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Say Goodbye to Patchwork Workflows — Avid MediaCentral at IBC 2017

Step back in time two decades to taped-based media production. You would quite likely find a ‘patchwork quilt’ workflow, Scotch tape’d together with equal measures of inspiration and perspiration. Within the last decade, converting to a file-based workflow harmonized the content and yielded efficiencies, but the digital tools required to stitch together the silos – asset management, news rundown, editing, storage, graphics, transcoding and playout – continue to present a challenge for anyone in the business of content creation.

This is mainly because most vendors focus on solutions to address one or two links in the digital production chain. Few manufacturers have the resources and scope to take a holistic approach to the entire workflow. While the effort is immense, the rewards are huge – streamlining the workflow yields productivity gains that give newsrooms, post facilities, and creative teams of all sizes the power to create and deliver more content in shorter timeframes.

Fast-forward to the explosion of content coming in from many different sources, all of which needs to be ingested, tagged, stored and made accessible.  On the distribution side, consumers expect to be able to receive content on any device, at any time, wherever they are. And this is all happening as broadcasters face increasing economic pressure to streamline operations.

Addressing this not insignificant challenge was the primary goal behind the development of the all-new Avid MediaCentral, the industry’s most comprehensive platform for media workflow, announced at IBC 2017.

Avid MediaCentral is the first media platform to integrate newsroom, sports, post and live production workflows into a single, scalable user experience. It delivers the same high performance and reliability whether you have a team of two, or a global media enterprise with hundreds of distributed contributors. It’s a simple premise: start with the capabilities and workflows you need now, and add components as you grow to expand and accelerate production.

There are five primary workflow modules: Asset Management, Editorial Management, Production Management, Newsroom Management and Graphics Management. Other capabilities can be added through a variety of media services, user apps, editor panels, and third-party connectors to search, edit, manage, and distribute content, as well as integrate tasks, rundowns, social media, and real-time graphics into your workflow.

The MediaCentral suite drives efficiencies in three ways: ease of use, collaboration and deployment.

MediaCentral | Cloud UX

The task-oriented, HTML5-based MediaCentral | Cloud UX interface is designed to help you jump right in and start working immediately. Even as you add new modules to your workflow, MediaCentral | Cloud UX makes every new tool familiar, and keeps you productive – no more bouncing between multiple tools to complete projects. You can even access MediaCentral through dedicated iOS and Android apps, with the same interactive experience and simplicity.

Different teams, media, and workflows can be seamlessly connected, putting an end to work silos and making real-time collaboration a reality for remote contributors. Tracking down content has never been so easy. MediaCentral provides global search and browsing capabilities, enabling team members, wherever they are located, to quickly find and access relevant video, audio, news scripts, and documents across the entire MediaCentral ecosystem.

One very cool feature – and a huge time-saver – is phonetic search. With this feature you can locate every clip that contains a specific spoken word or phrase in milliseconds—across all available storage and archives. Editors don’t even need to leave the comfort of their editing application, as MediaCentral can be accessed directly from within Media Composer or Adobe Premiere Pro CC.

The all-new installation and deployment app, MediaCentral | Deploy, completely automates software installation across every enterprise platform service, and handles all basic configuration automatically, making installation orders of magnitude faster than manual processes, and greatly reducing the risk of human error

What’s more, the modularity of the MediaCentral platform dramatically simplifies licensing and user management. With every element of the media workflow now part of a single, unified system, administrators have one central place to switch modules on and off, manage licensing, and designate user roles and permissions. Licensing and user management for every module, app, and tool all takes place at the platform level.

This modularity also makes it easy to migrate operations to the cloud. MediaCentral gives you complete choice and flexibility to handle media production in the way that best suits your business—on premise, in a private data center, public cloud, or with a hybrid model.

Developing the new MediaCentral eco-system has been Avid’s largest-ever engineering project. We firmly believe that it will serve your needs for the next decade and longer, helping you create better content faster, deliver to more outlets and devices, and maximize the value of your media.

Avid MediaCentral

MediaCentral accelerates your workflow, scaling from the simplest to the most sophisticated solutions for post production, news, sports, and asset management.




Where Ideas Become Reality — Avid Maestro | Virtual Set

Virtual sets are a staple of broadcast presentation for all manner of programming, from news and sports, to children’s and magazine shows. As the technology has grown more sophisticated, however, so has the complexity and cost required to install, maintain and control it.

Most virtual sets require camera tracking which can be challenging to set up and maintain. In recent years, the trend has been toward integrating and synchronizing more and more cameras, with more points of potential failure. Tracking can also lag behind real-time camera movements, causing graphics perspectives to be out of line, potentially exposing your green-screen trickery.

At the same time, budgets remain tight and broadcasters can feel constrained having to work with existing designs while the competition shows off the bells and whistles of their flashy new studio.

