18 CREATION
January-February 2016
Linear Acoustic allows broadcasters to set own pace in IP transition
Late last year , Linear Acoustic began shipping the SDI xNode , which allows translation of standard- and high-definition SDI audio channels to routable , uncompressed AoIP audio streams . Martin Dyster , vice-president of Business Development / Television at Linear Acoustic , tells APB more .
❝ The ‘ transition to IP ’ covers an extremely large number of different technologies and purposes ... Everyone is , or should be , carefully evaluating the cost and benefit of applying IP technology to their specific problem or situation .❞
— Martin Dyster , VP of Business Development / Television , Linear Acoustic
Linear Acoustic ’ s new SDI xNode would appear to be well suited for the Asia-Pacific region , which is not only undergoing the transition to digital , but which also sees operators supporting hybrid infrastructures that consist of SDI and IP elements . How else do you see the SDI xNode fitting into workflows across the region ? Martin Dyster : The SDI xNode is a key to unlock new audio capabilities within a facility . Audio-over-IP ( AoIP ) is already a widely used technology in radio broadcasting . Now that there is a standard for AoIP , manufacturers and users can both feel safe implementing it . The AES67 standard for AoIP offers TV broadcasters a way to reduce costs and , at the same time , improve functionality .
There are two capabilities of AoIP that make such an important technology — multicast and Layer 3
Linear Acoustic ’ s SDI xNode .
routing capability . Multicast allows thousands of audio streams to be simultaneously available to any device connected to the AoIP network . Layer 3 routing allows that access to be spread beyond a local area network . A cross-point router with a limited number of inputs and outputs is no longer necessary . Individual source and destination cables to every device are no longer necessary . Any device with an AES67 interface can connect to the network , put audio onto the network , and take audio from the network .
For example , a facility that distributes TV programmes can deembed audio , manage programme
Cooke Optics has added the 135mm Anamorphic / i lenses line-up .
Cooke Optics sets out roadmap of lens releases
Having begun to ship its 65mm Macro and 135mm Anamorphic / i lenses last December , Cooke Optics has started 2016 with the launch of the 180mm and 300mm . The first of two new zoom lenses , the wide 35-140mm , will also begin delivery by NAB Show 2016 in April , while a longer zoom is scheduled for the end of this year .
According to Cooke , it is also on course for the testing and delivery of i 3 (/ i Cubed ), the major new version of its / i Technology metadata system , which provides detailed lens data to VFX and post-production teams . / i 3 firmware now provides distortion mapping — not just a theoretical measurement of all lenses of a particular focal length , but also of the specific lens in use .
Les Zellan , chairman and owner , Cooke Optics , said : “ Metadata is seen as crucial in other areas of content creation but has not been adopted as widely in acquisition up to now . We believe that / i 3 is a significant technological advance that will make an enormous difference to VFX and post workflows .
“ The information that we are able to collect from the lens makes mapping so much more accurate , which will save a great deal of time and money in post .” loudness using a distributed , ITbased , processing platform and re-embed the audio across multiple video streams . If an emergency message needs to be delivered to every programme , a single connection to the AoIP network is all that is required .
How would you assess Asia- Pacific ’ s transition to IP , compared with other regions ? Dyster : The ‘ transition to IP ’ covers an extremely large number of different technologies and purposes . Each technology comes with its own set of advantages and disadvantages . Everywhere in the world , broadcasters are looking at what IP transport can offer them . It might be IP transport between facilities , over satellite , using dark fibre or within a facility . Everyone is , or should be , carefully evaluating the cost and benefit of applying IP technology to their specific
Movies shot with Angénieux lenses dominate international film festival
Dedicated to the art of cinematography and cinematographers , the annual International Film Festival of the Art of Cinematography presents the prestigious Golden Frog Award , which is designed to nominate films with “ unique visual appeal ” for a jury line-up to choose and award the authors of the best cinematography .
Among the 15 feature films selected for the main competition at last year ’ s edition , seven were shot with Angénieux lenses .
For cinematographer Jean-Marie Dreujou AFC , who helped produce Wolf Totem , the selection of Angénieux lenses was an acquired choice . He explained : “ When I started out as an operator , I frequently used Panavision lenses such as 24-275 , with a 2.8 aperture , which was an enormous advantage when shooting in argentic 35mm . I alternated this with the Angénieux 25-250 HR , which had an inferior aperture .
“ I used the 24-290 Optimo as soon as it came out , as it exactly matched my needs in terms of quality of skins and in colourimetry . It was , for me , the ideal lens . I also found these qualities , of course , with the 28-340 , as well as problem or situation . What is the problem that you are trying to solve ? What is cost versus benefit of using IP transport in your situation ? What new problems does using IP transport create ? Everyone around the world is struggling to answer these questions .
with the lightweight Optimo 15-40 and 28-76 . I could switch from a fixed camera with long focal to a shoulder camera with harmony .”
For Mad Max Fury Road , the many action scenes in rough terrain would not have been possible without Angénieux lenses . Mark Goellnicht , Steadicam operator , explained : “ We used the 15-40 Optimo zoom as the workhorse on both the Steadicam cameras and the handheld Arri Alexa M cameras . I have to say that zoom range suited the
Can you also discuss the merger between Linear Acoustic and Minnetonka , and how this can help the companies to better address emerging trends within the broadcast industry ? Dyster : Linear Acoustic has long been recognised for its real-time , hardware-based , audio processing , loudness control , and monitoring and metering solutions . Starting 14 years ago , broadcasters chose Linear Acoustic for our ability to make the entire range of broadcast content sound great in viewers ’ homes .
More recently , loudness regulations made many more broadcasters choose Linear Acoustic for our ability to both manage loudness and still sound great ! As the need for proper loudness management has penetrated the production community , programme creators have become aware of the need to control loudness from the very beginning of a production .
Now that content creators every where are recognising the need to be aware of broadcast audio level requirements , Linear Acoustic wants to provide the best tools for PC-based workflows . Minnetonka provides best-of-their-kind tools to help the creative community produce content that meets broadcast audio requirements .
The addition of Minnetonka to the Linear Acoustic / TLS companies provides broadcasters and content creators a single place to find the best audio tools for loudness measurement , processing and control , in the world .
Directed by Jean- Jacques Annaud , Wolf Totem used a wide range of Angénieux lenses , including the Optimo 28-340 , 24-290 , 15-40 , 28-76 and the Optimo DP 3D packs .
look that [ director ] George Miller was after with the shots in and around the war rig vehicles .
“ He particularly liked the camera to be close to the actors to make the audience feel like they are actually there , and the wider focal length zoom lenses could deliver that in a compact housing , without multiple lens changes in the dusty and rough terrain we were constantly shooting in . There were no issues with the optics of the lenses during the entire shoot , which is a testament to the quality build of the Optimo zooms .”
The other nominated films shot with Angénieux lenses include The 33 , Carol , I Saw the Light , Sicario and Les Suffragettes .