Avid Technology announced at NAB that it will be providing the “most comprehensive system in the history of NBC Olympics” for the network’s upcoming coverage of the summer games.
“Marking NBC’s Olympics division’s and Avid’s sixth consecutive Summer or Winter Games working together, the effort centers on Avid Interplay Media Asset Management (MAM) system,” writes Carolyn Giardina for The Hollywood Reporter.
“Installed as part of a system that includes technology from third party vendors Sony and Harmonic, the Interplay MAM will be used to create two simultaneous feeds for use in London and at NBC Olympics in New York, according to Avid,” explains the article.
London’s International Broadcast Center will be outfitted with Avid Symphony and Media Composer editing systems that will be connected to ISIS shared storage and Interplay.
The Future of Broadcast Television Initiative (FoBTV) launched at the NAB Show last week with 13 international broadcast and engineering groups.
The goal is to create a global standard for digital broadcast TV, one that will enable future services such as ultra high-definition television, 3D, and mobile and Internet services.
“The challenges of a global specification may seem daunting, but the benefits of achieving such a goal are enormous,” said Phil Laven, chairman of the Digital Video Broadcasting Project in Switzerland.
The world standard is intended to replace current incompatible digital standards including ATSC in North America, DVB-T and DVB-T2 in Europe, and others.
“Over the years multiple standards around the world have cost the industry and consumer billions in any currency,” said Lavin. “Consumers now expect that their portable devices will be able to receive TV signals anywhere in the world. Thus, a single global standard is becoming essential.”
FoBTV does not plan to write the standard on its own, but hopes to work with standards-setting organizations around the world, including the Advanced Television Systems Committee in the U.S.
Social media innovation for TV was making inroads at NAB last week, but the interest in integration is even greater, according to Sam Decker, CEO of Mass Relevance.
“There are so many technology providers here, and the interest in social TV is disproportionate to the innovation,” he said during the show. “It’s such a small part of all the real estate and discussions that are happening.”
Decker notes that the tech crowd is “beginning to react to demands from producers who want more social functionality in the production process,” reports Lost Remote.
The comments suggest that social media may be where the Internet was in the late 1990s regarding TV, writes Cory Bergman in the post, adding that now “we can feel the beginning of a shift to infuse social in just about every TV production product.”
The article cites some interesting innovation in this space, including the new Engage platform from TV graphics firm Chyron, a social media prompter for TV talent from Never.no, automatic content recognition (ACR) solutions from Audible Magic and Civolution, and more.
T3 Motion at NAB this week announced the launch of two new trailer systems designed specifically for film production.
The T3MT and T41 systems eliminate the need for tracks during shooting. The camera attaches to the vehicle rather than the camera operator.
The battery-powered vehicles go forward and reverse and include a cameraman seat, Steadicam and Glidecam mounting posts, and 7-inch HD monitor.
“Few products on the market facilitate tracking camerawork from 0-15 miles per hour — tracking shots at low speeds can be arduous and difficult to manage. Our T3 Motion broadcasting products provide a tracking platform that allow for a uniquely clean and efficient production process, facilitating tracking shots without operator fatigue,” stated T3 Motion CTO Ki Nam in a press release.
The T3MT and T41 Trailer packages start at $10,000.
At the NAB Show in Las Vegas this week, Adobe demonstrated its new version of Creative Suite 6 (CS6).
Pricing has not been announced, and the company was vague about the release date, other than to say it would be ready during the first half of 2012.
The suite includes Premiere Pro video editor, After Effects motion graphics effect generator, Photoshop image editor, Audition sound editor and mixer, and additional tools for disc authoring, media encoding, script development, production scheduling, color grading and more.
“The biggest updates to existing apps come to Premiere Pro, After Effects, and Photoshop,” reports PCMag. “CS6 Premiere Pro gets a redesigned and simplified user interface, with large view for the source and preview video at top left and right. The interface is still highly customizable, and you can even switch back to its previous layout and add and remove buttons to taste.”
“Clips can now be skimmed through with the cursor, a la Apple’s iMovie, and you can mark rough in and out edits right in the clip thumbnails,” explains the article. “Markers also get more power, with color coding; comments and durations can now be assigned to them, as well. A new trim mode shows both the outgoing and incoming frames, and there’s lots more keyboard shortcut support (10 assignable) for trims and trim modes. Effects can now be applied to multiple clips using layers and masks, not unlike in Photoshop.”
At NAB, Dolby 3D, a glasses-free display standard, was being shown on a smartphone, tablet, and a prototype 4K 56-inch display.
Interestingly, viewers can adjust the 3D depth to suit their preferences. While side viewing is possible, the 3D effect is most pronounced when viewing near the center.
“Best known for its audio technologies, the company just launched its own 3D standard in cooperation with Philips, called Dolby 3D,” reports Engadget. “The platform-agnostic solution is far from ready to make its way into your living room, but it’s conceptually sound, and the prototype 4K 3D TV and mobile versions being demonstrated at Dolby’s NAB booth make us hopeful for the future.”