But there is a way to create outstanding photo-realistic environments and interactive 3D virtual objects, and reduce the complexity and cost of virtual set operation.

Avid Maestro | Virtual Set is an all-in-one solution that tightly integrates hardware, software and camera tracking  to produce unique virtual environments that might not be physically or financially possible with a conventional set.

Captivate viewers with a single solution

Maestro | Virtual Set lets you present your stories in the most captivating ways imaginable. It provides all the tools you need to create and control fully immersive 3D virtual studio environments to enhance your storytelling. With its limitless creative possibilities, it offers an effective way to capture audience attention, present content in compelling new ways, and add visual excitement to news, sports, and entertainment productions.

 

Present content in creative ways

With tight integration between its dedicated hardware, software, and camera tracking technologies, Maestro | Virtual Set makes it easy to design unique virtual environments that might not be physically or financially possible with a conventional set. From standalone virtual studios, to interactive data-driven 3D virtual objects when paired with Maestro | AR, Maestro | Virtual Set delivers unmatched flexibility and power for any type of production environment that can all be easily controlled by a single operator.

You can also combine Maestro | Virtual Set with Maestro | TD Control to add even more visual excitement to your set. This pairing enables you to add 3D real-time graphics, video, augmented reality content, images, visual effects, and live data feeds across multiple high-resolution video displays in your virtual studio.

Get highly accurate camera tracking

In addition to working with Pattern Recognition and Opto-Mechanical tracking, Maestro | Virtual Set now comes with Avid’s new Xync 2.0 advanced infrared camera tracking system. Comprised of all-new high-resolution surveillance camera hardware and software, this new system offers a larger multi-camera tracking area, so it requires fewer surveillance cameras. With a full 360-degree range of movement, you gain free mobility within any virtual or conventional studio, enabling you to produce the most realistic virtual studio and augmented reality productions.

 

Controlled by a single operator

Controlling the system is equally simple and requires just a single operator to manage the virtual background and the on-air graphics. This is facilitated using an enhanced web browser interface, which is installed on the same HDVG real-time graphics rendering platform that renders all virtual studio content, eliminating the need for a main processing computer.

Track every move with precision

Avid’s new advanced Xync 2.0 infrared camera tracking system offers a larger multi-camera tracking area, so it requires fewer surveillance cameras. With a full 360-degree range of movement, you gain free mobility within any virtual or conventional studio, enabling you to produce the most realistic virtual studio.

If you already have a camera tracking system in place and don’t want to replace it, that’s not a problem. Maestro | Virtual Set is an open system that works with all leading  third-party tracking systems, including those from Vinten Radamec, Shotoku, Egripment, Mo-Sys, NCam, Telemetrics, BlackCam and more, enabling you to continue to leverage your existing investment using your own encoded cranes, manual/robotic pedestals, and other equipment.

Get a fully integrated workflow

This open integration also extends to support for all popular newsroom systems, including MediaCentral | Newsroom Management (formerly iNEWS), while also supporting a broad range of editing systems. Last but not least, Maestro | Virtual Set works natively with a wide range of studio automation and playout systems.

Maestro | Virtual Set naturally supports most 3D modeling tools, so you can design sets in 3ds Max, Maya, Cinema 4D, and others and bring them into Maestro | Virtual Set to create onscreen virtual studios and virtual objects.

 

Your platform to engage, and protect your ROI

With Maestro | Virtual Set, you can change the look and feel of your entire studio environment as quickly as you can imagine it, with rich textures, depth and perspective.

Less becomes more. Fewer cameras are required and the enhanced tracking system provides more flexibility of camera movement, and more accuracy, with a negligible two frames of delay for the entire system. Not only is the infrared tracking system highly accurate, its fully redundant architecture makes it incredibly reliable too.

OPEX costs are reduced too. Maestro | Virtual set can be managed and controlled by a single operator.

Maestro | Virtual Set enable studios operating even on modest budget to create eye-popping, hyper-realistic viewing experiences to keep audiences coming back for more.

Where Ideas Become Reality

With the new Maestro | Virtual Set, you can easily create photo-realistic environments and enhance any production to better engage viewers and enhance storytelling.

 

LEARN MORE




Avid Studio Suite Solutions Fuel Graphics Creativity for Ireland’s TV3

TV3, the Republic of Ireland’s leading commercial broadcaster and a key member of Avid’s preeminent client community, knew where to turn to revitalize its traditional daily studio production. From ingest to playout, TV3 now has an end-to-end Avid workflow entirely built with comprehensive tools from the tightly integrated Avid MediaCentral® Platform.

The leader in Irish TV entertainment has adopted next-generation graphics solutions from the Avid Studio Suite including 4Designer, the foundation of all Avid real-time graphics systems, to enhance content for newscasts, panel shows and sports programming.

