WAWS Jacksonville Goes Live with Bitcentral’s CORE:news

Bitcentral has announced that Jacksonville, Fla., Fox affiliate WAWS has gone live with its CORE:news, a complete news production, media management, media sharing and archiving package.Screen Shot 2014-04-18 at 10.00.37 AM

CORE:news is modular production software that combines content capture, editing, play out, publishing, collaboration and asset management into a single system.

The tool allows the news staff “Collaborate” on project-based production including immediate logging and editing access to live and file-based sources, “Originate” unique content with a raw and finished content field-based workflow, “Reach” with multi-platform publishing and “Extend” their capabilities with raw media workflows that provide access to typically hidden and underutilized assets.

Bitcentral is a specialist in news content production, distribution, aggregation and publishing solutions. Bitcentral’s technology has used by CNN, CBS, NBC, Fox, Gannett, Hearst, Raycom Media, Belo and Media General.create_GUI

Primestream’s FORK Media Automation Integrates with Avid Media Composer

Primestream has integrated it’s FORK media automation with Avid’s Media Composer. The integration is a key feature of the FORK v4.6 upgrade, which will be available this summer.

FORK will offer Avid users an increased ability for collaboration without slowing the workflow. In addition to Avid, FORK v4.6 includes integrations with other non-linear editing (NLE) platforms, including Adobe Premiere Pro (CS6 and Creative Cloud) and Apple Final Cut Pro X.Primestream-FORKandAvidMCscreenshot

FORK v4.6 offers several new modules and third-party integrations. This includes Workflow Manager, a module that allows users to design, control and automate production processes that span multiple departments and groups within their organizations.

These capabilities improve communication and response time from engineering and support staff, provide a global view of the tasks and processes being worked on and assign tasks to specific groups or users while logging every step of the process with information for analytics.

FORK v4.6 also supports edit-while-capture workflows with XDCAM, ProRes and AVC-Intra while leveraging the benefits of the FORK media asset management and automation platform for I/O, logging, tagging, proxy editing, workflow management and archiving.

FORK also features new archiving workflows with leading hardware and software manufacturers, enabling FORK users to browse, search and filter through archived content inside their off-line storage solutions — all from within the FORK Content Navigator. Other benefits include partial file restore and availability for Macintosh and Windows OS, as well as hybrid environments.

“With an unsurpassed level of scalability and flexibility, the FORK suite is an essential toolbox for anyone working with a non-linear editing system,” said Claudio Lisman, Primestream president and CEO. “The FORK Suite is designed to minimize distraction and keep the artistic process flowing while increasing the bottom line.”

NEP Launches New Mobile Unit for NBC Sports

NEP has announced the launch of ND1, a new mobile television production unit designed and built primarily to support NBC Sports’ coverage of Sunday Night Football.

ND1 is the latest result of NEP’s Next-Generation Mobile Unit design initiative, which includes innovations for creating facilities that are highly flexible, efficient and scalable. One such innovation is a workstation design platform, which enables almost any job function to be performed from almost any workspace in the truck at the push of a button.NEP-ND1

ND1 consists of four 53-foot double-expanding trailers with seating for more than 75 operating positions. Boasting a completely 1080p-capable infrastructure and the largest routing switcher available for a mobile production facility in the U.S., ND1 is configured to support a 25 percent increase in production levels into the future.

The unit’s 100 percent fiber-optic connectivity supplies all interconnections between the trailers and from the trailers to the stadium venue. EVS XT3 media servers support tapeless, digital recording workflows with extensive embedded audio support for 16 channels.

In addition to the Evertz routing switcher, ND1 includes a Grass Valley Kayenne Elite 9 M/E production switcher and Calrec Artemis and Apollo audio consoles.

ND1 represents a completely new approach to design, construction techniques and materials — resulting in trailers that offer more interior space while taking up a smaller footprint in the compound. In addition, NEP engineers used advanced, computerized stress analysis tools from the aircraft industry to design a trailer that is stronger, stiffer and 20 percent lighter.

The result is greater weight-carrying capacity, reduced maintenance downtime, a better ride for the equipment and a longer life for both the equipment and the trailer itself.

WXIX Cincinnati Debuts FX Design News Set

WXIX Television in Cincinnati (FOX19), owned by Raycom Media, unveiled an updated news set this morning.

The set, designed by FX Design Group highlights a unique copper color palette offset by color-changing LED display and multiple high-quality monitors.gI_87128_DSC_0122

“FOX19 wanted a contemporary and versatile set,” said Stephen Ricker, set designer with FX. “We used the LED curtains to give them the ability to change color, morph the look and add motion within the many background opportunities.”

The ultimate goal was to arrive at a warm and inviting set environment. FX added rich copper tones and textures for warmth and accent colors. Copper wave walls lend not only warmth, but a brilliant texture piece which is the showcase of the set. One wall is between weather and anchor desks and the other is between the desk and the interview set.

