14
ALEXA 35 SYSTEM GOES LIVE Arri BY DAVID FOX
Arri is now “fully committed to entering the live production market” with its new Alexa 35 Live cinematic production system, which has just shipped its fi rst units (to Australia), with many more orders coming in. Marc Shipman-Müller, Senior
Shipman-Müller with the Alexa 35 Live, including large lens adapter
REVVING UP TO THE CLOUD Tata Comms Media
BY ANNE MORRIS
IBC2024 is witnessing the debut of Tata Comms Media, the new unifi ed brand that combines all Tata Communications’ media and entertainment entities into one business unit, including The Switch, now Tata Comms Media’s production services solution.
Located next to the AI Tech Zone in Hall 14, Tata Comms Media’s partnership with Formula E is also front and centre of its stand and is a key focus of the company’s presentations during the event. Robert Szabo-Rowe, Head of
Product Manager, Arri, said: “We have been supplying product for live events for a while, but that market [for Super35 live production] is really taking off now.”
The Alexa 35 Live “fulfi ls all the needs for live production” and includes a new fi bre adapter back (LPS-1) and fi bre base station, “which has all the interfaces live production needs, so it is easily integrated”, including 15 SDI outputs, two HD down converters, auxiliary fi bre channels and ST 2110, “for easy integration with existing live workfl ows”. It also has new live accessories, including Tally, a new handle, base plate, and a large lens adapter that “makes it simple and quick to move from handheld lenses to box lenses”, he said. 12.F21, 12.F28
SPEAKING UP FOR ACCESSIBILITY
Global Engineering and Product Management at Tata Comms Media, said the company has been working with Formula E for a couple of seasons to implement a global internet-only IP set-up for each of its events. “One of the things that’s really exciting is being able to do high- volume remote contribution with internet-based local loops,” Szabo-Rowe continued. He added that cloud
production technology has “moved on suffi ciently where we can offer a high-quality managed service. So that’s what we’re showcasing this year… more broadcasters are accepting that it’s viable and reliable”. 14.H06
Oldfi eld (left) with fellow Co-founder and Salsa Sound Director Ben Shirley
Salsa Sound BY KEVIN EMMOTT
Szabo-Rowe: ‘It’s really exciting being able to do high-volume remote contribution with internet-based local loops’
AI audio specialist Salsa Sound has brought a number of automated audio algorithms to IBC, including a new speech intelligibility metric which allows real-time monitoring of perceptual speech intelligibility. Developed as part of a UK government-funded initiative, it gives both mix and QC engineers access to a speech intelligibility score and enables changes to be made in real time to improve accessibility for audiences. Rob Oldfi eld, Co-founder and CEO, Salsa Sound, said:
“The number one cause of complaints for broadcasters is that viewers can’t understand speech properly. What we want is to provide tools that allow mixers to output more intelligible speech, with a production tool which shows how output and intelligibility is affected as you change the parameters of your mix.” Salsa is also showing its QC algorithms to detect and remove wind and rain noise from microphone feeds, glitch detection and up and down- mixing issues; and an audio workfl ow based on a limb- tracking algorithm which runs on an input video stream. 8.B77e
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