Emmy-Award winner Glynn Turman has had an extraordinary entertainment career spanning six decades, yet remains busier than most actors half his age.

The 75-year-old Turman’s resume includes nearly 100 television credits. He has appeared in such shows as Julia and A Different World, as well as HBO’s The Wire and In Treatment, the latter of which earned him a 2008 Emmy Award for Guest Actor in a Drama Series. Since 2019, Turman has had roles in ABC’s How to Get Away With Murder -- which earned him a Guest Actor Emmy nomination -- FX’s Fargo, TNT’s Claws, Starz’s Power Book II: Ghost and American Gods, ABC’s Black-ish and Netflix’s Oscar-winning movie Ma Rainey’s Black Bottom. 

In January, Turman appeared in ABC's civil rights-themed miniseries Women of the Movement, portraying Mose Wright, the uncle of murdered Black teenager Emmett Till. He is also slated to appear in Netflix's upcoming original movie Rustin, based on the life of civil rights activist Bayard Rustin and produced by Michelle and Barack Obama’s Higher Ground Productions. 

Turman, who began his entertainment career in 1959 as a 12-year-old, playing opposite Sidney Poitier and Ruby Dee in the Broadway play A Raisin in the Sun, recently spoke to Multichannel News and Broadcasting + Cable’s R. Thomas Umstead about his illustrious career. Turman also weighs in on the TV industry’s diversity efforts, as well as the various projects developed recently around his ex-wife, Aretha Franklin. An edited version of the interview appears below.

MCN: You have been and continue to be one of the busiest actors in the entertainment industry. What has been the secret to your success?

Glynn Turman: I keep it moving. … It’s hard to hit a moving target. (Laughs.) I try to keep busy, stay healthy mentally and physically. One of my mottos is to stay ready to keep from having to be ready. 

MCN: You have played some very iconic roles — from Preach in the movie Cooley High to Colonel Bradford Taylor in a Different World — that have resonated with generations of viewers. Are you surprised at how popular your characters have remained over the years? 

GT: Yes, I am. I'm surprised that they have resonated with so many generations of people. I'm surprised when young people come up to me talking about how they loved Preach from Cooley High — they say that their mother or my father made them watch that movie. So it's a great form of flattery that I’m really appreciative of. 

MCN: Most recently you played Mose Wright, Emmit Till’s uncle in ABC’s Women of The Movement, as well as civil rights icon A. Phillip Randolph in the upcoming Netflix movie Rustin. Is it difficult to prepare to play such high-profile, historical characters? 

GT: Yes, it is. It’s really challenging because these people really existed and still have family that are still with us, so you want to do the characters justice because you’re representing a true-life figure. You want to get it right and be able to bring the depth of the character’s human quality that you play. One of the great things about playing Mose Wright was to have his family say to me that I got him right. That was my goal. 

MCN: You also played piano player Toledo in Netflix’s Oscar-winning film Ma Rainey’s Black Bottom. What drew you to that role? 

GT: I played the role in the stage play at the Mark Taper Forum [in Los Angeles], and [Ma Rainey executive producer] Denzel Washington came and saw that production. He informed me that he was in the process of putting together the motion picture version of the play and that he would like me to play the role of Toledo. He told me to stay ready and he would call me. A year and a half later he called and I was ready. (Laughs.)

MCN: Did the critical success of the movie surprise you at all? 

GT: No, I really wasn't surprised. All the elements were top notch. Denzel had his name on it and behind it, and then he and his partner, Mr. [Todd] Black, assembled a hell of a company. He put George C. Wolfe at the helm as director and had Viola Davis star in the movie. I was along for the ride. (Laughs.)

MCN: How have you seen the television business change over the years in terms of opportunities for actors and producers of color?

GT: The strangest thing about this country’s arc is that it’s the best of the times and yet it’s the worst of times. I’m as hopeful and optimistic as you can be in these chaotic times. I'm optimistic about the contributions our young people of color and other ethnicities are making … they are getting to tell our stories. I'm optimistic that the stories being spearheaded by people of color, women and the LGBTQ community are coming out, particularly when there is such a backlash of obstacles to overcome. This couldn't have been a better time for these stories to be told, and I'm glad that the venues are there and the expertise is there so that the American promise can be there, because it's certainly needed at a time like this.

MCN: So what is left for you to do in the entertainment industry? 

GT: Quite a few things. You’ve mentioned Rustin — I can't wait to see how that turns out. That’s being produced by the Obamas’ production company. One of the major things I’m putting together is a motion picture in the Western genre, which is one of my favorite genres. I also have another motion picture coming out that is going through a name change right now, but it will be coming out shortly.

MCN: I’d be remiss if I didn’t ask your opinion about two recent biography projects about Aretha Franklin. Did either or both the theatrical film and the television miniseries get it right in your eyes? 

GT: I was very impressed with Jennifer [Hudson] and the [Respect]  film production’s take of the story. I thought they were very respectful, and I thought Jennifer did a wonderful job. I thought their story could not be confused with any story about any particular singer, and I feel that they had all the right elements to let you know it was indeed Aretha Franklin that they were talking about. ■ 

Emmy Award-nominated actor Michael K. Williams, best known for his roles in HBO shows The Wire and Lovecraft Country, died Monday afternoon. He was 54 years old. 

The actor, who received a 2021 Emmy nomination for outstanding supporting actor in a drama series for his appearance in HBO’s Lovecraft Country, was found dead in his Brooklyn apartment by family members, according to The New York Times. The cause of death was not revealed but the death was being investigated as a possible drug overdose, the Times reported. 

Williams is arguably best known for his role as Omar Little in HBO’s drama series The Wire. Williams also appeared in HBO’s Boardwalk Empire.

HBO in a tweet said it was “devastated" to learn of Williams’ passing, adding that Williams has been an HBO family member for more than 20 years.

