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theibcdaily Tuesday 17.09.13 3 AMPAS Colour Predictor app AMPAS


By Carolyn Giardina Andy Maltz, director of the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, is at IBC this week and participated on yesterday’s panel on ‘What’s Next in Cinema?’ While at IBC, he also started to


talk to delegates about what’s next in the Council’s work – a developing app that has been named the Academy Colour Predictor. Soon entering beta, the app is


being created to help filmmakers understand the interaction of key elements in cinematography including the lights, camera, filters, and the photographed objects. This tool allows users to change any of the selected


parameters to instantly visualise rendering differences and compare different combinations. It was created by and grown out of the Council’s Solid State Lighting Project Committee that has been studying how solid state lighting systems respond to different digital cinema cameras — which has not been uniform. This free app will be available later this year, initially for the iPad.


S6: seriously smart Avid By Paul Watson


The new S6 control surface from Avid is raising plenty of eyebrows in Hall 7 – and for good reason: it’s scalable; it’s customisable; and thanks to deep DAW integration, it’s entirely flexible. S6 has been designed “to


grow with you at every stage of your business – now and in the future”, the company says. How? Through a clever, modular design which enables users to build their own worksurface. To get started, users have a choice of two master modules (the central hubs of any S6 surface): S6 M40 or S6 M10, both of which provide touch screen access and control, and are respectively complemented by the S6 Automation Module which provides a plethora of controls. The engine you choose dictates the maximum number of modules you can include in your


Simon Sherbourne, application specialist (audio) at Avid, with the new console at IBC


worksurface: logically speaking then, the M40 is suitable for large- scale productions, and the M10 ticks the boxes if you’re working with tight spaces and budgets. Pre-configured versions of M40 and M10 are also available. There are four channel


modules: an eight-fader module; a knob module; a process module; and an eight-channel high-res TFT display module. All of these feature reliable, high- speed Ethernet connectivity for an easy setup; and users can


OTT access to TV


Norigin Media By Anne Morris


Norigin Media was in celebratory mood at IBC this week as it revealed its new name, branding and corporate culture in Connected World. Formerly known as Aspiro TV, which in turn was once the delightfully named Rubberduck Media, Norigin Media is now owned by its three managers, Espen Erikstad, CEO; Jussi Komonen, COO; and Ajey Anand, CCO. The trio completed a management buy-out from Aspiro Group, which in turn is part-owned by Schibsted Media AS. “Now we are able to do what we want to do,” said a beaming Ajey


Ajey Anand, chief commercial officer (right) and Jussi Komonen, chief operating officer


Anand, chief commercial officer of Norigin Media. What the company wants to do is to build up its customer base in its two fields of hybrid apps and live TV hosting. It has already signed its first major customer since changing its name on 1 September: French operator Orange has agreed to deploy Norigin’s Hybrid Apps product


either mix and match to create their custom surface, or opt for Avid’s pre-configured setups. Of course, S6 is also the ultimate Pro Tools partner, offering efficient workflow through visual feedback and features unique to Avid, but what’s really innovative is that control can be extended to Logic Pro, Nuendo and other EUCON-enabled DAWs, so projects can be mixed on multiple workstations simultaneously from a single control surface. 7.J20


across its key markets, allowing Orange TV customers to have OTT access to TV and video content across multiple devices including smart phones, tablets, PCs, connected TVs and game consoles. Norigin has firm ideas about how it will do business in future. Where some companies might talk about becoming more flexible, Anand said Norigin is trying to become more inflexible and “not say yes to everything”.


The company wants to better manage the expectations of its clients, for example, and is already telling them that time to market is crucial to success. “We say if you can’t launch in six months, don’t launch,” said Anand.


As an illustration of this, he noted that Telenor has just closed down its online TV platform Comoyo with the loss of 40 jobs. “They took two years to develop the service,” he observed. 14.272


In the key of something: A DVB Blues set by Helmut’s Hermits was one of many highlights at the DVB’s 20th birthday party during IBC. On drums was Helmut ‘Doctor DVB’ Stein; on bass Bram Tullemans of the EBU; on red jacket and vocals was industry legend David Wood; playing harmonica was The IBC Dailyreporter George Jarrett; and leading the 12-bar riffs and providing backing vocals was Eoghan O’Sullivan of the EBU.


UHD via HEVC trial


Thomson Video Networks


By Holly Ashford


HISPASAT has launched a trial demonstration of Ultra HD content delivery using the HEVC compression capabilities of the ViBE VS7000 multi-screen encoding platform. The company is using the VS7000 to deliver HEVC-encoded Ultra HD content to air via its HISPASAT 1E satellite platform. Live Ultra HD video streams were demonstrated at IBC using the Thomson Video Networks technology. Facilitated by Thomson Video Networks’ MediaFlex video


operating system, the ViBE VS7000 is one of the first worldwide implementations of the emerging HEVC compression standard, designed to lower operators’ OPEX for delivery of convergent TV services, as well as traditional broadcast applications. “This demonstration plays an important role in our plans to promote the deployment of the most cutting-edge compression and delivery formats, giving our customers the ability to offer their viewers the absolute highest-quality viewing experience,” said Ignacio Sanchis, chief commercial officer at HISPASAT. 14.A10


Stealthy stabilisation VariZoom


By David Fox VariZoom has introduced a versatile five-in-one support “that is like a Swiss Army knife for video”, according to VariZoom president Tom McKay. The device is a fully- gimbalised stabiliser, as well as a three-point shooter (where a drop- down arm can be used against your chest for extra stability), and can be quickly switched between modes. It has a built-in short monopod, but can be converted to a long monopod (about 2m) with an optional accessory. There is also a hand-held mode. It can also be set down on a flat surface, “something that can’t be done with the most popular stabilisers”, he said, with both the hand-held and three-point modes self supporting. It carries up to about 2kg (a Canon 5D), with an additional weight for balance, but


McKay takes a Stealthy approach to camera support


as standard it is ideally limited to about 1kg. When not in use, it can be hung on your hip using its belt mount. VariZoom has also introduced its $600 DV MediaRig for the first time in Europe. The fully supported (shoulder and movable belt- mounted monopod) rig can carry 9kg, and is designed for DSLR and compact camera use. 11.D58


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