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AGEING TECH ESTATES DRIVE THE MOVE TO IP AND THE CLOUD BY COLBY RAMSEY
Technology estates nearing end of life have been one of the main drivers behind the move to cloud in the media industry. This sentiment was shared by two panellists in a Showcase Theatre session on best practices in IP video delivery and the cloud, in which Gordon Brooks, CEO and Chairman, Zixi, said that looking at total cost of ownership (TCO) and doing it in the right way is a critical element of achieving the monetisation goals of the media. “We started with our VOD supply chain and slowly expanded on that,” revealed Dave Travis, Group Director of Content, Broadcast & Platforms at Sky. “I think TCO is quite often miscalculated. Our model is that there’s no value in managing black boxes, so that’s something to consider when it comes to your TCO analysis. “What we learned quickly is that unless you have a strategic vision and strategy around deployment, you shouldn’t be doing it, because you need to have the ability to spin up and spin down.” Ralf Jacob, EVP Broadcast Operations & Global Engineering, TelevisaUnivision, told the audience that his initial
Gordon Brooks, CEO and Chairman, Zixi; Ralf Jacob, EVP Broadcast Operations & Global Engineering, TelevisaUnivision; Dave Travis, Group Director of Content, Broadcast & Platforms, Sky
consideration for IP transformation also stemmed from the problem of obsolescence. “Hardware refreshes happen every fi ve or six years or so, and in broadcast this is not just a few pieces of equipment, it’s everything,” he said. “With cloud and IP transformation, the opex side of things is really what drove our multi-year approach, so hopefully that no longer becomes a worry.”
This session was followed by ‘Navigating Media’s Next Era of Change’, featuring Francesco
CINEMA CAMERA 6K DEBUTS
Blackmagic Design BY KEVIN EMMOTT
With a full frame 6K sensor, 13 stops of dynamic range, L-Mount lens mount and dual-native ISO up to 25,600, the Cinema Camera 6K is Blackmagic Design’s fi rst full frame camera. Introduced at IBC2023 and billed as a high-end digital fi lm camera, its full frame 24x36mm 6K sensor has a native resolution of 6048x4032, enabling shoots with a shallow depth of fi eld or the use of anamorphic lenses
uncropped for a cinematic look. It features a wide dynamic range, a fl exible L-Mount for lenses and a built-in optical low pass fi lter that’s custom designed to match the sensor. “The Blackmagic Cinema Camera 6K comes with full- frame sensor and OLPF which supports 3-2 Open Gate recording,” said Patrick Hussey, Head of Communications EMEA, Blackmagic. “As Blackmagic’s fi rst ever full frame camera it is an important addition to our range, enabling our customers to create distinctive cinematic content in the highest quality.” Users also get fast CFexpress
Venturini, CVP, Media and Communications, Microsoft, and Allen Broome, CEO, MediaKind. The discussion centred around the emergence of AI and the huge potential it offers in areas such as sports. “If we’re talking democratisation, AI is just one click, or one API away in terms of accessibility,” said Venturini. “We’re estimating that computer requirements to support AI will grow 50 times over the next two years. We’ll continue to invest in making Azure the world’s largest supercomputer to power AI.
“The level of information that you can gather on behaviours changes the engagement dynamics of live sporting events completely.” Broome added that getting workfl ows and content into the cloud is really the fi rst step to tapping into all the innovation that’s happening in the industry. “We use optimised AI models to improve our video compression algorithms, to make sure we’re being energy effi cient while still maintaining the best video quality,” he explained.
The Cinema Camera 6K is Blackmagic’s fi rst full frame camera
media and the camera can use Pocket Cinema Camera accessories. For users doing cloud and mobile work, the
camera records both deep bit depth Blackmagic RAW and H.264 proxies at the same time. 7.C49,
6.MS5
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