theibcdaily
Still searching for MAM at IBC? Opinion
Media Asset Tracking based on a solid broadcast management platform can be a better solution explains Martin Junek, commercial director, Provys
In the last few years we have witnessed a growing popularity of Media Asset Management systems. Functionality of these systems varies from vendor to vendor. Often, there are even completely different opinions of what MAM really is. Is it an archive or a production tool? Is it an IT system or a studio engineering device? The answer is not easy because different MAM suppliers define various key MAM functions, and influence the industry’s MAM understanding. Let’s take a look at MAM
from the perspective of broadcasting or nonlinear content distribution. The ultimate goal for every broadcaster to achieve is to have clear and orderly information concerning
thousands of media assets stored on different servers, and their readiness for playout. In particular, the broadcasters require a simple visual system displaying the realtime status of every single media asset. Provys designed such 'traffic light' system and gave it a working name 'Media Asset Tracking'. The red, amber and green icons indicate 'missing', 'available' and 'TX-ready' respectively. This concept goes even deeper as each media asset contains within it a subset of essences (video, audio tracks, subtitles, etc.) and each of these essences must also be monitored using the traffic light system.
One of the first broadcasting
organisations who chose Provys’s Media Asset Tracking
Russia Today launches London news studio
Sony By Adrian Pennington
Broadcaster Russia Today has launched a UK studio facility operating a full HD news workflow. Having previously broadcast all English-language news coverage from Moscow, with opt-outs in Washington US, RT made the decision to begin producing its UK news and current affairs content in the UK, setting up a new facility in Westminster's Millbank Tower. Kit supplier CVP helped equip
the RT News Channel with a range of Sony gear. The facility features two studio spaces, which alternate between live shoots and pre-recordings. Sony's MVS-6520 vision mixer forms the backbone of the production environment, integrated with the newsroom's computer system. Three BRC-H900 robotic cameras deliver HD images within the studios, via three 1/2 inch Exmor CMOS sensors. Pan/Tilt/Zoom control is enabled through connection to an IP-
90 theibcdaily
was Arqiva. Some of their principal reasons for choosing Provys were: A huge volume of new material transmitted every day and a need to forecast the volume of media processing required for each day Media Asset Tracking allows full display of the current status enabling timely chasing of missing assets to avoid last minute panic Regular reporting back to
Arqiva’s clients regarding all stages of the planning and playout of the respective media Smooth control of all necessary content processing such as transcoding and quality control, together with all associated workflows Integration with all connected systems
In a superior way to other
broadcast management systems, Provys practises non- stop automatic proactive scanning of all in-house servers, including ingest, archive and playout servers, in order to gather realtime data on the status of all media for use by the operations team. Provys also scans all related remote ftp servers, belonging to
advertising agencies and other content providers.
The development of these interfaces was the result of joint cooperation between the Provys team and Arqiva’s engineering team who are deeply immersed in all the complexities of their IT platform. Successful integration with Diva, Media Grid and Omneon can serve as an
example of this cooperation. The Media Asset Tracking solution also brings with it additional functionalities. Principal among these is volumetrics, through which analysis of different storages is achieved. Provys monitors media volumes on servers protecting them from over- capacity and potential loss of data.
Sometimes broadcasters feel they need more sophisticated MAM, whereas Media Asset Tracking based on a solid broadcast management platform, such as Provys, can be a better and more economical solution for their facility. 2.B49
H.265 hardware codec for realtime 4K UHD broadcasts
NEC By Michael Burns
From Russia with love: The facility features two studio spaces
based system. Audio is enhanced with four Sony wireless microphone kits with ECM-77B lavalier microphones. Chris Wood, company
director of RT - TV, UK, said: “When setting up our London studios, we wanted to equip our first UK facility with the technology that sets the standard in the broadcast industry. Sony’s cameras, audio equipment, and vision mixer are recognised as staples among broadcasters the world over, and we wanted to make sure that it was this equipment that underpinned our UK news operations.” Hall 12
The world’s first realtime hardware-based H.265 compliant encoder for 4K UHD broadcast is making its IBC debut in Hall 8. NEC claimed its VC-
8150/VD-8100 H.265 realtime codec makes it possible to transfer higher quality video with a lower bit rate over any platform and terrestrial, satellite, cable and IP network. A 4K UHD total
transmission solution with the H.265 4K/60P Codec is being demonstrated, including a DVB-T2 compliant transmitter, the NEC DTL-30 Series with power-saving Doherty amplifier technology. NEC has been using the
VC-8150/VD-8100 4K UHD codec through a number of pilot systems and has participated worldwide in 4K live transmissions. In May
transmitters in the closed trials at its laboratory to demonstrate 4K transmissions over the existing DTT platform, owned and operated by Arqiva. TV Globo in Brazil also used NEC’s 4K UHD encoder for live 4K UHD terrestrial broadcasting demonstrations Also on show is the H.265 VC-800/VD-800 codec family
2014, the VC-8150/VD-8100 was used at an experimental 4K UHD live transmission in collaboration with major Korean broadcaster MBC, during the KOBA exhibition in Korea.
In the UK, BBC Research &
Development has been using NEC’s H.265 solution and
for 2K and a full HD high sensitivity camera, the NC- H1200 Series.
NEC said the compact
hardware-based VC-800/VD- 800 codec reduces the costs for HD broadcast
transmission by applying a lower bit rate than conventional MPEG-2 or H.264 technology, while delivering higher video quality.
Equipped with a 3CMOS image sensor, the NC-H1200 is a full HD camera for both fixed and portable TV
production applications. NEC said the camera offers high sensitivity and delivers high- resolution colour even under demanding high contrast situations.
The camera’s newly
developed visibility improvement technology helps deliver superior picture quality even under extremely dark conditions, while a ‘dehaze’ function is useful in foggy environments. 8.B37
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