Williams also starred in SundanceTV's dark comedy series Hap and Leonard in the late 2010's. In a 2018 interview with Multichannel News, Williams talked about the  burgeoning opportunities actors and producers of color are finding on television.

Williams also garnered other Emmy nods in past years for acting performances in such shows as Netflix's When They See Us, and HBO's The Night Of and Bessie. When They See Us executive producer Ava DuVernay Monday posted on social media that Williams was a "flash of love -- now gone. But never forgotten." 

Read Also: Observations from the 2021 Emmy Awards Nominations

PARIS — May 5, 2020 — Viaccess-Orca (VO), a global leader providing OTT and TV platforms, content protection, and advanced data solutions, today announced that Philippe Leonetti has been appointed as CEO of the company, replacing Paul Molinier. Philippe Leonetti has established expertise in the field of security with over 12 years of experience in senior management roles at Orange, one of the world's leading telecommunications operators.

"Over the course of his career, Philippe has shown that he is a leader, through and through, guiding Orange through major technological innovations, including the introduction of OTT services, implementation of IoT systems, and support for 5G," said Mari-Noëlle Jégo-Laveissière, Deputy CEO, Technology and Global Innovation at Orange and Chair of the Board of Viaccess-Orca. "Philippe's leadership, technology know-how, and comprehensive understanding of the industry, especially from the operator side, will drive VO to be a formidable force in the industry, well-equipped to handle the future evolutions of the market. I'd like to thank Paul for his vision and leadership over the years, which set VO on a path for success."

Philippe Leonetti was previously in charge of the IT and service platform security for France Telecom and then the Orange Group until 2007. Since 2008, he served as the Vice President of Smart Access for Home and Mobility and later as the Senior Vice President of Steering of Innovation at Orange Group.

"VO has a strong history of innovation and solution offerings that solve the inherent security challenges involved with providing a smarter and safer digital TV and OTT experience," said Philippe Leonetti. "Stepping into this new role, I look forward to leading the company through current and future market transformations, with a focus on global business expansion."

# # #

About Viaccess-Orca
Viaccess-Orca is a leading global solutions provider of OTT and TV platforms, content protection, and advanced data solutions for a personalized TV experience. The company offers an extensive range of innovative, end-to-end, modular solutions for content delivery, protection, discovery, and monetization. With over 20 years of industry leadership, Viaccess-Orca helps content providers and TV operators shape a smarter and safer TV and OTT experience.

Viaccess-Orca is part of the Orange Group and the company's solutions have been deployed in over 35 countries, reaching more than 27 million subscribers.

For more information, visit www.viaccess-orca.com or follow the company on Twitter @ViaccessOrca and LinkedIn.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

Link to Word Doc: www.202comms.com/ViaccessOrca/200505VO.docx

Photo Link:
www.202comms.com/ViaccessOrca/VO-PhilippeLeonetti.jpg
Photo Caption: Philippe Leonetti, Newly Appointed CEO at Viaccess-Orca

New MediorNet MuoN, VirtU, and FusioN Product Series, Together With MediorNet MicroN UHD Node, Usher in Next Generation of IP Signal Transport and Processing

WUPPERTAL, Germany — May 5, 2020 — Riedel Communications today announced a significant expansion of the company's MediorNet family of video networking devices. With 13 new hardware devices and nine new software apps, the MediorNet product line is better equipped than ever to meet the distributed routing, processing, and multiviewing requirements of today's SDI, IP, and hybrid production environments.

The first new hardware innovation unveiled by Riedel is MediorNet MicroN UHD, big brother to the award-winning MicroN media distribution and processing device. Building on Riedel's distributed and software-defined concept, this new node adds more bandwidth, more I/O, higher resolutions, and more processing power to the MediorNet platform.

Close collaboration between product management and engineering teams from Riedel headquarters and Riedel Montreal, formerly known as Embrionix, also brought forth the MediorNet MuoN, VirtU, and FusioN product series. Based on innovative, ultra-dense SFP technologies, these new processing modules and processing hubs complement the intelligent MediorNet signal interfaces and core switches and round out the Riedel video portfolio with full-IP solutions.

"Since Embrionix joined the Riedel family late last year, we have worked relentlessly to integrate their powerful technologies into our video solutions portfolio. Months of hard work now culminate in this flexible and powerful range of products that is set to revolutionize signal distribution and processing in the broadcast and event markets," said Thomas Riedel, Founder and CEO, Riedel Communications. "We are really proud of what we have achieved as a team, and we are happy to present our common vision for the future of video networks with the MuoN, VirtU, and FusioN series."

At the very heart of the new MediorNet products lies the innovative MuoN SFP technology. MuoN SFPs are pluggable gateway and processing devices delivered in a uniquely compact form factor that can be used inside VirtU frames or commercial off-the-shelf IP switches. The software-defined MuoN hardware is available with a range of different input and output configurations, including BNC, fiber, or HDMI, and can be configured with a variety of different apps. A simple change of the software license turns the device into an up/down/cross-converter, a JPEG-2000/XS encoder or decoder, an audio router, or even a multiviewer.

Riedel's portfolio of distributed video network devices is further enhanced by the VirtU and FusioN product series. Boasting the highest density in the market, the VirtU IP core infrastructure platform can host a large array of Riedel MuoN SFP processors in just 1 RU and can be used both as a bulk gateway and as a high-density processing unit. Similarly, FusioN is a series of compact, stand-alone I/O and processing devices that are configurable with a range of software apps. Due to their small form factor and low power consumption, the FusioN devices can be placed close to signal sources or destinations, creating powerful efficiencies in any production environment.

"These versatile new devices are united by two key qualities that have driven our philosophy for media infrastructures since the beginning: They‘re distributed, and they're software-defined," said Jan Eveleens, Director Business Development, Riedel Communications. "With these new solutions serving a wide range of different functions and applications, we now have a stronger roadmap into the IP world and an even more comprehensive migration strategy for customers."

