support via RTMP to YouTube, Ustream, Twitch.tv and more

·         New UI that makes using BoinxTV 2 even easier than before, with a modern look

·         Direct manipulation instead of fiddling with settings

·         More options for automation

·         64bit support makes running out of memory virtually impossible

·         BoinxTV with integrated BoinxTV ATEM Controller, which supports full integration with production switchers from Blackmagic Design, including the ATEM Television Studio and ATEM Production Studio 4K

BoinxTV Broadcast Graphics Machine

·         Hardware/software solution for broadcast graphics based on a Mac mini with a Blackmagic Design DeckLink 4K Extreme card in a 19” rack mount enclosure

·         Playout via HD-SDI with Alpha channel support

·         Visualize real time data including sport scores, weather, stock chart, news feeds and more

·         2D and 3D graphics

·         Integrate interactive elements such as a Twitter feed

·         Play any video format, scale, crop and convert to fit your needs


NAB Show Focuses on Over-the-Top Content Delivery

WASHINGTON, D.C. — NAB Show, the world’s largest annual conference and expo for professionals who create, manage, and distribute entertainment across all platforms, will feature sessions, workshops, and panels discussing today’s content landscape and the prominent role that over-the-top (OTT) video delivery is playing within it. The convention takes place April 11 – 16 in Las Vegas.

Leading off the conference on Monday, April 13, from 10:30 a.m.-12:00 p.m. will be the Super Session “Constant Cravings – Using OTT to Win the Next Generation of Viewers,” which will address the evolution of the OTT landscape in 2015, particularly as it pertains to loosening pay TV subscription requirements and the opportunities arising from increased time-shifting and place-shifting alike.

Beginning on Tuesday, April 14, through Wednesday, April 15, NAB Show will host the Online Video Conference, which will feature discussions around topline issues that subscription-based content providers face when monetizing video across a variety of platforms. Featured sessions will include “Now Playing: How Sports and Gaming Are Driving Live-Streaming” (Tuesday, April 14), “Pay TV 2.0 – Adapting to Viewers’ New Expectations” (Tuesday, April 14), "The Evolution of OTT’s Hybrid Monetization Models" (Tuesday, April 14), and “Cracking the Mobile Video Equation in the Era of Pocket-Sized TV” (Wednesday, April 15), among others.

“Today’s consumers want access to their favorite content anytime, anywhere,” said Chris Brown, executive vice president of Conventions and Business Operations at NAB. “This new paradigm creates new challenges for media professionals – how to deliver the best content experience, what platforms to create that experience for, and lastly, how to best monetize throughout. We are pleased to host discussions that answer these questions, and more, at NAB Show.”

On Tuesday, April 14, the Digital Strategies Exchange for Television (DSX4t) conference, sponsored by Internet Broadcasting, will feature presentations that focus on the intersection of digital and television. “Digital Headliners” will address cross-platform initiatives, while “The Business of Digital Services” will highlight digital service strategies. “Ask the Digital Expert” will feature social, video, and programmatic monetization strategies. Additionally, the Broadcast Management Conference will examine the regulatory environment as it relates to OTT services and traditional broadcasters in “You Down With OTT? FCC’s Wheeler: Yeah, You Know Me.”

In addition to the aforementioned sessions and conferences, NAB Show will also feature the Connected Media IP Pavilion, which will focus on IP-centric technologies (such as IPTV, OTT, mobile, social, and cloud) and how they enable audiences to receive, discover, interact and engage with content across any device. Via a combination of exhibits and seminar programming, the Connected Media IP Pavilion, located in the North Hall of the Las Vegas Convention Center, will educate attendees on the best ways to create and deliver a superior multiscreen audience experience.

Key NAB Show exhibitors in the OTT community will display the latest in authentication solutions, cloud technology, set-top-boxes, streaming platforms, television automation, and more. Exhibitors in this space include Akamai, Audible Magic, bitmovin, Brightcove, Civolution, Envivo, Ericsson, Erstream, SmartOTT, LEIGHTRONIX, Mediapro, RR Media, Screen Systems, Syncbak, Telarity, VITEC, and more.

From Monday, April 13 – Thursday, April 16 in the North Hall, SPROCKIT returns to NAB Show to spotlight startups that have developed creative solutions to challenges facing the media and entertainment industry today. Many of the 2015 participants, including aioTV, Bcast, Unruly and Videolicious, are addressing key issues surrounding OTT – everything from social video advertising to livestreaming video across multiple devices. In the SPROCKIT Hub, attendees can experience these new solutions and attend lively panel sessions addressing the changing media landscape and topics like OTT and cord-cutting.


(Feb. 20th 2015, Munich) – ARRI is proud to announce the L10, the newest edition to its L-Series family of LED Fresnels, which also includes the portable L5 and mid-range L7. The introduction of the L10 fulfills ARRI’s mission to provide a full line of high-performance LED Fresnels to the film, broadcast, theater and live entertainment markets.