TV3’s journalists are also utilizing Avid’s on-air graphics and video solution, Avid Maestro™, to easily create, manage, distribute and playout stunning high-resolution 3D graphics, without always needing to rely on its graphics team.

In this video interview, two key members of the TV3 team discuss their investment, from specification to purchase. “The commercial and creative benefits of the Avid solutions were most appealing to our business structure,” commented Eoin Brennan, TV3’s Post Production Supervisor.

When testing Avid 4Designer, Liam O’Neill, TV3’s Head of Graphics, knew it was a solution that could be integrated without his graphics team having to retrain: “The very first time I sat down and worked on 4Designer, I found it very intuitive, making it an ideal solution for my teams at TV3.”

TV3 has also invested in a support contract with Avid Global Services to provide bespoke programs that empower the users and operators to get the best out of the graphics solution, increasing the lifetime value of these new assets.

To hear more from TV3, and the next-generation Avid solutions enhancing their day-to-day operations, watch the video now!

Captivate Your Audience, Everywhere

With Avid graphics solutions, you can entertain and enlighten audiences through powerful visual storytelling, stunning imagery, and enhancements, so they keep tuning in for more.

 

AVID.COM/GRAPHICS




Virtual NDR studio in Kiel — More Flexible Design with Avid

Green walls meters high, a desk in the middle, and a wood veneer on the green floor: since May 2016, NDR has been broadcasting its regional Schleswig-Holstein programming from a virtual studio in the regional broadcasting station in Kiel. What were the reasons for the change, and how satisfied is NDR with the result?

Even technologically uninitiated television viewers are now familiar with the concept of a virtual studio: Instead of using a real set, news presenters stand in the middle of a large blue or green box. The monochrome background serves as a mask, and by means of a key, it can be removed from the video image. In this way the large green area filmed by the camera can be replaced by a virtual, artificial background, which can include computer-generated scenery, or graphics such as photos.

In 2015, in Kiel, capital of the German state of Schleswig-Holstein, Norddeutscher Rundfunk (NDR, Northern German Broadcasting) converted its television studio 1 to this type of virtual production environment. Here virtual technology from Avid Technology was used. In April 2015, Avid, a producer of video postproduction and audio solutions with headquarters in Massachusetts, USA, took over Orad, a long-standing specialist in virtual studio technology.

For NDR, virtual technology was by no means an end in itself. “The idea of the editorial department,” explains Matthias Rach, Head of Production of NDR radio and television in Kiel, “was to work with large images that appeal to viewers and immediately involve them in the topic.” In a real studio set, it is difficult to show large background images with different shots and perspectives. Thus a large green box was an obvious solution. “We then considered what technology we would need, and very quickly arrived at a virtual approach,” says Rach.

An essential difference between a virtual studio and a conventional green screen is the camera tracking. This makes it possible to combine camera motions exactly with a graphics computer, so that the virtually generated studio set reproduces all of the camera motions. No matter whether zooms, pans or tilting of the camera are involved, the graphics processor obtains position data that are as exact as possible, and can then calculate the graphics segment precisely. But how are the camera motions captured? This is in fact a central element of every virtual studio. For this purpose various technologies are used, often in parallel, in order to increase the precision. NDR in Kiel selected the camera robotics and sensor system of the Japanese manufacturer Shotoko which, like Avid technology, is often used for virtual studios.

Presenter duo in the new NDR regional studio

The control is similar to what we had before,” explains Christian Graf, camera operator at the studio. “However, previously discrepancies were not as relevant as they are now. Now every camera setting must be linked with the background. Therefore, camera position values for tilt, panning and focal length are specified. Every camera must achieve these values precisely for each presentation position.”

The use of a presenter duo with various studio positions permits a significantly more flexible broadcast design. In the virtual studio there are four Sony HDC-2400 studio cameras, each with three 2/3-inch CCDs. However, one camera serves only as a backup, in the event of unexpected failure of one of the other three cameras. “Since we have a relatively small studio, we must use a fairly wide-angle approach,” explains video engineer Norbert Sieben. The cameras are equipped with Fujinon DigiPower box lenses, 6.5 to 180 mm, 1:1.5.

A special feature of the virtual studio in Kiel is that the cameras are mounted on mobile Vinten pedestals which, however, are locked in place. The camera supports are not moved, and the position of the cameras is changed only with regard to height, panning, tilt and zoom. The cameras and the graphics system must work together precisely, and the camera position data must be transmitted accurately.

