06
UP-MIX FOR SMART AUDIO WORKFLOWS Riedel Communications BY DAVID FOX
Adapters, it can create a fully automated signal path. Roger Heiniger, Senior
The new Smart Audio & Mixing Engine (SAME) from Riedel promises “ultra-low-latency audio processing and unmatched automation” using all-new audio processing software.
SAME is based on commercial
off-the-shelf (COTS) server cluster technology to deliver enhanced processing capabilities that scale to match production needs. With 30+ advanced audio processing tools and mixers, from automatic levelling and dynamic EQ to 5.1 up-mixing, loudness meters, or signal analysers, it handles many applications. Together with the universal inputs of Riedel’s new Network Stream
Product Manager at Riedel Communications, said: “SAME will open up a whole world of new workfl ows for the audio production industry. With its powerful automation mechanisms and smart processing tools such as fi ngerprint-based dynamic equalisation and automatic loudness-based levelling, it allows professionals to focus on creativity and content rather than getting bogged down by technicalities.” SAME’s Audio Pilot offers an overview across any productions, with comprehensive monitoring and management. It also introduces process- and mixer- independent audio monitoring with fully automated path
CUTTING A SWATHE THROUGH IP WITH BLADE 4 I/O UNIT
Wheatstone BY KEVIN EMMOTT
Boasting a unique AoIP toolset in one rack unit, Wheatstone is aiming to be at the sharp end of broadcast with its fourth-generation
Smart pair: Riedel’s Dodson and Heiniger reveal SAME at IBC
switching, so users can select and listen to any running process instantly across the entire system without any manual signal routing. Jake Dodson, Executive
Director Product Management at Riedel Communications, said: “Together with our new STAGE
confi guration, management and operation platform, SAME heralds a new era of server-based solutions, addressing the industry’s need for fl exible deployment models with the ability to fl exibly scale in capacity.” 10.A31
A SPLASH OF COLOUR FOR PREMIERE PRO
Adobe BY MICHAEL BURNS
Tyler: ‘We invent, design, manufacture, test and ship everything from one location’
Blade 4 WheatNet IP I/O unit. Blade 4 adds high-speed transport protocol to its routable audio codecs, audio processing, scripting and studio control, and it does so in a compact 1U unit. It includes optional dual Opus audio codecs for streaming between studio facilities, home studios, or transmitter sites and updated CPU with GPU graphics acceleration for running customised scripts, apps and virtual interfaces directly on the Blade 4 itself. With the addition of Reliable
Internet Stream Transport (RIST), an open-source transport protocol developed for reliable transmission of video and audio in real time, Blade 4 delivers
enhanced network security and reliability, as well as lower latency and higher quality audio streaming across public internet. Jay Tyler, Director of Sales, Wheatstone, said: “When we were still adding features into Blade 3, we already had Blade 4 on the development path. We invent, design, manufacture, test and ship everything from one location, and it gives us the opportunity to spin up hardware like Blade 4 in line with what our customers are asking for.” The company is also
demonstrating the WheatNet IP audio network and a plug and play DMX console system. 8.D91
Adobe has announced a major set of improvements and upgrades to Premiere Pro. Currently in beta, but being demonstrated here at IBC, enhancements include a new colour management system that transforms raw and log formats from nearly every camera into consistent footage instantly upon import – without requiring LUTs. It also offers a wide gamut working colour space that leverages Hollywood’s industry standard ACEScct with high- fi delity tone mapping, while most-used effects, like Lumetri, are now colour space aware with smoother and more fl exible control for refi ning skin tones, balance and creative looks when working in a wide-gamut preset. Jason Druss, Senior Product Marketing Manager and Strategist, Video, at Adobe said: “The job of colour management is now more than ever falling on the shoulders
of video editors. So we set out to build a modern comprehensive colour management system that is simple and approachable for any video editor.
“This is a generational upgrade in terms of a user’s ability to take advantage of the fl exibility, the latitude and the dynamic range of their raw unlocked content, to perfect their skin tones, to mould and craft the look of their videos, and to be more creative and be able to express themselves more credibly.”
7.B35, 13.D501
Druss: ‘This is a generational upgrade’
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