Alongside new software-defined hardware platforms, Riedel has also launched a range of brand-new apps for up/down/cross-conversion, encoding/decoding, audio routing, and multiviewing, as well as a series of IP gateway apps.

"The intense collaboration between the Montreal and Wuppertal teams has already created powerful synergies. Our teams and technologies really are a perfect fit — of which this superb product launch is a stunning testament," said Renaud Lavoie, Managing Director, Riedel Montreal. "These new product lines underline Riedel's claim to technological leadership and are sure to consolidate the company's position as a global player in the video market."

Further information about Riedel and the company's products is available at www.riedel.net.

# # #

About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Riedel is headquartered in Wuppertal, Germany, and employs over 700 people in 25 locations throughout Europe, Australia, Asia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.wallstcom.com/Riedel/200505Riedel-MediorNet-Launch.docx

Photo Link:
www.wallstcom.com/Riedel/Riedel-MediorNet.jpg
Photo Caption: Riedel has announced a significant expansion of the MediorNet family of video networking devices.

Follow Riedel Communications
Facebook: https://www.facebook.com/RiedelCommunicationsInternational
Twitter: https://twitter.com/RIEDELnet
LinkedIn: https://www.linkedin.com/company/549773
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SKOKIE, IL, MAY 5, 2020 – During an extensive career mixing audio for live sports, Fred Aldous has earned over 20 Emmy awards and a spot in the Sports Broadcasting Hall of Fame. He currently works as a lead mixer and audio consultant for FOX Sports, managing live audio for a variety of broadcasts, including professional football and racing. Improving viewers’ sound experience over time has necessitated a shift to a Dante®-enabled digital workflow powered by products from Studio Technologies.

“I need to balance all the nuances of the broadcast and create a sound image that captures the narrative of the game, all in a way that’s pleasant to the viewer,” says Aldous. “I use several Studio Technologies products, all of which have been extremely reliable and instrumental to our broadcasts.”

Aldous said moving from an analog to digital workflow has been “tremendous,” especially with the speed and ease-of-use offered by Dante networking. His workflow includes several Dante-compliant Studio Technologies products, including the Model 206 Announcer’s Console and Model 370 and Model 374A Intercom Belt Packs in the announcers’ booth. He said the flexibility of running a Dante network through these devices has allowed him to provide improved comms support for stage managers, stats support, and announcer personnel support.

“Most networks are moving to remote broadcast, meaning a lot of shows will be produced, mixed, and cut from an off-site facility,” adds Aldous. “By moving to a Dante-hybrid booth, my announcers and crew have more flexibility to communicate with each other during a broadcast.”

Aldous also leverages the analog capabilities of Studio Technologies products. His choice of intercom products are the Model 41 Interface for interruptible foldback (IFB) monitoring and cueing along with the Model 47A Analog Audio Interface for party line (PL) communication. He also uses the Model 230 Announcer’s Console for back-up analog headsets in the booth.

Aldous again pointed to the flexibility of these products in a hybrid environment, as well as the need for reliable support in any broadcast environment. He said the live format is exciting because, “I have only one chance to get it right,” and “If I mess up, millions of viewers know it.” Studio Technologies offers dynamic solutions for anything that comes up during a live broadcast.

“The Model 41s and Model 47As service all of my non-Dante needs in the booth, on the field, and wherever I need a power IFB or PL drop,” says Aldous. “We are able to bring the viewer to the field of play and give them an intimate experience of being at the event. Given the current live event landscape, we are currently formulating safety and distancing elements, including keeping the crew safe in close quarters in a production truck as well as announcers and their proximity to microphones. As these discussions continue to develop and evolve, I look forward to having a plan in place for when live events resume.”

West Palm Beach, FL – May 5, 2020 – Olympusat, Inc., one of the largest independent media corporations specializing in the ownership, distribution, production and technical services of Spanish- and English-language networks, announced that Free TV™ Application, the top Ad-Supported, On-Demand Video Service, is now available in the Latin-American market including Mexico, through Google Play Store, Apple Store, via Web Browser (at freetv.com), and mobile apps for Apple’s iOS as well as Google’s Android.

The on-demand content available on Free TV™, comprises an array of top-rated multicultural productions from around the world, including between 800 and 1000 hours per month dubbed into Spanish combined with 200 hours of content from Mexico, Spain, and the rest of Latin America. The initial offering included action, drama, thriller, and crime genres, which are split into 30% movies and 70% series with an average duration of 90 minutes for movies and 45 minutes per series episode.

“We’re excited to offer Free TV in South America and México, as the first of many launch initiatives to advance our global footprint,” says Tom Mohler, CEO of Olympusat. “We look forward to entertaining viewers who will discover the growing value of free video on demand with a large number of titles which will continue to expand in the coming months.”

Some of the international super productions available now on Free TV™ are the following films and series:

Battle for Sevastopol: The action story of the most successful female sniper in history.

The Stronghold: The fantasy tale about schoolboy, who goes a thousand years into the past through a mysterious portal.

The Red Queen: The mystery and drama chronicles of the famous USSR model known as the most beautiful Kremlin weapon.

All in one AVOD service, Free TV™ uniquely caters to the undeserved Hispanic community offering a way to stream free, ad-supported, Spanish-language programming. Another demonstration of how Olympusat continues to work with creative teams to drive innovation and quality in the media landscape, where enhancing the customer’s experience is paramount.