“If the values no longer correspond, this can be seen in the images,” explains Sieben. “The background then begins to float behind the foreground.” During the system installation, a base calibration was carried out. “This calibration is very demanding,” says Philip Schwenzer, Project Manager from Avid. “The cameras are aligned with fixed measured points, in approximately ten different positions, to determine the exact location of the cameras.” Sensors from the robotics manufacturer Shotoko capture the position data, which are transmitted to the Avid system. The Avid rendering and graphics platforms constitute another key element of the virtual studio. Finally, four HDVG+ render engines combine the real and virtual image content; each engine is responsible for one of the four cameras. The HDVG+ is based on server components, which Avid equips with special graphics cards and video boards developed in-house. The graphics computers, in a 19-inch housing three units high, work with a Linux operating system. A tracking set processes the position data for the respective camera, transmitted by the Shotoko system via a network. From this, a render engine calculates the image segment and combines the real foreground with the virtual background. For this to succeed, the key or mask described above is also required.

A Challenge for Video Technology

For this purpose, NDR in Kiel uses an Infuse keyer integrated into the HDVG+ system. The parameters must be adjusted precisely to ensure a clean mask – one of the main responsibilities of the video engineer. “The keyer must always be exactly right,” explains Sieben. “For example, shading can be seen here on the image, if the key is not set perfectly.”

The diffused green lighting of the studio background presents a challenge for the video engineer. “Due to the comparatively small distances from the green screen, a relatively large amount of green light from the background is reflected on the news desk and presenters,” explains Sieben.

Matthias Rach, Head of Production at NDR Kiel, in the control room of the new studio

Painting the extensive walls of the studio set green is far from sufficient to achieve a clean chroma key. For the key, uniform illumination of the entire area is necessary, because the mask is generated for a particular color tone at a defined intensity. “We illuminate the studio background with approximately twenty area lamps, each with three compartments,” explains Maria Lindinger, lighting engineer at the studio. Here NDR uses Integra area lights from the lighting specialist Despar. Smaller area lights from Nesys serve to illuminate the news presenters and the real set, comprised of the studio desk and floor elements. In contrast, Lindinger uses the classic Fresnel lenses from Desisti sparingly: “We use the Fresnel lenses for backlighting and in part as supplementary lighting. However, they cast shadows that are too sharp. Therefore, in the virtual studio we prefer to work with area lighting.” For each of the individual presentation positions in the studio, lighting effects in the studio are illuminated and stored in the lighting control console. The regional studio works with a Grand MA2 lighting console. “We retrieve the lighting cues from the lighting console, according to the editorial workflow,” explains Lindinger.

The opening sequence of the program Schleswig-Holstein Magazin presents a special challenge. It begins with the presenter duo standing in semi-darkness in front of the virtual background. The camera zooms in on the presenters, while the illumination of the presenters is gradually increased. “The presenter lighting consists primarily of area lights,” explains lighting engineer Lindinger. “When we increase the illumination during the zoom, this results in a difference of a good 150 lux in the illumination intensity of the background. Even though the area lights are equipped with doors, the light cannot be directed so precisely that none reaches the background.”

Video engineer Sieben adds: “The beginning sequence is the most difficult for the keyer.” He has therefore stored several presets in the keyer. “For the opening sequence, the key has a somewhat fixed setting. For the other positions we use a softer setting,” explains Sieben.

Although the HDVG+ is a real-time graphics platform, the complex calculations cannot be performed entirely in real time. As a result, there is a several-frame delay. This must be taken into account in the audio signal path, otherwise the sound would no longer not be synchronized with the images. The audio engineers therefore set a delay of four video frames (160 milliseconds) in the Stage Tec Aurus audio console. Meanwhile, the background or studio graphics are fed in via the Avid Maestro Media Engine, controlled by a graphics operator. The complete broadcast workflow is transmitted from the Annova OpenMedia editing system, via a specially configured software interface, to the Maestro graphics system. The editors develop the entire broadcast workflow in the OpenMedia system where, by means of an Avid plugin, they can insert the broadcast graphics. These are then transmitted to the Maestro system, together with their exact position data. The implementation of the required MOS software interface was one of the responsibilities of Avid Project Manager Schwenzer.

The Maestro software runs on a control computer, which controls two other Avid HDVG2 graphics platforms. These each have two playout channels, making a total of four channels. “I have two insert channels and two full-screen channels, which I can record independently,” explains graphics operator Jannis Redmer. The background graphics and text inserts for the studio presentations are combined in the HDVG+ systems.

The text graphics for pre-produced contributions are added in the Sony MVS-7000X video mixer, in the downstream keyer. Thus, with the implementation of virtual production, less has changed for video mixer Ronja Reinke than for other colleagues in the studio team. The crew agrees that for virtual production, a higher level of concentration and even better communication are required. But does the new production environment fulfill the expectations of NDR? Martin Bechert, editorial project coordinator, appears very satisfied with the result. “Everything that we planned journalistically, that we had considered in advance, is possible with this studio. Now we can integrate large images, and we have a presenter duo format.” The use of presenter duos was part of the new broadcast concept. “It enables us to divide different perspectives on a topic between the presenters,” explains Bechert.