The L10 is the brightest and largest L-Series lamphead to date. Its substantial 10” Fresnel lens and powerful output allow for more distant fixture placement and the wrapping of light around objects in a natural and pleasing way. At more than twice the brightness of the L7, the L10 is also one of the brightest LED Fresnels on the market.

Tuneability is the cornerstone of all ARRI LED fixtures and much like the L7 and L5, its smaller counterparts, the L10 is fully color tuneable. With the ability to adjust the color temperature from 2,800 – 10,000 K, as well as the green/magenta point, users have complete control over the color output of the fixture.

As with the other L-Series lights, the L10 comes in three versions: the L10-C (Color), L10-TT (Tungsten Tuneable) and L10-DT (Daylight Tuneable). While the L10-C is the most versatile with regard to color tuneability, producing vivid colors with saturation control, the L10-TT and L10-DT are brighter than the L10-C and still offer a select CCT tuning range.

In a robust housing that combines aluminum with high-strength, fiberglass-reinforced thermoplastics, the L10 is designed to withstand the stresses of diverse professional environments, from motion picture sets to television studios and everything in-between. This robust construction allows the L10 to live up to the benchmark of rugged durability set by other ARRI lighting fixtures.

Consuming only 400 watts, the L10 is incredibly energy efficient. The L10-TT and DT versions have a brightness level close to that of a 2,000-watt tungsten Fresnel. This means that with the same amount of power as consumed by a single conventional 2 kW tungsten light, you can run five L10s and achieve almost five times the light output. 

The L-Series family signifies a paradigm shift in the way television studios and motion picture sets can be lit. The flexibility and tuneability of the L-Series allows for rapid and easy changes of color, which in turn makes more creative options available in a shorter period of time. The color quality and rendition outperform most LED products on the market.

With the L10 now released, the ARRI LED family represents a full line-up of powerful and versatile fixtures. Whether for a small television studio or a major motion picture, the L-Series can provide the perfect Fresnel light source.


ENENSYS NAB preview 2015

Booth no: SU6824

ENENSYS Technologies is a leading designer and manufacturer of digital TV transmission systems. Its products sit between encoding/multiplexing and transmission, facilitating signal distribution over a wide variety of networks including IP. ENENSYS is the world leader in broadcast network technology, providing powerful optimisation and regionalisation solutions. The company covers the key standards such as DVB-T, DVB-T2, LTE Broadcast, ATSC and ISDB-T. It develops the technology embedded in its products and has released 15 patents to protect its intellectual property.



OneBeam ISDB-Tb – The first of ENENSYS’ market-leading DTT solutions to be launched across Latin America is OneBeam. OneBeam solves the problem of being unable to use the same satellite capacity to deliver services for both DTH and DTT networks. Before OneBeam, two separate networks have been required to deliver a content bouquet to DTH and DTT (ISDB-Tb) viewers because receivers for one could not use signals from the other. A solution was an economic imperative for DTT markets especially in single frequency network environments. Already deployed across multiple DVB-T/T2 markets, ENENSYS has used its renowned engineering expertise to make the multiple headend and regional transmitter technologies that form OneBeam compatible with the ISDB-Tb standard used across Latin America.


OneBeam provides a single feed with no modification of the A/V stream and therefore very significant OPEX savings. OneBeam is a central solution in ENENSYS’ DTH network optimisation capabilities.


OneBeam additional benefits: In an ISDB-Tb environment deploying OneBeam also avoids the problem within ISDB-Tb of having to send a proprietary stream over the satellite delivery network to transmitters. Instead, the same MPEG-2 transport stream can be delivered over satellite as over the DTT network. This means that services can easily be monitored across the delivery network because of the standardised signal. It also means that operators have one delivery network with multiple services. At each transmission site they can easily select the services they require, thereby using one delivery network across multiple regions yet offering regionalisation.


Memnon Strengthens EMEA Management Team with Appointment of Paul Shonfeld as Sales and Business Development Director

Brussels, Belgium: 23 February 2015 – Memnon Archiving Services, the trusted partner for digital preservation, enrichment and accessibility of audiovisual and cultural archives, today announced the appointment of Paul Shonfeld as Sales and Business Development Director Europe, Middle East & Africa.  Shonfeld who took up his post in January 2015 will be responsible for expanding Memnon’s existing key accounts and building new customer opportunities to help drive regional sales operations for the company’s digital archiving services.  He will also be responsible for building relations with systems integrators and technical partners.

Shonfeld comes to Memnon with over 20 years of international sales and business development in the professional television industry having held key positions at Silicon Graphics, SGL, Verizon, Omnibus and ViewCast.

“We are delighted to have someone of Paul’s calibre on our team as it underscore our ongoing commitment to our customers and prospects in the EMEA region,” said Michel Merten, founder and CEO of Memnon.  “Paul’s wealth of knowledge of the global broadcast industry, his extensive contacts across the region and his technical understanding provides us with a first rate player who has built a career on delivering results.”

