This page contains a Flash digital edition of a book.
28 TVBEurope


www.tvbeurope.com March 2013


eFF 3.0 and eVe By Jake Young


Emotion Systems EFF 3.0, THElatest incarnation of Emotion Systems’ audio loudness compliance and normalisation application, will be launched at NAB. eFF 3.0 features Dolby E, True Peak, Short Term and Momentary Correction using its DNA (Dynamic Normalisation Algorithm) and loudness range control. eFF 3.0 is the perfect tool for CALM compliance and also provides multi-profile loudness correction within a single file for multi-language, international delivery requirements and provides enhanced, automated operation with its improved multi-watch folder capability and its extended RESTful API.


“eFF 3.0 provides an all-inclusive and totally flexible solution for file-based loudness measurement and compliance. Over the last year, we have gained tremendous knowledge and experience whilst deploying our loudness solutions worldwide, Loudness presents a lot of operational challenges and we have been working with our customers and listening. eFF 3.0 has been developed by our R&D in order to meet these challenges and the results will speak for themselves,” said CEO MC Patel. NAB will also see the launch of eVe (Emotion Video Engine), a file-based media toolbox that comprises of a media analyser. eVe is a player and an XML export tool that allows pre-processing and preparation of file-based media for multi-platform authoring. SU8603


A Digital Library from the Society


By Fergal Ringrose SMPTE


A collaboration boost for NAB By Fergal Ringrose


TMD NAB SEESthe first public demonstrations of Mediaflex CI, a new set of tools to transform workflows and analytics for broadcast businesses of all sizes. Previously the realm of only the largest enterprises, Mediaflex CI – for content intelligence – provides the ability to design workflows and business analytics. More than just automating processes, the use


of analytics means that the system itself can make intelligent decisions based on business rules developed by the organisation, delivering huge productivity benefits. Already being implemented by a major European broadcaster, Mediaflex CI is ready to transform service-oriented broadcast architectures.


Alongside Mediaflex CI, TMD will also be


announcing the latest additions to its cloud-enabled i-mediaflex application environment. The latest modules are aimed at creating collaborative post production workflows. Creative services teams can manage the end-to-end process from wish lists and make lists through content search, browse, selection, editing, review, approvals and distribution. With i-mediaflex, producers can view, comment and approve content through apps for smartphones and tablets. TMD has a strong reputation in audiovisual


archives for public and government bodies as well as broadcasters, and NAB 2013 sees additions to its Mediaflex Collections. Additions include the ability to import and manage bulk data for large ingests, together with tracking and reporting on the acquisitions and accession process. N3425


THROUGHOUT THENAB Show, SMPTE will showcase the newly launched digital library, which enables users to search and access content including the SMPTE Motion Imaging Journal ’(1916 to the present), the society's conference proceedings, and the full suite of SMPTE standards, recommended practices, and engineering guidelines. Available on the HighWire online platform at library.smpte.org, the SMPTE digital library provides one-stop access to SMPTE resources, informing professionals about the latest technology and industry research. SMPTE's CamBook 3 is a precision tool designed to help users optimise image quality with ease and speed. Engineers can align and set up cameras to REC 709, compare/match camera makes and models, and test lenses for colorimetry and resolution. In production, the CamBook 3 helps users select the best camera for the job and serves as a useful reference both on set and in post for colour correction of images.


The DSC Labs OneShot pocket chart provides all of the colour and luminance information necessary to match and reproduce color in dailies footage. When the chart is captured on camera, it serves as a reference that allows colours to be adjusted quickly and accurately to match the look predetermined by the director of photography. L28


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52