“As with all displays — especially those that support 3D — you’ll really need to see to believe, but we had an opportunity to do just that, and walked away very impressed,” comments Engadget.
The post includes a 3-minute video report from the show floor.
Despite the economic downturn, television is experiencing a new “golden age” in both creative and business terms, according to Bruce Rosenblum, president of Warner Bros. Television Group.
“Revenue from international has improved dramatically. The domestic broadcast, cable and syndication businesses are at a high point, and there are new buyers” such as Netflix and Hulu, Rosenblum noted during an NAB Show industry discussion group.
Rosenblum explained that international markets currently comprise almost one-third of their revenue. He said that revenue “from international more than covers the production costs of our entire sales of 26 shows.”
He noted that streaming services are becoming useful for library product and new shows, adding that Hulu and Netflix deals for CW content may have “saved the network.”
Rosenblum also stressed the growing importance of social media: “Where Facebook and Twitter can help is when you have shows that are on bubble. Several shows have gotten renewed [in recent years] because networks were aware of how much chatter was out there.”
At the NAB Show in Las Vegas, Netflix took the stage to talk about the variety of original programming it is currently working on. If the shows prove successful, this could be a new direction for the streaming service that has devoted a lot of time and resources to acquiring licensing deals.
“The freedom to make interesting shows — without a network controlling the process or the output — seemed to be an underlying theme, though I don’t think anyone actually came out and said it,” comments GigaOM writer Ryan Lawler. “In that respect, Netflix could use its newcomer status as a way to recruit more talented content creators who are frustrated by the usual network system.”
Jenji Kohan, the creator of “Weeds” and the head of Netflix’s “Orange is the New Black” series, said working for Netflix on original content is a great new business model and provides opportunities that might not be available at a traditional TV network.
Netflix’s Chief Content Officer Ted Sarandos acknowledged that delving into content creation does put the company in competition with the same people they try so hard to get licensing deals from.
“But if Netflix ends up competing for a greater share of viewers’ attention with its streaming offering, it’s only fair, Sarandos posited. After all, the increasing number of TV Everywhere apps and services are starting to encroach on its turf,” reports GigaOM.
James Cameron is calling for Hollywood to “wake up and smell the coffee” when it comes to 3D. At the NAB Show in Las Vegas, Cameron said that films should be shot in 3D rather than produced in 2D and later converted to 3D.
Cameron recently released “Titanic” in 3D, a work that took 14 months and cost $18 million. “If you are willing do that, fine. But who is willing to make a $150 million movie and then sit on the interest costs for a year while you post produce it in 3D? It is going to be a helluva lot more expensive (than shooting native 3D),” he said.
Cameron is at NAB alongside business partner Vince Pace representing Cameron Pace Group (CPG) to promote a business model for making 3D more profitable.
“With an eye toward live sports, CPG has been offering a Shadowcam ‘5D’ system, meaning that a 2D and 3D production is piggybacked on a single rig,” explains Carolyn Giardina writing for The Hollywood Reporter. “It has already been used on productions including last year’s US Open Tennis Championship and recent The Masters golf tournament. At NAB, the team is extending the camera system, with the introductions of new tools including a Shadowcam handheld camera rig and a Shadowcaster ‘5D’ mobile unit.”
“If I were producing an episodic series, I would produce it like Avatar with one 3D camera system (and extract the single eye for the 2D),” Cameron added in regards to TV production. “I would encourage people to go right to a native 3D and extract the 2D. I think episodic will gravitate toward the feature model.”
The NAB has announced it will set aside $3 million a year for a new lab designed to help broadcasters keep pace with digital media.
Kevin Gage, formerly of Warner Bros. and NBCUniversal, has been hired as the organization’s first chief technology officer. Gage will be responsible for running the new lab, among other duties.
According to TVNewsCheck: “…for now the lab will not be a place you can visit. It will be more of an investment fund, he says, seeking out the best ideas for improving the broadcast media and nurturing them with infusions of cash.”
“[W]e’re now in a situation where we can start innovating and using new technologies that are out there to be able to connect with the consumer in ways that we have never connected before. That’s really what the lab is there to do,” says Gage.
In an interview with TVNewsCheck, Gage discussed some of the projects he plans for the new lab: “In radio, we’re working on an AM engineering study that we kicked off in the last fiscal year, as well as HD radio in FM. And then on the TV side, we’re fostering innovation with mobile DTV, and we are moving forward to potentially a new broadcast standard. What would be the ramifications and the benefits of being able to go to something different in the future?”
Cloud computing has a strong presence at this year’s NAB Show, with big companies such as Amazon and Microsoft touting its possibilities.
The cloud is being promoted to meet the capacity needs created by the ever-increasing demand for higher image resolutions. Amazon Web Services and Microsoft’s Windows Azure Media Services are two solutions designed for broadcasters.