To learn more about Olympusat and Free TV, please visit olympusat.com and freetv.com

Olympusat - Editorial Contact:

Jesús Piñango

Senior Director of News

561-249-5228

jesus@olympusat.com

###

West Palm Beach, FL – May 5, 2020 – Cine Mexicano, the country’s top-rated Spanish-language movie network featuring contemporary and commercial-free programming including Mexican rancheras, comedies, drama and action, will continue to churn out original movies on May with the premiere of seven films: El Hijo del Capo, El Huerfanito, Los Hijos del Patrón, Las Nachas de Virginia, La Venganza de la Herencia, Se Buscan, and Quiero Mariachis.

The movies premiering this month on Cine Mexicano are:

El Hijo del Capo

5/6/2020 at 10 p.m. EST

A story full of action, betrayal and revenge. The sins of the past come back to the tormented Joaquín’s mind, who is considered one of the most ruthless and powerful criminals in the region. Many weapons in his possession have made him a very sharp sniper as a drug dealer and son of the big dreadful mafia boss.

El Huerfanito

5/10/2020 at 10 p.m. EST

A teenager's life will take an unexpected turn because of his father's sick jealousy. Alone and wandering aimlessly, he will face all his fears and misfortunes on the streets, nearly freezing to death in the winters, begging for mercy, grabbing grass for food and crying so hard at night, when only the pain in her face could stifle his tears.

Los Hijos del Patrón

5/13/2020 at 10 p.m. EST

Carlos has psychosocial issues because of his father’s abandonment, problems increase when he faces financial difficulties, lack of trust and result in a heightened sense of anger. All circumstances contribute to contact with a criminal organization where he will face an unexpected revelation.

Las Nachas de Virginia

5/17/2020 at 10 p.m. EST

Virginia has left her town to pursue a business career and becomes a rich woman. Three women will be key in her professional path, but the presence of a Commander and a client from the past changed the course of her ambition. The fact that they live on twinned worlds with gravities that pull in opposite directions turns her world upside down.

La Venganza de la Herencia

5/20/2020 at 10 p.m. EST

A family tragedy marked by a fraudulent inheritance precipitates the confrontation of two cousins. The more they realized that their family relation has been filled with dark, disturbing secrets, hatred, and resentment, additional greed desires make their life full of revenge.

Se Buscan

5/24/2020 at 10 p.m. EST

The members of a dangerous criminal organization shared similar backgrounds: broken homes, drug traffic, sketchy schooling, troubles, and a lot of nonsense. They must run as fast and far as possible since the hunt for each of them will begin. A persistent Sheriff is in their footsteps, from minute to minute, they must face even more powerful forces from which they will not be able to escape so easily.

Quiero Mariachis

5/27/2020 at 10 p.m. EST

Sebastián uses to have an eccentric lifestyle until he falls in love with Rosita. Her parents have in mind to marry her to Julián, the heir to the region's wealthiest family. Soon the rivalry between Sebastián and Julián acquires unthinkable dimensions and a fatal destiny is about to end with this triangle of love and revenge. Will one side of the love triangle be betrayed, leading to fatal death?

Cine Mexicano is owned and operated by Olympusat, Inc., and it’s currently available nationwide on most cable providers.

For more information on Cine Mexicano’s programming, including tune in dates and times, please visit cinemexicano.tv.

Olympusat - Editorial Contact:

Jesús Piñango

561-249-5228

jesus@olympusat.com

###

Portland, OR - May 4, 2020 - Red Giant has announced a free weekly webinar series, launching today, that will cover essential concepts and techniques for post-production. Hosted by Red Giant Director of Training Simon Walker, CSI, webinars will feature industry experts and will explore a new overarching theme each month: Mograph Techniques and Effects in May; Designing 3D: Modeling, Texturing, Lighting, Rendering in June; and Color Correction and Grading in July.

Webinars are live every Monday (5pm BST / 12pm EDT / 9am PDT) and will be recorded, so those who register but can’t attend can still have access to view the recording after it airs.

May 2020 - Mograph Techniques and Effects

Programs covered: TRAPCODE SUITE, UNIVERSE, CINEMA 4D

• May 04: Creating Fire, Sparks, Dust & Smoke
• May 11: Workflows for OBJs and Cinema 4D Files in Trapcode Suite
• May 18: Animating Particles with Audio
• May 25: Designing FUI & Stylized Elements

June 2020 - Designing 3D: Modeling, Texturing, Lighting, Rendering

Programs covered: CINEMA 4D, VFX SUITE

• June 01: Modeling with Primitive Objects
• June 08: Generators, Splines & Deformers
• June 15: Adding Textures and Materials
• June 22: Lighting & Rendering
• June 29: Compositing 3D in After Effects

July 2020 - Color Correction and Grading

Program covered: MAGIC BULLET SUITE

• July 06: Balancing Shots & Matching Colors
• July 13: Secondary Color Corrections
• July 20: Removing Video Noise & Crafting Cinematic Treatments
• July 27: Designing Creative Looks & Grades

Request a Red Giant Universe Media Review Kit

Members of the media are invited to review Red Giant Universe as well as any individual tools or product suites from Red Giant. For more information or to request a product review kit, please contact Alexis Isaacs at alexis@zazilmediagroup.com.

About Red Giant

Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 250,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at www.redgiant.com.

Press Contact

Alexis Isaacs

Zazil Media Group

(e) alexis@zazilmediagroup.com

(p) +1 (773) 816-7944

CRANBURY, N.J. — April 29, 2020 — IHSE today announced the launch of the MV42 Series MultiViewer for DisplayPort 4K60. The MV42 is a four-port multiview display processor that combines a high-performance 4K60 multi-image video processor with remote keyboard/mouse control. Two models are offered supporting either a single-head 4K DisplayPort output or dual-head 4K Display outputs. The units can display and control up to four computer sources at a time on a single 4Kp60 monitor.