Cincinnati weather demands an intricate working environment while remaining technology focused. An 80-inch monitor decks the weather center to show the meteorologist in action plus a large key wall for maps and forecasts.

Five working weather positions highlight the massive weather push and another front facing one was added for on-air talent workspace. This maximizes the expertise of the meteorological unit and showcases the severe weather that is often on top of Cincinnati and Northern Kentucky.

Another set area, a 3 x 3 x 46 monitor cart on wheels, lends flexibility, whether as an interview set, a breaking news area, or any number of flexible possibilities.

“The highlights of the set environment are seven LED curtains with color-changing ability and branding opportunities,” said Mack McLaughlin, CEO and creative director of FX Design Group. “Essentially, the entire set is backed by them, lending a living, breathing quality to the new set.”

JonyShot Parabolic Microphone Designed for Highly Directional Audio

Broadcasters doing sports or special events often need to pin point audio—far away from the action. JonyJib, a maker of camera motion control and other gear in Turlock, California, has a solution in its JonyShot Parabolic Microphone.

The six pound JonyShot is a handheld or tripod mounted highly directional 24-inch parabolic microphone. It can be purchased ready to go with electronics or the user can add his own electronics.jonyshot-parabolic-microphone-using

The JonyShot has two comfortable grips on either side of the dish making it easy to hand hold and aim. The bottom of the unit has a mounting plate with 1/4-inch threads for mating to a tripod for fixed or aimed shots.

The isolated microphone mount accepts most lapel, handheld or shotgun microphones offering the user complete control over the audio. It can also be equipped to accept different mounts. The microphone is aimed to the rear center of the dish where the audio is concentrated and directed into the microphone’s element.

Audio can be picked up from as little as three feet or as much as 500 feet depending on wind and weather conditions. Each JonyShot ships with tripod mounting hardware and a five foot microphone cable.Jonyshot

The basic JonyShot without electronics is priced at $1,320. The company sells a range of compatible wireless and wired microphones by Audio-Technica and AKG, as well as a Sound Devices microphone pre-amp. A hard case for the system is priced at $500.

Volicon and Kaltura Introduce Workflow for Rapid Publishing of Captioned Content to the Web

Volicon and Kaltura have announced a technology partnership that enables an end-to-end workflow for bringing live broadcast capture and captioning to the full range of digital and social media platforms.

The integrated product unites the content capture, streaming, review and clip-extraction capabilities of Volicon’s Observer Media Intelligence Platform with the automated video transcoding, publishing and management tools of Kaltura’s video platform. It allows users to facilitate delivery of “rights approved” and captioned content to all digital platforms with speed and efficiency.Volicon Observer Media Intelligence Platform Updated Image

“Our joint customers — TV stations and networks — need a seamless, fast and reliable process for generating FCC-compliant captioned content that can be viewed on any display, and that is exactly what this partnership provides,” said Gary Learner, chief technology officer at Volicon. “By simplifying and accelerating the creation, packing and distribution of this content, we help our customers gain a competitive advantage in providing timely content across virtually every outlet and viewing device.”

The Observer Media Intelligence Platform records aired broadcast content 24/7/365 and provides instant access to this content through a Web-based interface. Working at a desktop, multiple users can rapidly locate, stream and review content immediately following its broadcast; quickly mark “in” and “out” points; and extract and deliver H.264-encoded 1080i clips along with metadata — including caption information — to the Kaltura system.

Using the high-resolution clip provided by the Volicon system, the Kaltura platform creates versions of the video in all “flavors” necessary for the target distribution platforms and viewing devices.

Captioning is incorporated into each version to ensure that content meets the accessibility requirements of the FCC’s Twenty-First Century Communications and Video Accessibility Act (CVAA).

The process eliminates the need to take broadcast content back into an edit suite for processing. Because the aired content captured by the Observer Media Intelligence Platform has been produced and approved, users of all technical skill levels can confidently clip and upload it to Kaltura for processing.

Pre-built profiles within the Observer system not only streamline this process, but also assure that content is prepared correctly.

Quantel Brings New Capability to QTube

Quantel’s QTube, a technology that offers video workflows over a WAN or the Internet, has gotten a new toolset to enhance ingest capabilities.

QTube Edit, part of the new tookset, can work instantly on local content and freely mix material from other sites into the edits. It can add effects and titles to create a complete package which can then be published to any playout location.QTube

All rendering takes place in the QTube Transformer to avoid having to move large amounts of data over the WAN.

QTube Browser gives everyone with a web browser access to content via QTube — wherever in the world it is or they are. New stills grabber capabilities make it easy for web content producers to grab the pictures they need for their web sites.