NDR Kiel Head of Production Matthias Rach summarizes: “With the large-format images, we are also taking into account changed viewing habits that have developed due to tablets and smartphones. One objective was to improve the visibility of the broadcast on these mobile devices.” This also seems to be reflected in the ratings: “We cannot conclusively evaluate the response yet,” says Bechert, “however, the trend is that in comparison to last year we have an increase in audience share of approximately three percent.”

Captivate Your Audience, Everywhere

With Avid graphics solutions, you can entertain and enlighten audiences through powerful visual storytelling, stunning imagery, and enhancements, so they keep tuning in for more.

 

AVID.COM/GRAPHICS




Ready to Connect at InfoComm 2017 in Orlando

InfoComm 2017 is the largest pro-AV event in the Western Hemisphere, with nearly 1,000 exhibitors, thousands of products, and 40,000 attendees from 110+ countries.  This year the annual event will take place June 14 – 16 in Orlando, FL at the Orange County Convention Center.

Visit us at Booth #4153 in the Immersive Technology Pavilion

Avid is pleased to once again present a select range of products on the exhibition floor as attendees see the latest audiovisual technology, learn skills to advance their career and grow their professional network. 

If you’re attending the conference, be sure to stop by our booth where our team of product experts will be happy to demo any of our solutions for Live Sound, Pro Mixing, Video Post Production, Video Wall Control, and Storage.

Be our guest at InfoComm

Want to attend the InfoComm Exhibit Hall for free? Register online for your complimentary pass using Avid VIP Code EXH. In addition to the hundreds of exhibitors, this pass will also give you access to the Opening Reception, Immersive Technologies Pavilion, Park, and Center Stage.

 

REGISTER ONLINE

VENUE | S6L

VENUE | S6L—The Next Stage in Live Sound

Avid VENUE | S6L is a modular live sound system that offers unprecedented processing capabilities—with over 300 processing channels. S6L delivers unrelenting performance and reliability through its advanced engine design and backs it up with modern touchscreen workflows and scalability to meet any challenge.

We will be demonstrating the new VENUE 5.4 software update for S6L that introduces advanced new workflows to meet the challenges of even the most complex theatre and house of worship productions.

VENUE | S3L-X

There will also be a technology preview of S6L connecting to the Stage 16 I/O box (normally part of the VENUE | S3L-X system) for even greater I/O flexibility.

Be sure to drop by and get a demo and discover why tours, installations, and leading sound companies around the world are embracing the new VENUE flagship system.

Pro Tools | S6

Pro Mixing at it’s finest

Since its introduction, Pro Tools | S6 has provided engineers with unmatched Pro Tools integration with most intuitive mixing workflows of any mixing system. Countless engineers, studios and post production facilities around the world depend on Pro Tools | S6 every day to complete the best sounding mixes possible for their clients. We’ll be showing off the latest S6 and Pro Tools Dolby Atmos® integration that provides mixers with the integrated tools to create the most immersive content ever.

Pro Tools | HD

Pro Tools | HD will be connected to Avid NEXIS shared storage. Avid’s intelligent software-defined storage, with its intuitive management of workspace and bandwidth, is acknowledged as the benchmark for creative collaboration. The upcoming software update (scheduled for this month) increases usability, and introduces multi-seat support for Pro Tools, so that audio and video creatives can now share projects with ease.

Pro Tools | MTRX

The new Pro Tools | MTRX interface will also be at InfoComm this year, an interface that delivers the most pristine sound quality possible, as well as extensive monitoring and routing capabilities.

Come visit us and get a demo of how Pro Tools | S6, Pro Tools | S3, Pro Tools | MTRX, Avid NEXIS, and Pro Tools work together to deliver the pinnacle of audio recording, editing and mixing.

TD Control

Manage Video Walls with Ease

TD Control makes it easy to present, manage, and control rich media—including 3D real-time graphics, video clips, augmented reality, and live feeds—across multiple high-resolution, non-standard studio displays, even in the studio space itself, all from a single interface. Join us at Booth #4153 and see how you can manage studio video walls, maximize resources, and enrich broadcasts with engaging content.

Media Composer

Enable Agile Post-Production workflows

Powered by the MediaCentral® Platform, our team of specialists can show you the industry’s most open, tightly integrated and efficient platform designed for media, which includes editing in Media Composer® 8.8 and the industry’s first and only software-defined storage platform – Avid NEXIS®.

Avid VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.

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Avid’s Game Changing Integrated Graphics Solutions Streamline Sports Production for Fenerbahçe Sports Club

Turkish multi-sports organisation Fenerbahçe Sports Club was founded as a football club in Istanbul in 1907, and remains one of the most successful in Turkey. It began broadcasting sports content on its own satellite TV channel, Fenerbahçe TV, in 2004, with an eclectic schedule of home grown teams competing in a variety of sports, including basketball, volleyball, and swimming.