The MV42 multiviewer provides connections for up to full 3840x2160p60 inputs and outputs. On the MV42-DPSH model there are four input ports for DisplayPort 1.2 and two output ports. On the MV42-DPDH there are four dual-head input ports and two dual-head outputs ports. For dual-head applications, the MV42-DPDH allows users to split up to four dual-head 4K60 PCs across two monitors and control both with a single keyboard and mouse.

IHSE's MV42 can provide immediate access to thousands of endpoints when combined with a Draco compact XV or Draco enterprise XV KVM (keyboard, video, and mouse) matrix system. Through keyboard hot-keys or on-screen display menus from a unit connected to the KVM matrix system, users can quickly access up to 32 hot-key PC sources per quadrant. Hot-key macros per input source can be configured by the KVM control system allowing instant preview of different computers or cameras, perfect for command and control environments. With IHSE's Grid Card option for Draco enterprise systems, multiple MV42 multiviewers can be utilized to share information from up to 24 KVM matrix systems.

Other advanced features of the MV42 include support for Picture-in-Picture mode, Full Screen mode, de-embedded audio, USB-HID, and USB 2.0. The embedded audio signals can be connected to a loudspeaker (analog or digital) via a built-in audio interface to ensure that users never miss important audio alerts. Either the audio track of the currently active monitor or a combination of various audio signals can be output so that relevant audio alerts can be heard at all times, regardless of the source. Additionally, each unit supports scaling and cropping capabilities to offer layouts for sizing display images to fit multiple-screen layouts. The MV42 series is provided with a GPIO interface for either tally lights or remote contact closure control. There is also an open-API and network connection for interfacing with third-party control systems. For 24/7 operation, a redundant power supply is provided.

"As KVM technology advances the capabilities of larger control rooms and operation centers, our new MV42 series furthers our ability to support users who demand high-quality video walls or local multiview workstations to show the whole process of actions and activities from any connected source," said Dan Holland, marketing manager, IHSE USA. "This gives operators in any type of control room setting the ability to arrange and visualize their workstation while also sharing workstation data simultaneously to a video wall."

IHSE offers the MV42 in two configurations. The MV42-DPSH offers a single-head DisplayPort 1.2 supporting resolutions up to 4K60@4:4:4 and the MV42-DPDH offers a dual-head DisplayPort 1.2 supporting 4K60@4:4:4. Both units come standard in a 1RU chassis with redundant power, SNMP support, and GPIO interfaces.

More information about IHSE USA's products is available at www.ihseusa.com.

# # #

About IHSE USA
IHSE USA is a leading provider of KVM (keyboard, video, and mouse) products supporting long-distance signal extenders and switching for DVI, HDMI, VGA, SDI, USB, audio, and RS-232 serial data. For 30 years, IHSE has been developing new and innovative ways of supporting next-generation products for KVM and signal extenders. IHSE technology is deployed worldwide by public and private organizations in industries such as broadcasting, post-production, government and military, medical, financial, and oil and petroleum. The company offers a complete line of DVI and HDMI video extenders over Cat-X or fiber-optic cables for mission-critical video and data access.

All trademarks appearing in this document are property of their respective owners.

Link to Word Doc: www.wallstcom.com/IHSE/200429IHSE-MV42.docx

Photo Link:
www.wallstcom.com/IHSE/IHSE-MV42_Multiviewer.jpg
Photo Caption: IHSE has introduced the MV42 series MultiViewer for DisplayPort 4K60 supporting single head or dual-head displays.

Follow IHSE USA:
Facebook: https://www.facebook.com/IHSE-USA-LLC-451555998278049/?
Twitter: https://twitter.com/IHSEUSMarketing
LinkedIn: https://www.linkedin.com/company/ihse-usa-llc
YouTube: https://www.youtube.com/channel/UCeZlti-IfdBCBToP5il6MGw

Fremont, CA – May 4, 2020 – Blackmagic Design today announced that RealmSmith.tv is using its products to live stream the hit tabletop gaming series “Into the Mist” on Twitch, and using DaVinci Resolve Studio’s cut page to quickly edit each show’s highlights for YouTube.

RealmSmith.tv is a Toronto, ON based live streaming and tabletop gaming company, and “Into the Mist” features improvised live play of Dungeons & Dragons’ “Curse of Strahd” campaign setting. Jason Azevedo, founder and president of RealmSmith.tv, acts as Dungeon Master alongside weekly players gathered around an immersive table setup, where players and viewers are made to feel they are part of the game experience. Joel Augé, co owner of RealmSmith.tv, manages all aspects of the stream’s production and workflow.

When RealmSmith.tv embarked on “Into the Mist,” they decided to produce the show as a multi camera live stream to keep viewers entertained throughout the episodes. They initially invested in an ATEM Television Studio HD live production switcher, two Blackmagic Micro Cinema Cameras and two Blackmagic Pocket Cinema Camera 4Ks to achieve a more cinematic feel. They later incorporated two additional Pocket Cinema Camera 4Ks so they could further enhance the experience by capturing more camera angles.

“While a lot of live streams are based on a single, frontal view where players call in from their own homes with webcams, we wanted ‘Into the Mist’ to show everyone in the same room with multiple camera angles and proper lighting,” said Azevedo. “We really separate ourselves by having such a professional, cinematic look to our live streams.”

Two of the Pocket Cinema Camera 4Ks are set up to capture front shots, one pointing at the Dungeon Master and the other to capture a wider shot of the entire table of six players. The other two Pocket Cinema Camera 4Ks are used on either side of the table, looking across and over players’ shoulders.

Additionally, RealmSmith.tv uses an ATEM Television Studio HD to switch between the cameras and to map out sequences of camera changes and animations. Since starting their live stream in a garage just two years ago, having gear like the ATEM Television Studio HD has helped keep RealmSmith.tv’s stream professional, regardless of the physical location they are shooting.

“The ATEM Television Studio HD is the brain of the live stream,” explained Augé. “Without it, we wouldn’t be able to do title shots on the fly and switch a dynamically produced live show at home.”