Merten continues, “Paul’s vast experience in new market development, direct and indirect sales management will be extremely valuable as we further strengthen the Memnon business in EMEA.”

Memnon offers a range of services to digitise, restore, preserve and provide access to recordings from virtually any audiovisual or film format. It can provide the digitisation service at its headquarters in Belgium, its US facility in Indiana and its shared facility with Media Guru in Noida, India, or provide support for on-premises processing anywhere in the world. The company also provides secure long-term storage and indexing of audiovisual archives, providing access either to the public or to a selected target audience.

Memnon will be exhibiting at next month’s CABSAT show at the Dubai World Trade Centre, 10 – 12 March 2015 – hall 3, stand D2-20.


3sixtymedia installs 20 Baselight for Avid seats

LONDON — 23 February 2015: 3sixtymedia, which provides post-production, creative services and studio crewing for broadcast productions in the north of England, has added a Baselight TWO colour grading system with Blackboard control panel. To integrate grading into the entire post workflow even more closely, the company has also installed 20 Baselight for Avid seats for its Avid editing stations and Protools dubbing theatres.


As television production is continually under time pressure, when looking for a grading system 3sixtymedia placed seamless workflows as a priority alongside distinctive creative capabilities. The ability to integrate and collaborate – in real-time – using plugins in the editing suites and audio dubbing was a huge advantage for the FilmLight solution, as it ensures that producers always see the latest graded images simultaneously across departments. 


“Producers and directors have always expected to see the best pictures wherever they are,” said Neil Parker, senior colourist at 3sixtymedia. “If they see something in one room, they expect to be able to see it across the entire facility. The Baselight workflow means we can achieve this – a director or producer can be in one of our three dubbing theatres or six finishing suites and see the latest grade, without waiting for projects to be transferred or pictures to be rendered.


“It also means when we set a grade in Baselight it isn’t locked down,” he added. “If the shot gets re-edited – which it often does – they can see the changes to the grade in the edit suite. If they extend a shot, for instance, the grade will follow. The producer does not need to wait for the grading suite to be available to finish it. That is a great bonus and a huge time saver.”


Part of the 3sixtymedia service is advising producers on how to achieve their creative aims, which includes recommending the use of the best cameras for the job. In turn, this means their finishing facilities have to be able to handle any format, including very high-resolution images from cameras like ARRI and RED. Baselight – just like all the FilmLight tools for dailies, editorial and VFX – can handle virtually every format in use today, and its engineers ensure that any new formats that come along are added to the capabilities.


The facility has just delivered the second series of Robson Green’s Tales from Northumberland, a personal travelogue documentary largely shot using the Canon C300 camera, plus helicopter footage and more. The series aims to make audiences aware of the natural beauty of the area, and the Baselight grading suite helps to achieve this ambition by creating the highest possible quality in pictures.


"The beautiful landscapes and sweeping vistas of Northumberland are a vital part of the success of ‘Tales From Northumberland," commented Stuart Ramsay, producer/director of the series. “I was delighted with the Baselight colour grade achieved by Neil Parker, which took our footage to a whole new level.”


The Baselight and Baselight Editions installation at 3sixtymedia follows a similar implementation at ITV Studio’s new Coronation Street production base close to MediaCityUK. Both use Avid ISIS as the central shared storage, with editors and grading workstations accessing common data and colour and effects information stored as metadata, making for a very fast, efficient and renderless workflow.

Sony and Imagine Products Partner On New LTFS Archiving Solution

February 19, 2015 - Imagine Products, Inc.™ and Sony [SNE] have partnered to bring a new archiving solution to Mac users. Imagine Products has created an LTFS archiving application, PreRoll Post™, to be used in conjunction with Sony’s Optical Disc Archive (ODA). This single user archiving solution uses USB 3.0 and checksum technology to deliver top-quality archiving results.


PreRoll Post is an LTFS archiving application that creates thumbs, proxies and rich metadata while backing up files and folders to multiple locations at once. It also utilizes checksum technology to ensure that the files and folders are copied 100 percent accurately. Users simply drag and drop files and folders into the queue for copying to the disc.


The Optical Disc Archive from Sony utilizes blu-ray discs to store large volumes of files safely and securely. The USB 3.0 drive plugs directly into compatible Mac computers and is ideal for long-term file protection and management. File and folders are stored on a 12-disc cartridge, for more than 18TB of uncompressed data with fast random file access.


"PreRoll Post builds upon Imagine’s expertise in easy to install and use media management software geared toward the media industry," says Dan Montgomery, President of Imagine Products. "The ODA from Sony is really an incredible piece of hardware. It provides the user the ability to use the 12-disc cartridge function as a single unified volume. You combine that with PreRoll Post and you’re looking at a secure, reliable LTFS archiving solution."


PreRoll Post MSRP $499 available at www.imagineproducts.com


Optical Disc Archive (ODSD77U) MSRP $8,600 available at www.sony.com