#IBC2023
STUDIO TECH BECOMES MORE ACCESSIBLE THROUGH EDUCATION Pixotope
BY KEVIN EMMOTT
Virtual production specialist Pixotope is encouraging industry partners, vendors, creative agencies and educators to get in touch at IBC2023 as it looks to make studio technology more accessible through its Pixotope Education Program. With so many different touch points and disciplines in virtual production media workfl ows, there is no standard curriculum
or training programme that covers it all. Pixotope says its education programme evaluates requirements and attempts to connect educators, courses and students to the tools and expertise they need. The programme aims to give graduating students a path into various aspects of the industry, as well as providing its partners with a talent pool from which to recruit. It provides access to the software and tools that drive virtual production to encourage experimentation, helps students
65
Pixotope Education Program hopes to address the virtual production skills gap
develop skills with industry- standard technology, and connects educators to experts from the global Pixotope community who can add breadth, depth and
context to different curriculums. The company is encouraging universities, colleges and other institutions to visit them in Hall 6. 6.A16
MAKING SMARTWORK SMARTER WITH TAILORED TOOLS Tedial BY DAVID FOX
Tedial has unveiled smartPacks, which are claimed to offer easy- to-use tools that quickly deploy packaged business capabilities (PBCs), bringing new business services and products to the media and entertainment industry. smartPacks are a key element of smartWork, Tedial’s cloud-native NoCode media integration platform. The pre-packaged smartPacks include: integration with NRCS
Pick a Pack: The smartPacks range from AI enrichment to sports
rundown, to enhance effi ciency and facilitate timely delivery of news; integration with NLE/PAM to streamline content transfer for post, including timeline metadata; automatic logging from external
metadata sources for sports, such as OPTA or EVS; repurposing media for social media platforms; using automated processes to streamline localisation services; delivering seamless playout, whether linear
SCTE-35 TOOLS FOR ADS ON STREAM Tellyo
BY ADRIAN PENNINGTON
Broadcast-grade ad-break SCTE-35 markers are now included within Tellyo’s fl agship Stream Studio solution. Richard Collins, CEO of Tellyo, is confi dent that these functions and tools will empower content creators to monetise their content effectively. “The content creation, distribution and consumption landscape has undergone a dramatic transformation in recent years,” said Collins. “With nearly
or OTT; securely preserving archive media in multiple tiers and locations for quick retrieval and long-term accessibility; or migrating metadata and media from a legacy MAM or other system to a new MAM. Julian Fernandez-Campon, CTO, Tedial, said: “By providing a modular and customisable approach, smartPacks allow organisations to select and implement the services that best align with their individual requirements ensuring that they can optimise their media operations based on their specifi c needs.” 10.D45
effective content distribution, monetisation has emerged as a critical concern. “I’ve previously said that even
Stream Studio adds manual and asset-triggered SCTE-35 markers
3.5 billion people projected to consume online video content in 2023 and online video’s potential to reach 92% of the world’s population, advertisers now have
unparalleled access to consumers through new media models.” As an increasing number of content creators turn to FAST channels for rapid and cost-
creators of niche and specialised content can now easily reach massive audiences,” added Collins. “This latest update to Stream Studio enhances the opportunity to monetise these audiences effectively.” As an example, Tellyo claims it can enable more than £1 million in daily revenue opportunities across a live event with a 500,000 global audience using dynamic TV ad insertion and targeted sponsorship opportunities. 1.C37e
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 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80