When the team has to stream remotely, Augé uses a Blackmagic Web Presenter to power his workflow from home. “It’s been a workhorse for when we’ve had to adapt our normal workflow and stream the series remotely, helping us deliver a high quality stream even when battling lower bandwidth situations,” said Augé.

Following each week’s three hour live stream, which airs on Dungeons & Dragons’ and RealmSmith.tv’s Twitch channels, RealmSmith.tv uses DaVinci Resolve Studio’s cut page to create a recap for the beginning of each show on their respective YouTube channels.

“We go through the full stream the day after a show goes live and highlight markers and times in the episode that we want to emphasize in the recap, and then pass that on to the editor,” said Augé. “He then takes the live stream files and brings them into DaVinci Resolve Studio’s timeline, using the cut page to edit together the recap.”

Being able to see the full three hour gaming session on the cut page’s timeline allows RealmSmith.tv to navigate as quickly as possible from one cut to the next.

“Essentially, three hours of game play is cut down to about three minutes for the recaps. Using the cut page’s streamlined editing workflow allows us to quickly turn around the content, so we can post it to YouTube as soon as possible. Without DaVinci Resolve Studio, it would be a much longer process and we’d have significant lag time between the live streams and final videos,” explained Augé.

RealmSmith.tv also used DaVinci Resolve Studio to create the popular intro to the “Into the Mist” series, an animated sequence that reveals each player, blending together their real life selves with their characters. The team relied on the edit page’s Retime Curve tool to create the dramatic effect of smoke going through the characters during the intro. They then modified the video’s speed by mapping out different segments of audio with markers and then timed the video clips to the music.

“Like any small business, budget is very important to us. Having affordable, feature rich gear that delivers great cinematic quality like the Pocket Cinema Camera 4Ks and DaVinci Resolve Studio made Blackmagic Design perfect for us from the start,” concluded Augé.

Press Photography

Product photos of Pocket Cinema Camera 4K, Micro Cinema Camera, ATEM Television Studio HD, DaVinci Resolve Studio, Blackmagic Web Presenter as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Northridge, CA, May 4, 2020 – As many broadcast stations are operating in a work-from-home environment amidst the COVID-19 pandemic, TSL Products has altered its R&D roadmap for the short term, in response to specific customer requirements and to meet the current needs of the industry.

Since TSL’s acquisition of DNF Controls in April 2019, the U.S. team based out of Northridge, CA, has remained focused on the developing and supporting the Flex Control Network and range of Universal Control Panels. “We have many customers across the United States who use our Flex Control Network for critical production and playout in news-based Hub and Spoke systems that connect network stations. Due to heightened demands in remote broadcasts, we recently altered our R&D to service our Flex customers and assist them in response to the pandemic,” says Fred Scott, regional sales manager U.S. at TSL and former sales director for DNF Controls. “With many customers working remotely, rather than in-studio, we added a feature called ‘Web Keys’ that, when connected to any DNF powered Universal Switch Panel within the Flex network, allows users to control devices situated in major hub and spoke installations across the U.S. from home.”

Both TSL Products and DNF Controls are steeped in engineering excellence to its core and everyone on the R&D, product development and operations teams hold themselves to the highest possible technical standards. As an agile, R&D-led business, TSL has been able to re-prioritise very quickly in order to support its customers in their remote workflows, but above all, the company holds its staff to the highest regard. “Our number one priority is our staff, says Mark Davies, director of products and technology at TSL Products. “TSL has offices in the United Kingdom and Los Angeles so we’ve been keeping up with the latest Californian and UK requirements. All employees, other than those manufacturing products, are working from home. Our sales, product and support teams are still working with customers in full capacity. On the manufacturing side, we have only essential staff in place, allowing those who cannot work efficiently from home to practice safe social distancing.”

It has been a major time of change for the broadcast industry, both technically and commercially, and despite this, TSL has achieved significant growth since the acquisition one year ago. “A year on since acquiring DNF Controls, our seamless integration plans offer a focused response to customer needs, while the opportunity to bring new products and technologies to one another’s customer base has resulted in significant new business opportunities,” says Chris Exelby, Managing Director of TSL Products. “By keeping our ear to the ground and reacting to customer requirements, I am confident that we will continue to build on the strong foundations we have laid over the past year.”

During these unprecedented times, TSL will continue to work alongside its customers to evaluate its offerings and will work on presenting updates to better fit the current needs of its customers, while also keeping up with the demands of ever-changing broadcast requirements.

London, UK, 4 May 2020: Mo-Sys Engineering, a global leader in real time camera tracking and remote systems, is proud to announce a collaboration with Panasonic. The AW-UE150 and the Mo-Sys StarTracker module will empower AR and virtual studio graphics by together creating engaging content with natural depth and changing the perspective of the virtual background.

Previously planned to launch at NAB, the webinars will be co-hosted by Panasonic and Mo-Sys and will showcase the new Panasonic AW-UE150 - a 4K, wide-angle lens, PTZ head with absolute camera tracking for AR and virtual studio application. With Mo-Sys StarTracker, the venue or event is no longer restricted to a fixed camera position and can be more creative using the PTZ head on a jib, crane or a dolly for unlimited camera motion.

There are two sessions on offer:

10:00 (BST) - Thursday 7th May 2020 - Sign-up to webinar
18:00 (BST) - Thursday 7th May 2020 - Sign-up to webinar

Mo-Sys CEO Michael Geissler said, “Although disappointed that we could not launch at NAB, these webinars are a fantastic opportunity to demonstrate this innovative collaboration, helping a wide range of customers generate immersive and engaging content for AR and virtual studio applications. We are proud of our partnership with Panasonic and excited to showcase what is possible.”