What started as a small operation producing a few hours of content each week has since increased its output to a daily range of rich content for both TV and the web, including highlights packages, player interviews and match analyses. As the volume of media production significantly increased, the original production system became insufficient to meet today’s standards and content demands.

In our most recent customer success video, we spoke to Fenerbahçe’s Technical Manager, Mesut Koygun, about the reasons behind their recent Avid investments and how the club have implemented an arsenal of cost effective, integrated Avid solutions that are quite literally changing the game in the world of sports production.

Fenerbahçe decided it was time to move from SD to HD production, which meant overhauling the entire infrastructure. The club have implemented an optimized end-to-end HD sports production workflow based on the Avid MediaCentral Platform, providing the opportunity for greater creativity and efficiency, as well as offering significant cost savings through a streamlined media production infrastructure.

The Avid Global Services team worked with Teratek, a Turkish systems integrator, and Fenerbahçe to design and install a tailored end-to-end HD workflow that features the best, most comprehensive tools at every stage. MediaCentral | UX, the cloud-based web front end for the MediaCentral Platform, provides the user interface for Interplay | Production at the heart of the system, allowing the small Fenerbahçe production team to keep track of many stories for multiple sports by managing content creation, automating workflows, and empowering collaboration.

“The driving point of the upgrade was to move to HD but, in doing so, we also wanted to achieve a workflow that was more creative, more efficient and easier to use,” said Mesut Koygun, Technical Manager, Fenerbahçe Sports Club. “We also needed the system to be cost-effective to use as well as to install and maintain. Working with Teratek, we found that Avid was the only manufacturer that could offer a complete integrated HD solution for the entire workflow.”

The Avid workflow includes Avid Maestro for stunning on-air graphics to keep viewers tuned in, and PlayMaker for slow-motion replay and quick media highlights creation. Avid centralized shared storage enables real-time editorial collaboration, while Fenerbahçe is also using Blend channel in a box for playback and real time branded graphics creation.

MediaCentral | UX also allows remote production collaboration from anywhere with an Internet connection, and provides access to iNEWS, which brings efficiencies to news production from planning and resourcing to delivery across multiple channels. The journalists use the award-winning Media Composer editing solution to produce the video for their stories. AirSpeed accelerates media ingest, enabling journalists to browse footage as it is captured and start preparing their stories simultaneously, while Media | Director works with Interplay | Production to orchestrate the process of ingesting media into production and nearline storage.

“Our new HD workflow has enabled us to significantly improve the visual quality of our content, which makes us much more competitive, and since the new system was installed we have also seen an increase in advertising revenue,” said İhsan Topaloğlu, general manager, Fenerbahçe Sports Club. “We have remained within budget thanks to Avid’s flexible deployment and pricing options, and have also reduced our operating costs by automating many tasks and training the journalists to create and deliver their own stories. Since the system is also easily scalable, we can now look to the future with confidence when the time comes to develop our infrastructure further, such as moving towards cloud-based workflows.”

“The sports TV market is fiercely competitive, so it is imperative for clubs like Fenerbahçe to offer the best quality content to its fan base,” said Tom Cordiner, senior vice president of Global Sales, Avid. “The club has seen a considerable return on its investment in a short amount of time, which will continue to grow and will in turn enable the club to realise future ambitions. We’re delighted to welcome Fenerbahçe to the ever-growing community of Avid users.”

Changing the Game

Captivate your viewers with a fully immersive sports experience. From rich Ultra HD/4K content and augmented reality to powerful sports enhancements—Avid end-to-end sports solutions give you the platform to create captivating content from any location and deliver a game-changing viewer experience.

 

AVID.COM/SPORTS




Cut from the Kick-Off with Version 3.5 of PlayMaker

Designed to meet the challenges of today’s fast-paced sports productions – both in the studio and on the road – Avid’s PlayMaker replay server puts you in total control of the game. It’s the all-in-one production tool for creating up-to-the-minute highlights and slow-motion replays to ensure that your viewers stay tuned in.

The latest release – PlayMaker 3.5 – streamlines the workflow to enable real-time collaboration across the entire production environment. By unifying two major production efforts, PlayMaker becomes a single-box, single-operator solution, requiring less equipment and fewer operators.

Users can still edit directly on PlayMaker, with highlights clips instantly available in the Interplay environment, but now they can write multiple ingest channels in real-time directly to Avid’s NEXIS shared storage solution. This provides a new collaborative workflow option, as media is made available for logging and edit-while-capture in Avid’s MediaCentral | UX. Different combinations of collaborative edit-while-capture and shared highlights workflows can be flexibly deployed to best suit the needs of a particular production.

This new deployment option for PlayMaker comes just a few months after the introduction of the FlexFX Engine. FlexFX is a rich highlights editor that allows the operator to add real-time video effects and graphics transitions – all played back on the fly, with zero rendering time – from within the same box.

