Asia-Pacific Broadcasting (APB) June 2018 Volume 35, Issue 5 - Page 18

18 Miller partners RØDE Microphones for My RØDE Reel Inaugurated in 2014, My RØDE Reel is a short film contest that has seen over 12,000 video submissions from 90 countries. For its fifth edition this year, My RØDE Reel is being supported by Miller Tripods, which supplies the CX2 fluid head and CX2 Solo 75 two-stage alloy as part of the Art Director categories. Charles Montesin, global sales and marketing manager, Miller Camera Support Equipment, said: “We aim to unlock the creative potential of innovators by supplying them with the best equipment for their artistic endeavours.” Stage Tec on tour with Hans Zimmer soundtracks Stage Tec’s Aurus and Nexus have joined The World of Hans Zimmer — A Symphonic Celebration concert tour, which premiered in Germany at the end of April. A 48-fader Aurus platinum was installed at the FOH position. The console is embedded in a Nexus system with six base devices, three for the FOH side rack and three for I/O. Additionally, the network is supported by two additional Nexus Star routers, one for Aurus processing at the FOH position, and the other for monitoring with a MADI connection and for the remaining three Nexus base devices. Next Month @ Creation Newsroom Automation Systems PANELLISTS Dr Ahmad Zaki Mohd Salleh Group GM, Engineering Media Prima Phan Tien Dung CTO Vietnam Digital Television Mike Whittaker Executive Vice-President and CTO, Asia-Pacific and the Middle East, Fox Networks Group Asia April 2018 June 2012 IP transformation starts with audio When it comes to the history of broadcast transmission, audio has had a more storied history than video. Radio broadcasting, for instance, was one of the first broadcast mediums for people to obtain news and information. In terms of IP transformation sweeping the broadcast and media industry today, audio has arguably surpassed video in terms of audio-over-IP (AoIP) networking technologies, media transportation and of course, interoperability. Josephine Tan finds out more. A s the primary distribution approach of digital audio signals across an IP network, audio-over-IP (AoIP) has been increas- ingly embraced by the installed sound, live, radio and broadcast industries. One standard that has emerged to enable AoIP streaming is AES67, which was published by the Audio Engineering Society (AES) in September 2013. AES67 empowers interoperability between the various IP-based audio networking products, based on exist- ing standards such as Dante, Livewire, Q-LAN and Ravenna. Although AES67 is not a new technology, it is a bridging compliance mode common to all IP net- works that operate over standard layer 3 Ethernet networks, and is routable like other common modern IT networks. In Mediacorp’s new media centre, it hosts facilities for 12 radio and eight TV stations, as well as originating a number of online streaming channels. The centre- piece of the new facility is a central news- room, which is designed around an open workspace concept that allows reporters, producers and talents to create content at dozens of production workstations. To power these workstations, the Singapore terrestrial broadcaster installed 50 copies of Lawo’s R Ǝ LAY VRX4 virtual radio mixer software. Each computer is connected to the facility’s AoIP network, giving each workstation’s R Ǝ LAY mixer access to audio from network-attached devices such as playout computers, codecs and voice-over-IP (VoIP) servers, as well as audio from local sources. Designed to empower broadcasters to build “virtual broadcast studios”, the R Ǝ LAY family includes the VRX8 eight- fader and VRX4 four-fader virtual radio mixer, the VPB virtual patch bay, and the VSC virtual sound card software. These solutions are AES67/Ravenna-compliant, and feature a multi-touchscreen interface for users’ ease of use. AoIP is undoubtedly the next step in signal distribution technology, and is the only way to ensure a future-proof infrastructure design in these dynamic times, declares Andreas Hilmer, direc- tor, marketing and communications, Lawo. IP per se is generic, Hilmer tells APB, as the technology is neutral with the media formats that are encapsulated in the packets the network is transport- ing; and with AES67 and SMPTE ST 2110-30 unified open standards defined, it ensures interoperability between dif- ferent vendors and AoIP formats such as Ravenna and Dante. Suggesting that AoIP is one of the pre-conditions to create a future-proof and flexible broadcast ecosystem today, Hilmer highlights that the beauty of IP — both AoIP and video-over-IP — lies in the optimisation of workflows by deeper integration of audio, video, control and monitoring. He continues: “These formerly completely separate worlds are with IP, now using the same infrastructure, offering benefits of flex- ibility and efficiency when it comes to managing costs for cabling, dedicated infrastructure technology, personnel and time.” In addition to the technical advan- tages of IP technology, Hilmer points out that IP enables broadcast production workflow designs like remote production, as it is able to streamline workflows to allow users to create more content with less resources. “The key to fully embracing the benefits of IP technology lies within the workflows that can be changed com- pletely,” he continues. “IP is not just a modernised one-by-one replacement for SDI or AES baseband technology, it’s a complete game changer.” And where standards are concerned, Hilmer says that the AES67-native Ravenna standard is dominating the broadcast market, while Dante leads in the AV install and live performance mar- kets. 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