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About Mo-Sys:
Mo-Sys is a world-leading provider of camera tracking and camera robotic systems supplying to broadcasters such as BBC, Sky, Fox, ESPN, CNN Discovery Channel, The Weather Channel and Netflix among many more. With a passion for innovation and design, Mo-Sys are at the forefront of live AR and virtual production technology with their StarTracker camera tracking system now powering more than 100 virtual TV studios around the world. For further information, www.mo-sys.com

Mo-Sys Company Contact:
Adam Smith, Marketing
adam@mo-sys.com
+44 (0) 208 858 3205

Mo-Sys Media Contact:
Jennie Marwick-Evans
jennie@manormarketing.tv
+44 (0) 7748 636171

Hoboken, NJ; May 4, 2020 – The COVID-19 pandemic has accelerated anticipated broadband consumption trends by almost one year and has exponentially increased the number of >1TB/2TB “power users,” according to the Q1 2020 OVBI (OpenVault Broadband Insights) report issued today by OpenVault, a leading provider of technology solutions and industry analytics for broadband operators.

Driven primarily by subscriber self-quarantines during March, average consumption at the end of 1Q20 jumped to 402.5 GB, an increase of 47% over the 1Q19 average of 273.5 GB and a 17% rise over the 344.0 GB in 4Q19. Based on its decade-long analysis of broadband usage patterns, OpenVault had projected early this year that average consumption would reach 425 GB by the end of 2020; according to OpenVault average monthly usage for April 2020 is on track to exceed 460 GB.

The areas of sharpest growth during 1Q20 were power users of 1 TB or more and extreme power users of 2 TB or more. The percentage of subscribers who were power users in 1Q20 reached 10.0%, an increase of 138% over the 4.2% of power users in 1Q19. Extreme power users represented 1.2% of all subscribers, up 215% from 1Q19’s 0.38%. OpenVault had projected early this year that by the end of 2020 power users and extreme power users would represent 12% and 1.4%, respectively, of all subscribers.

“Nearly all the growth in broadband usage we would have expected for 2020 has now been achieved in the first quarter, with much of it concentrated in the last two weeks of the quarter,” the report states. “The COVID-19 pandemic changed broadband usage patterns in substantial ways, perhaps permanently. Broadband operators will need to understand the implications of this shifting broadband usage behavior and plan their network performance capabilities accordingly.”

Other findings in the newly released OVBI report include:

· With broadband quotas relaxed during much of March, the typical pattern of flat rate billing (FRB) usage outgrowing consumption by subscribers on usage based billing (UBB) plans was reversed: Subscriber usage with relaxed UBB packages grew by 49.05% in 1Q20, while FRB growth was 44.42%.

· Median usage, a leading indicator of usage growth across all subscribers, was up sharply. Median usage across UBB and FRB plans was 233.6 GB, up 60% from 146.0 GB in 1Q19 and up 22% from 190.7 GB at the end of 2019. Importantly, the rate of increase in media growth accelerated to 122% during the first quarter of 2020.

· Upstream usage rose sharply during March, “as more people work from home and use collaboration tools such as videoconferencing.”

· Increased usage is nudging subscribers toward faster speeds. The percentage of subscribers provisioned for gigabit-speed service increased 97% to 3.75% in 1Q20 year-over-year from 1Q19’s 1.9% and was up 34% from the 2.8% at the end of 2019.

OpenVault will host a webinar to elaborate on the report on Wednesday, May 20 at Noon EST. Please go here to register.

The entire report is available at http://openvault.com/complimentary-report-Q120.

Cambridge, UK, 1 May 2020: Well known, highly experienced project manager Kit Barritt has joined Pixel Power in the newly created role of training manager. Bringing with him a wealth of experience in creating and delivering training and induction processes to broadcasters and production facilities worldwide, Barritt will bring a fresh slant on training: internal and external; on site and online.

“Pixel Power is at the forefront of the industry as television moves to virtualized and cloud-based solutions,” Barritt said. “The company recognises that this means a shift in skills set, so training is a critical factor in the success of any project. My role is to strengthen training as an integral part of the Pixel Power offering, ensuring our customers achieve their business, operational and technical goals.”

By building training and skills development into the project, Pixel Power aims to ensure the customer and implementation team remain closely engaged, understanding and approving each phase. Through his understanding of solution development – most recently he was project manager on a large-scale station refurbishment in the Middle East – Barritt will ensure timely and appropriate training, adding further to Pixel Power’s reputation for successful delivery, from the initial approach throughout the systems’ lifecycle.

“While Kit joined Pixel Power at a great time for us it’s a challenging time for everyone in the industry – he hasn’t been able to meet many of his new colleagues personally yet! It is clear to us that broadcasting and production will be changed by the current crisis, and we have to be prepared for a new normal,” said James Gilbert, CEO of Pixel Power. “Social distancing has really demonstrated how invaluable automated workflows can be, and how new workflows and operating procedures need to be brought on line swiftly and surely.”

“That is why we are investing in training and support, not least by recruiting Kit to the team,” Gilbert continued. “Kit will not only work with our project teams on major new installations, he will use his experience in online training and skills development. Expect more focused webinars and ‘how to’ quick tip videos from us.”

Kit Barritt joined Pixel Power in April 2020, reporting to Peter Crouch, head of global support and services. Based at Pixel Power’s corporate headquarters in Cambridge, UK he has a worldwide brief.

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About Pixel Power, a Rohde & Schwarz Company:
Pixel Power develops software-defined, virtualizable, solutions for broadcast playout, automation, master control, graphics & branding used in linear television channels, OTT and VOD. Our award-winning branding and promotions systems, graphics-enabled master control switchers and sophisticated switchable graphics production systems allow producers to deliver dynamic live and pre-recorded content for any SD, HD, 4k, mobile, online or interactive application.