Adding PlayMaker – with its real-time graphics and end-to-end, collaborative workflows – into any fast-paced sports studio or news production environment will significantly improve turnaround times. The production effort is simplified, so fewer resources are required, enabling you to deliver superior results, even on a tight budget.

PlayMaker—Next-Generation Slow-Motion Replay

PlayMaker provides instant playback and extremely fast highlight editing for developing live sports and news stories.

LEARN MORE

The Sky’s the Limit — Visit Avid at NAB 2017

Our blogs will cover VIP guest presenters, product announcements, and valuable insights on what’s new at NAB 2017. Don’t miss a second of the action.

AVID.COM/NAB




Channel Branding in the Master Control Room

Media consumption is changing radically. Today’s viewer can switch channels and even their viewing device at will, making it even more critical that broadcasters grab – and keep – their attention. Eye-catching graphics certainly help, but also being able to update them quickly, even on the fly in the event of a change in programming, keeps the viewer informed and engaged.

Promotions coming from post production are difficult to keep up to date. Schedule changes are common, and going back into post to make adjustments is time consuming, expensive and often just not possible in the time available.

Real-time graphics provide an excellent solution; the ability to instantly embed 2D and 3D branding graphics for “coming up next,” promo over credits, squeeze backs, multiple tickers, crawls etc. can keep a production moving smoothly even if the programming schedule suddenly changes.

The magic of real-time channel branding all takes place in the Master Control Room (MCR), and Avid’s MCR solution comprises Avid 3DPlay, the toolset for creating an array of stunning on-air branded graphics, and Avid Blend, a rack-mounted channel in a box video server that provides multi-format playout.

3DPlay is a comprehensive channel branding solution from scheduling to air. It offers a complete toolset that enables you to easily create captivating, real-time branding graphics for coming up next, promo-over-credits, squeeze backs, multiple tickers, and much more. You can quickly combine graphics, content and animation into an asset, and define its behavior. You can then trigger it multiple times using different data, which allows you to adapt to unpredictable changes, like “coming up next”, with greater flexibility.

3DPlay works with all major automation systems and interfaces, and can be used with a single channel, or multiple playout channels, through a single user interface. 3DPlay is an efficient, frame-accurate, and scalable solution for even the most demanding broadcast environments.

Avid Blend's graphical user interface

Blend is a fully redundant, high-performance video server coupled with a powerful 2D/3D graphics-rendering engine which addresses today’s broadcast workflow challenges. It enables you to work with greater flexibility because of its extensive support of all commonly used file formats and codecs.

With Blend you can edit and run playlists with primary and secondary events, and control both video and branded graphics from the playlist. You can even edit your playlist while it is playing. Absolutely every parameter can be modified, with the exception of the event currently playing. While adding/modifying the events, the playlist ensures that the next event is cued and ready to play.

Blend can speed up your workflow enormously if you use it to create clip segments, and introduce graphics, by placing Media Composer markers in a sequence. By storing segment and graphics information, you can quickly schedule segments by simply dragging and dropping them into a Blend playlist. It’s just another example of how Avid products are engineered to work seamlessly together.

The combination of 3DPlay and Blend dramatically reduces complexity, operational costs and MCR footprint. It gives broadcasters the graphics power to make changes live, on the fly. Full RAID 10 protection and redundancy ensures that channels are always up and running, entertaining and engaging audiences around the clock.

Graphics for News and Sports

Our blog series takes a look at the various elements of Avid’s comprehensive end-to-end graphics solution. Starting with initial graphics creation and templating, it covers integrating social media, telestration, virtual studios and augmented reality, before closing with an overview of playout and channel branding in the Machine Room.

 

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Captivate Your Audience, Everywhere

With Avid graphics solutions, you can entertain and enlighten audiences through powerful visual storytelling, stunning imagery, and enhancements, so they keep tuning in for more.

 

AVID.COM/GRAPHICS

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Dynamic Solutions for Studio Production

In previous blogs we have discussed how graphics in TV production have grown exponentially in just a few years. They are now an integral part of the production workflow, from a journalist using smart templates to an editor adding graphics in post. No less important is how to bring all the content together efficiently to enrich the broadcaster’s storytelling capabilities and enhance production values.

One of the most significant new trends in today’s news and sports productions is the use of video walls to present high quality, engaging content. Today, video walls do much more than merely decorate the set, they have become an integral part of it.

This is one of Avid’s major strengths. We make it easy to add rich media to any video wall display. That media can include real-time 3D graphics, live video, multiple video clips and images that can be applied to video wall displays of different orientations, resolutions (up to 16K), sizes and aspect ratios. We offer single user touchscreen operation that adds efficiency and reduces overheads. A single operator can control not just graphics, but also other devices in the studio, including production switchers and video servers.

