Aframe Cloud Solution Teams With Panasonic

As broadcasters turn to a completely file-based workflow, they might now want to investigate cloud-based storage, collaboration and distribution technologies. London-based Aframe’s product most recently let the Association of Tennis Professionals distribute its ATP World Tour Uncovered show, which included highlights of this past week’s Australian Open, to more than 150 countries.
TVNewsCheck,

The next time broadcasters buy a new camera from Panasonic, the salesman is also going to pitch them on a new cloud-based content management solution called Aframe.

The two companies announced a partnership last week in an effort to keep video content better organized as more industries, including broadcasting, shift to file-based content. “All of this data wrangling poses a lot of difficulties right now,” says Mark Overington, president of Aframe North America. “Aframe organizes all of your content in one interface.”

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As part of the partnership, Panasonic will sell Aframe’s cloud-based solution for $1,200, giving customers 1 terabyte of cloud storage. In return, London-based Aframe hopes to expand its business past its current 40 customers in North America, where it’s headquartered in Boston.

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Aframe's cloud-based software
“For the past couple of years, Panasonic has been moving from a company that sells cameras to a company that sells solutions,” says Michael Bergeron, Panasonic’s senior business development manager. “What we’ve seen is that bigger studios have in-house systems to handle all of their file-based content, while the smaller guys are stuck with something that looks a lot like a tape work-flow. This is a cost-effective solution for the guys that can’t afford a third-party file-based content management system.”

Panasonic will package the cloud-based service, which is used not only for file management, but also for storage and distribution, with its P2 and AVCCAM cameras.

Aframe doesn’t have any U.S. customers in the broadcasting industry, but Overington says it’s “in discussions and trials with bigger broadcasting organizations and anticipate some broadcast applications by the middle of this summer.” It currently provides services to the BBC in London.

Brand Connections

Its U.S. customers include Red Bull Media House (the energy drink’s production company that focuses on extreme sports), which uses Aframe to distribute finished content to its affiliates around the world; and Veria Living, a media company focused on wellness content that films around the globe, but edits all of its content in a central New York office. By using Aframe, Veria Living can shoot anywhere in the world and quickly upload that content to the cloud, allowing editors to process it in New York.

“Aframe costs us one-tenth of the purchase of a typical media asset management system, and lets our project teams easily access and create content from anywhere and everywhere in the world — something typical MAM systems can’t do,” says Unmesh Khadlikar, chief tech at Veria Living. The company has uploaded more than 1,600 hours of content to date.

The cloud-based system most recently helped the Association of Tennis Professionals’ media partner Clean Cut Media share tennis highlights from this past week’s Australian Open as part of its ATP World Tour, presented by Rio show. Instead of overnighting shipments of tapes or hard drives, Clean Cut Media used Aframe’s private cloud network to deliver the content.

As a result, January Lo, production manager for Clean Cut Media, says they accelerated the review and approval process of highlights and promo packages, in addition to dealing efficiently with each broadcaster’s’ unique workflow and broadcast standards.

“The great thing about Aframe is that it creates proxies from hi-res files for clients to view our work immediately before we send out the final version for broadcasters to download the full original format,” Lo says.

For broadcasters, Aframe could be used as an electronic newsgathering tool that lets photographers and reporters upload raw content from the field to the cloud, and have it processed back at the TV station.

“If there’s breaking news, like a fire, you can send the [H.264] proxies into the cloud and downloaded to the studio quickly, and then broadcast the full-resolution video,” Overington says.

The photographers on the scene will need some kind of connection — either Wi-Fi or cellular — to upload that content. Aframe uses user datagram protocol (UDP) technology to upload to the cloud, which maxes out an Internet connection, resulting in faster uploads.

While broadcasters can use a file transfer protocol (FTP) to upload content, there’s always a risk of the connection being interrupted and the video becoming corrupted, or incomplete, says Overington. He added that Aframe’s software and technology is designed to pick up where a download left off if the connection becomes interrupted.

Aframe sells its storage in seats, with each seat giving customers half a terabyte of space. Overington says most customers use six to 10 seats worth of storage.

Panasonic is promoting and selling the package immediately and will share support duties with Aframe.

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Ratings

Overnights, adults 18-49 for September 25, 2016
  • 1.
    5.5/18
  • 2.
    2.6/8
  • 3.
    1.2/4
  • 4.
    0.9/3
  • 5.
    0.5/2
  • 6.
    0.2/1
Source: Nielsen

Reviews

  • Rob Owen

    Easily fall’s best broadcast network comedy pilot, NBC’s The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor. Created by Michael Schur, co-creator of NBC’s Parks and Recreation, The Good Place is a highly serialized series that’s essentially set in heaven and stars Kristen Bell and Ted Danson. NBC made five episodes of The Good Place available for review, and the show not only holds up, but also it improves, deepening characters that initially feel one-note and frequently leaving viewers guessing with cliffhanger endings to many of the episodes. The combination of snappy dialogue and winning but flawed characters makes The Good Place a great bet for fans of smart TV comedy.

  • Maureen Ryan

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  • Kevin Fallon

    In a fall TV season that’s already making a splash for championing diverse, distinctive voices in an array of projects that they created, wrote, and starred in, Better Things on FX stands out. The show is created by, written by, and starsPamela Adlon. She plays Sam Fox, the single mother of three daughters modeled after her own reality-show-ready experience raising three girls in Los Angeles following a divorce. Sam is also, like Adlon, a working actress — on shows both raunchy, a la Californication, and animated for children, like her role on Recess. It’s a refreshingly blunt take on single motherhood without sacrificing the warmth of parental love, portraying the dance between selfishness and selflessness that’s at the heart of being a parent — especially one weathering the hormonal fireworks of a household of four women at different ages.

  • David Wiegand

    The fall TV season doesn’t count as much as it used to — we already know that. But no matter how many retreads the broadcast networks throw at viewers in the next few months, this fall will be memorable because of the premiere of Atlanta on Tuesday, Sept. 6, on FX. The half-hour comedy created by and starring Donald Glover (Community), simply and brilliantly recalibrates our expectations of what a TV comedy is and how black lives are portrayed on the medium.

  • Louisa Ada Seltzer

    The second reboot of the 1980s John Candy movie Uncle Buck, bumped by ABC from midseason, has the same tired jokes you'll find on any second-rate sitcom. Too bad, because Mike Epps is appealing and ABC would be wise to keep him around for future shows, but there’s just not enough to this show to suggest it will last past summer. It also airs against NBC’s America’s Got Talent, summer’s No. 1 program on broadcast, which may make it even harder to find an audience.

  • Neil Genzlinger

    Bryan Cranston brings his Tony Award-winning interpretation of President Lyndon B. Johnson to television in an adaptation of the Robert Schenkkan play All the Way, and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of larger-than-life portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Cranston to work the close-ups and liberating him from the confines of a theater set. Cranston’s performance is a gem — in his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it.

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