QTube Browser also becomes InterSite enabled. This allows media managers to access content anywhere — including live ingests, sub clip and compile. It can be moved to where it is needed over the WAN. Everything can now be done in a browser.

QTube InterSite has an enhanced management layer that allows users to have total visibility and control of the complete infrastructure. The new management layer is web-based so it can be used from browsers anywhere.QTube chart“QTube is a complete set of tools for linking people in different places and allowing them to work together to tell their stories,” said Steve Owen, Quantel’s marketing director.

“QTube is far more than remote editing, it’s about Production Everywhere and that means ingest, edit and deliver anywhere. No limits. The new developments enable QTube to do more and allow our customers to have even more flexibility in how they meet their business needs.”

Grass Valley’s Edius 7 Streams Content Through the Cloud

Grass Valley has announced that it will provide content producers using its Edius 7 multiformat nonlinear editing software a means of transcoding to a streaming format directly from their HQ/HQX assets.

Edius 7Microsoft Azure Media Services is licensing support for Grass Valley’s HQ Codec/HQX Codec, opening new doors for Edius users by giving them the ability to upload and stream content to a wider variety of environments through the cloud.

Edius 7 provides real-time editing with the ability to edit anything, anywhere and provides a finishing tool for broadcast news, newsmagazine content and studio programs.

Designed as a native 64-bit application for Windows 7 and Windows 8, Edius 7 takes full advantage of installed physical memory access for media operations, especially layering, 3D, multicam and multitrack HD and 4K editing.

“The number of different sources and formats that content producers are working with is mirrored by the growing number of delivery formats that end users are demanding—whether that means video files, web streams, podcasts or a host of other formats,” said Mike Cronk, SVP of strategic marketing at Grass Valley.

Microsoft Azure is a cloud computing platform and infrastructure for building, deploying and managing applications and services through a global network of Microsoft-managed data centers. It provides capabilities for creating, managing and distributing media in the cloud, with support for a multitude of programming languages, tools and frameworks.

U.S. Adults Still Prefer Live TV Viewing, Study Finds

Linear (scheduled) television is still overwhelmingly the preferred method for watching TV, with 84% of U.S. adults who watch television, opting to tune in live for their favorite programs and events, a new study by BroadStream Solutions has found.

The findings additionally revealed that very few Americans want to watch on smaller screens with only 1 in 50 (2%) preferring to watch on tablet devices; 1 in 50 (2%) on mobile phones; 1 in 25 (4%) on desktops and 1 in 14 (7%) on laptops.1922_July_Science-Invention

“The range of services and options now available to consumers certainly gives them the opportunity to consume TV content in new ways, but the focal point of the living room is still the TV,” said Manish Sachdeva, CEO of BroadStream Solutions.

“Americans are still getting together with family and friends to watch TV more than any other viewing option, with 81% opting to sit around the TV to watch. Another eight percent will choose to watch TV in their living room, but are also watching other programs on their mobile or tablet devices — signaling that the second screen is still just a complimentary device.”

As part of the detailed report, BroadStream commissioned research firm YouGov to study how the television consumption habits of Americans have evolved over the past decade, finding that while behaviors may have shifted in how content is viewed, uptake across new technologies and devices is still quite low.

In the past year, 7 in 10 (71%) Americans have watched live TV; while only 26% have watched a video on demand service (i.e., digital video recorder/DVR) from their cable provider; 34% have watched an on-demand Internet streaming service (i.e., Netflix;) and only 9% have used a digital media playing service (i.e., Apple TV.)

Furthermore, Americans are watching virtually as much live TV as they were 10 years ago, but viewing experiences in the last decade have changed to accompany new devices.

Today, 82% of Americas are watching live television, compared to 83% 10 years ago (-1%). While consumption has increased across mobile phones, laptops and desktops, the numbers are still quite low as compared to common industry belief.

“What many in the broadcast industry have forget regarding linear TV is that everything evolves from traditional, scheduled playout — consumers record shows from it and there is no DVR without it,” said Sachdeva. “Linear TV is also a primary source of cost and revenue for almost all broadcasters. While over-the-top services like Netflix are creating their own content, the bulk of the content these services offer still comes from traditional broadcasters and started life as a scheduled TV broadcast.”

Panpilot Markets Steady Cam and Tripod for Small Video Cameras

Panpilot, based in Santa Barbara, Calif., is marketing the Auxiliary Panpilot Steady Cam & Tripod for any video camera weighing eight pounds or less. panpilotpress

By using the Panpilot, camera operators can absorb motion vibration and obtain the smoothest shots using a video camera or DSLR. The material is made of light weight high grade aluminum with steel counter balance weights. The Panpilot is made in the United States.

Camera operators can take smooth shots while walking, running or suddenly stopping. The Panpiliot is backed with a one-year parts and labor warranty.

The price, including a seven-inch LCD monitor, is $809.