14
CREATION
November 2018
Focus on content creation
with a unified Avid
MediaCentral platform
Avid has unveiled a new Web-
based version of MediaCentral,
its media production and man-
agement platform. MediaCentral
features a modular ecosystem
design that can be customised to
meet specific media production
workflow needs. It also integrates
functions — such as media ingest,
logging, editing, graphics, playout,
multi-platform distribution, asset
management, storage and archive
— all within a single user interface
to accelerate media production
workflows.
In this latest MediaCentral
v2018.6 release, Avid has incorpo-
rated new enhancements across
the full array of workflow modules,
apps and services. Users can edit
content in a timeline across all apps
in MediaCentral Cloud UX, includ-
ing the MediaCentral Search and
Browse apps, empowering them
to gain better performance and
productivity. With further support
for Avid DNxHR SDR format, users
are able to work more intuitively
with improved views and interface
interaction, and develop third-
party connectors to the platform.
Raymond Thompson, director
market solution, broadcast and
media, Avid, told APB: “Media
Central is designed based on a
microservices platform, and can
be deployed in the cloud and on-
premises. We’ve accelerated our
delivery of open platforms, tools,
apps, services and solutions to
make it easier for users, so they
can work faster on smaller budgets,
and still retain viewers across all
platforms.”
One user of the MediaCentral
platform is Danish broadcaster, TV
2, which will be updating its news-
rooms with Avid news production
tools and solutions. According to
Avid, the MediaCentral platform
will serve as the foundation for TV
Raymond Thompson, director
market solution, broadcast and
media, Avid: “Avid MediaCentral
platform is designed based on a
microservices architecture, and can
be deployed in the cloud or on-
premises.”
2’s news production, and will help
enhance collaboration, increase
efficiency and productivity, and
provide a future path to the cloud
for TV 2.
Tom Bjerre, CIO at TV 2, com-
mented: “ Together with Avid,
we have a mission of building a
modern, easy-to-use and flexible
production system that publishes
across many platforms. We appre-
ciate the flexibility and openness
of Avid’s solution to enable third-
party application to seamlessly
plug into the platform.”
With the Avid MediaCentral
platform, TV 2 will develop new
workflows to meet future require-
ments with a focus on collaboration
and a story-centric approach across
all aspects of the production cycle.
The implementation of Media
Central Cloud UX will also allow
production teams located any-
where to access content through
a user-friendly graphical interface.
To enable sound companies
and performance venues to con-
figure systems to meet a wide array
of production needs, Avid has also
added a new control surface, pro-
cessing engine and I/O rack option
for its expanded Avid Venue S6L
unified live sound platform. The
Avid Venue S6L-24C surface, Avid
E6L-112 engine and Stage 32 I/O
rack are the first releases out of six
new components announced in
April this year.
The fully modular Avid Venue
S6L delivers “best-in-class func-
tionality” for a wide range of appli
cations including front-of-house,
monitor, broadcast and theatre.
According to Avid, it is the indus-
try’s only live sound platform that
offers 100% software, hardware
and show file compatibility, ena-
bling engineers to scale systems
up or down to meet their changing
requirements for control, process-
ing and I/O.
Shanghai Media Group
chooses ChyronHego’s
virtual placement
Chinese media organisation
Shanghai Media Group (SMG)
has adopted Virtual Placement,
ChyronHego’s tool for incorporat-
ing striking virtual graphics into live
broadcasts.
SMG is using Virtual Placement
to strengthen its brand presence
and create new revenue oppor-
tunities during its broadcasts of
Super League games of the Chinese
Football Association.
Yang Chao, design director,
SMG, explained: “Virtual Placement
is the industry’s most sophisticated
tool for placing eye-catching vir-
tual graphics within a programme
that not only grab the viewer’s
attention but enrich the acute
nature of visual storytelling. When
we looked for tools that could help
us build our on-air brand and grow
our viewership, we knew Virtual
Placement would be ideal.
“Because Virtual Placement is
so easy for our operators to main-
tain and use, it’s opening up many
different types of new advertising
and revenue opportunities. It’s our
first ChyronHego product, but it
won’t be our last.”
Virtual Placement uses ad-
vanced image-processing algo-
rithms to analyse incoming camera
movements in real time and add
robust, tied-to-surface virtual
graphics to live productions with-
out the need for a specialist ope
rator, expensive camera sensors,
or lengthy calibration processes,
according to ChyronHego.
Vir tual Placement’s Scene
Tracking feature makes it possible
to place virtual elements into a live
scene to make them look physi-
cally real and in harmony with the
environment into which they are
projected. The solution is easy
to learn and operate, and it can
be used to augment practically
any live broadcast scenario with
virtual objects — from physical
studio sets to much larger scenes
such as sports arenas, racetracks or
landscapes.
Ivy Wee, vice-president of
sales, Asia-Pacific, added: “Just like
broadcasters throughout Asia-
Pacific, SMG is looking to generate
more revenues in an increasingly
competitive environment. That
means engaging and exciting
viewers who expect ever-greater
sophistication in their graphics and
programming.
“At SMG, Virtual Placement
is a powerful tool for amplifying
the company brand and grabbing
the audience’s attention through
realistic virtual elements, which
creates even greater potential for
advertising placement revenue.”
Shanghai Media Group (SMG) has adopted Virtual Placement, ChyronHego’s tool for
incorporating striking virtual graphics into live broadcasts.
Fujifilm rolling out new version of Fujinon XK6x20 zoom lens
The Cabrio 20-120mm lens is now available with or without an attached
servo unit. Thomas Fletcher, director of marketing, Fujifilm Optical Devices
Division, said: “Based on the success of our Cabrio series, many of our
customers already have Cabrio drive units on other
lenses. The 20-120mm Cabrio has an optimal focal
range for a variety of shooting styles and is the
entry point lens in the series.
“If purchased without the drive unit, customers
still get the incredible optical and mechanical qual-
ity of a Cabrio — at an exceptional price.”
Designed to be convertible between the video
Camera and lens supports providers such as Chroszeil are
offering solutions to benefit users of the Fujifilm Cabrio 20-
120mm zoom lens.
production and cinema markets, the Cabrio 20-120 features a flat T3.5
from end-to-end, with no ramping. It covers an S35-sized sensor (Super
35 format). Without the servo drive, it can easily accept industry-standard
cine motors and matte boxes, according to Fujifilm.
Just as third-party manufacturers developed accessories for the Fuji
non MK lenses, camera and lens support providers are offering solutions
to benefit users of the Cabrio 20-120mm without a servo. Among them,
Chrosziel and Heden have designed lighter weight servo zoom motor
solutions for the 20-120mm. “In reality TV, camera operators often need
to hold the camera for eight to 10 hours a day. Saving a 20% of the
weight of the lens is a big deal to an operator,” explained Fletcher. “These
lightweight third-party drives integrate seamlessly with Sony’s FS series
zoom controllable hand grip.”