“With media production being a prime candidate for cloud services given its project-specific nature (think rent versus buy) and typically collaborative-approach, it comes as no surprise that the cloud industry is descending on Vegas and the broadcaster association put together a cloud-specific channel for the show this year,” reports Wired Cloudline.
“We’ve reached an inflection point in the industry where the studios — which have made do with just enough compute capacity that they could keep up but now that more of their work is going digital, scaling that infrastructure is difficult and expensive,” said Grant Kirkwood, CEO of Unitas Global, which is demonstrating its cloud-based rendering solution at NAB.
“With the increase of resolution from 2K to 4K being the standard, the amount of data to be rendered is through the roof. If I’m a visual effects studio, I’m going to have to render a film at 24, 25 and 30 frames per second [for TV, Blu-ray and movie formats.] At the resulting 79 frames per second, using 4K resolution, each frame is 24 gigabytes of data. Imagine what that means for a two-hour movie,” Kirkwood said.
Canon, Sony and RED may be getting all the attention regarding new camera announcements at this week’s ongoing NAB show in Las Vegas, but Blackmagic Design also has a new one to announce, and initial reports suggest it’s rather impressive.
“Priced at $2,995, where the company sees this as differing from the competition is its ability to capture film quality video on its 2.5K sensor and output it to CinemaDNG RAW, ProRes and DNxHD file formats,” reports Engadget. “That camera housing can take Canon or Zeiss lenses on the front, contains a built-in SSD within and has a capacitive touchscreen display for control and metadata entry.”
The camera also includes 13 stops of dynamic range, a built-in LCD, and color correction with DaVinci Resolve.
“Many current generation video cameras suffer from a ‘video look’ due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management,” suggests the company’s press release. “Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.”
The global media technology industry is expected to grow to nearly $30 billion over the next three years, according to new research from the International Association of Broadcasting Manufacturers (IABM) released at NAB.
“Europe is expected to take 40 percent of the global market pie, according to the fourth edition of IABM’s Global Market Valuation Report, followed by North America at 29 percent,” reports TVNewsCheck.
Services will remain the primary business driver, explained IABM’s Peter White during an NAB presentation Saturday.
“Research showed year-over-year sales growth of 3 percent, and the number of companies in profit growing to 71 percent, although year-over-year profit was down 7 percent,” according to the article.
Clyde Smith, SVP of new technologies for Fox Network’s engineering and operations, shared IABM’s optimistic outlook and enthusiasm regarding multi-platform content delivery.
“I see a change less driven by annual budget cycles and more driven by business opportunities and the opportunity to provide efficiency in operations,” Smith said at the presentation. “If you can improve the efficiency of the organization… you’ll get the funding for moving forward.”
Mobile DTV has a significant presence at this week’s NAB show in Las Vegas (April 14-19).
In addition to vendor booths touting mobile DTV solutions, demos are taking place at the Mobile DTV Pavilion (sponsored by the Open Mobile Video Coalition) and the ATSC Tech Zone, run by the Advanced Television Systems Committee.
“With more than 120 stations now on the air with mobile DTV signals and two new business groups ramping up for launch, now is the time to see the new products and services that will make mobile DTV an indispensable service,” said Vince Sadusky, president of the OMVC and CEO of LIN Media.
The Mobile Content Venture and the Mobile500 Alliance are the two groups referenced by Sadusky.
The first is “a joint-venture of 12 major broadcast groups” that has “announced alliances with consumer electronics manufacturers to bring new mobile DTV-capable devices to market and to develop external devices that will allow existing iPads and smartphones to receive live broadcast signals,” reports Broadcasting & Cable. The Mobile500 is comprised of “50 member companies that hold licenses to 437 TV stations.” At NAB, the alliance is showcasing “its solution that offers live TV, DVR type functionality for recording live TV, on demand programming, social media integration, closed captioning and interactive advertising.”
“A new range of Mobile DTV receivers will be bringing mobile viewing innovations to viewers across the country, making local news, weather, sports, entertainment and emergency alerts immediately available to people no matter where they are located,” added Sadusky.
At its pre-NAB event, Sony showed its NEX-FS700 cinema camera, a new 2K camera capable of shooting 4K with a firmware upgrade expected to ship sometime this year.
The 4K-ready camera comes with a Sony E-mount for interchangeable lenses and can record at 960fps.
“There’s also a trio of ND filters on board — 1/64ND, 1/16ND and 1/4ND — along with some impressive slow-motion capabilities, ranging from 120 to 240 frames-per-second in 1080p, going all the way up to 960fps if you’re willing to sacrifice full-HD resolution,” reports Engadget.
“The body itself looks very similar to its predecessor, the NEX-FS100, and is lightweight enough for comfortable handheld shooting,” according to the post.
The NEX-FS700 will be available in June and cost under $10,000.
The report includes a 1-minute video from Las Vegas with Sony senior VP Alec Shapiro.