An excellent example of how Avid’s video wall solution is used is Rogers Sportsnet, the exclusive broadcaster of the Canadian National Hockey League. Rogers’ Hockey Central Studio takes up 11,000 square feet and incorporates over 50 LCD monitors, a rotating anchor desk, an 80-inch interactive touchscreen, an Ultra HD Goliath monitor and an LED floor. This all combines to offer viewers a truly stunning augmented reality graphics experience. And it’s all driven by an Avid studio solution integrated across multiple control rooms, some of which are 5 km away from the studio.

In addition to the use of video wall displays, virtual studios continue to play an important role in enhancing storytelling, and Avid has been a leading player for over 20 years. Avid offers an ultra-realistic environment that really comes to life with rich textures, depth and perspective, all easily adjustable and customizable. The level of visual authenticity lends itself to many different types of studio productions, including sports, news, elections and entertainment shows. By using and reusing the virtual set for many different types of productions, broadcasters can really leverage operational and capital efficiencies.

As icing on the cake, augmented reality adds the eye candy viewers love. Avid’s stunning 3D graphic objects add wow factor that literally jumps out and grabs the viewer’s attention. Regardless of where the camera moves, the graphic objects remain tied to their exact position in the studio, creating the illusion that those graphical elements are an integral part of the studio.

Avid offers users a new dimension of interactivity between the presenter and the graphics. The presenter can display graphics on the screen as well as in the studio, and the graphics can interact with one another, both inside the studio and on the screen.

Regardless of the storytelling tool chosen – video wall display, virtual studio, augmented reality, or any combination of all three – Avid’s MediaCentral provides a platform on which to optimize studio productions. The industry’s most open, tightly-integrated platform, MediaCentral offers a comprehensive, efficient and unified backbone to any production requirement.

Graphics for News and Sports

Our blog series takes a look at the various elements of Avid’s comprehensive end-to-end graphics solution. Starting with initial graphics creation and templating, it covers integrating social media, telestration, virtual studios and augmented reality, before closing with an overview of playout and channel branding in the Machine Room.

 

READ THE GRAPHICS BLOG SERIES

Avid Studio Production Solutions

Avid’s studio solutions enable you to boost your operational and economic efficiency, production quality, and brand reputation across multiple platforms, while maximizing and protecting the value of your prized media.

 

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The Sky’s the Limit — Visit Avid at NAB 2017

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Avid TD Control Version 1.3 Released

TD Control is Avid’s all-in-one display and video wall management solution that enables broadcasters to easily configure and customize the look and feel of their studio productions. Version 1.3 provides increased flexibility and simplicity with a built-in set of graphic tools, introduces control of augmented reality graphics and provides more integration options.

Video walls continue to play an increasingly important role in studio productions, providing an alternative method to enhance the look and feel of the studio by introducing dynamic, high resolution content. Moreover, video walls provide the broadcaster with another layer that enables them to tell a meaningful and captivating story in their studio. However, managing those video walls and their content, while at the same time integrating them into the studio workflow, can be a complex and expensive challenge that requires many different devices.

TD Control is an all-in-one solution that easily operates and manages multiple high-resolution, non-standard studio displays simultaneously from a single touchscreen interface. TD Control enables you to incorporate and control real-time 3D graphics, augmented reality and video content in your studio, providing a holistic experience for both the viewer and the operator.

TD Control is the only solution to provide a preview of all the video walls on a single monitor, enabling the operator to monitor – both prior to air and while on air – all of the studio displays to ensure the accuracy of the content.

As you would expect from an Avid product, TD Control is tightly integrated into the studio production workflow. The journalist or producer populates a graphics template with data and places it into the newsroom rundown. Once in the rundown it can be triggered manually by the TD Control operator, or by a studio automation system – for example Ross OverDrive or Grass Valley’s IGNITE. New in version 1.3 is support for Sony’s ELC live production control system.

The ability to support, and be integrated with, different platforms is essential in live production. TD Control can trigger, and be triggered by all leading production switchers – including Grass Valley, Sony, SAM and Ross – and integrated with most routers (Evertz, Grass Valley, Blackmagic Design etc.).

TD Control is industry-proven – it manages the studio experiences of many of the world’s leading broadcasters, including CBS, ESPN, Rogers Sportsnet, BT Sport, The Weather Channel and many more.

The combination of a single-operator, touchscreen interface and the ability to control each and every studio display, even for augmented reality, is powerful. Integration with a host of different live production systems and equipment means that TD Control can be inserted into existing workflows with a minimum of fuss, providing a flexible, forward-looking solution for almost any studio production environment.

Control and Manage High-Resolution Studio Displays

TD Control is an innovative studio display control and management solution. It easily controls and manages multiple high-resolution, non-standard studio displays simultaneously from a single touch interface.

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The Sky’s the Limit — Visit Avid at NAB 2017

Our blogs will cover VIP guest presenters, product announcements, and valuable insights on what’s new at NAB 2017. Don’t miss a second of the action.

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