Pixel Power has 33 years’ experience of engineering prowess and dedication to customer support that has made it the industry’s first choice in graphics, branding and playout. With more than 2500 installations worldwide, customers including market-leading broadcasters such as BBC, Ericsson, ITV, SWR, WDR, TV2 Norway, Danmarks Radio, TV5 Monde, CBC, Disney, Discovery, ESPN, ViaSat and Sky.

Recently acquired by Rohde & Schwarz GmbH, Pixel Power corporate headquarters are in Cambridge UK with regional offices in Grass Valley California and Dubai UAE.

Pixel Power can be contacted online at www.pixelpower.com.

Pixel Power contact:
Name: Ciaran Doran
Title: Exec VP
Email: cdoran@pixelpower.com
Tel: +44 7775 581301

PR Contact:
Name: Jennie Marwick-Evans
Company: Manor Marketing
Email: jennie@manormarketing.tv
Tel: +44 7748 636171

Fight Network, a subsidiary of Anthem Sports & Entertainment Inc. and the world’s premier combat sports network, announced today a partnership with Everlast Worldwide—the world’s leading manufacturer, marketer and licensor of boxing, MMA and fitness equipment—cementing the brand as the exclusive presenting sponsor of the all-new Protect Yourself at All Times program. The weekly series is set to debut later in the year and will air on Fight Network in the U.S. and Canada, and globally across Europe, Africa and the Middle East. The network is available on many of the top U.S. video providers, as well as Apple TV, Roku, Amazon Fire and Fubo TV.

Fight Network is developing the new Protect Yourself at All Times (PYaAT) series in conjunction with consultant Adrian Clark, the multi-talented author, athlete representative, and entrepreneur who originally launched the initiative as a book, podcast, and video blog in 2016. Hosted by Clark, the 30-minute series will serve as a powerful tool to educate and inform fighters and their families on the nature of business in boxing, paired with invaluable insight from a variety of special guests and industry insiders.

“We are thrilled to partner with Everlast, the preeminent brand in boxing since 1910, on the development and launch of Protect Yourself at All Times,” said Ariel Shnerer, GM of Fight Network. “In addition to the series sponsorship, we look forward to working closely with the experienced team at Everlast on the development and promotion of boxing content on Fight Network globally. Protect Yourself at All Times is truly an investment into the future of boxing, focusing on fighter education and knowledge, and compliments other important charitable and educational causes spearheaded by Everlast and Fight Network, including the Dare To Defend program and Everlast’s Be First Campaign.”

The relationship between Fight Network and Everlast also includes teaming up with Fight Network’s web and social platforms to sell Everlast products, which are hitting all-time high sales records as people re-engage with the value of boxing skills in their fitness programs, and the two companies will also collaborate on further content development..

“We’re proud to partner with Fight Network on the next phase of Protect Yourself at All Times,” said Chris Zoller, VP of Everlast. “Athletes in other major sports have had the luxury of having resources like education & services during and after their athletic careers. Adrian Clark and Fight Network have created a platform with PYaAT to fill that void in boxing, and Everlast is excited to be a part of it.”

“Everlast has been supportive of Protect Yourself at All Times since its beginning stages,” said Adrian Clark, founder of Protect Yourself at All Times. “I am thankful for their continued support. We have some amazing things on the horizon at Fight Network.” 

AXSTV presents a special performance by GRAMMY-winning funk superstar CeeLo Green, airing as part of the Network’s new “At Home And Social” series on Monday, May 11 at 8 p.m. ET/5 p.m. PT. Viewers can enjoy the premiere on AXS TV, as well as its simulcast across the Network’s various digital platforms, including axs.tv, Facebook and YouTube.

Known for his uncompromising style and signature vocals that have fueled unforgettable hits such as “Crazy,” “Cry Baby,” and “Forget You,” among many others, Green has long-established himself as one of music’s most influential and dynamic artists. “At Home And Social With CeeLo Green” promises to be one of Green’s most unconventional sets yet, as AXS TV takes viewers into his home for an intimate evening packed with chart-topping hits, spirited covers, fan-favorites, and an exclusive performance of his new single “Lead Me” from the upcoming album CeeLo Green Is…Thomas Callaway.

“At Home and Social” provides world-class artists and entertainers with a unique platform to broadcast live performances from their homes and studios directly to their fans. Hosted by SiriusXM on-air personality and Esquire Editor-At-Large Dave Holmes, the hour-long event delivers an eclectic evening blending live performances with insightful interview segments, behind-the-scenes anecdotes, and more, giving music aficionados a rare glimpse into the personal lives of the artists they love.

“CeeLo Green is one of music’s most dynamic entertainers,” said Sarah Weidman, Head Of Original Programming, Development and Multi-Platform Content for AXS TV. “His soulful blend of funk, pop, R&B, and more has created a distinct sound that is entirely his own—capturing the hearts and ears of music fans around the world. AXS TV is proud to present this special performance featuring some of Green’s best-loved songs, giving viewers the best seat in the house to a night of music that we hope will help recreate the magic that only live performances can provide. We look forward to sharing it with our audience.”

Follow the social media conversation using #AtHomeandSocial as well as @AXSTV and @CeeLoGreen.

Fremont, CA – April 30, 2020 – Blackmagic Design today announced popular Chinese vlogger and Internet celebrity Tim Pan, with his team from Media Storm, completed a 24 hour nonstop live stream. The stream was done showing a camping trip of The Nomad Hotel by automotive marque Mini with a custom workflow built with Blackmagic Design’s ATEM Television Studio HD, Video Assist 4K and Mini Converter UpDownCross.

The Nomad Hotel consists of six Mini Countryman compact luxury crossover SUVs equipped with tailor made roof tents with modern amenities, allowing travelers to explore the wild, without sacrificing the conveniences of urban living. With most people in China still under quarantine and restrictions on movement in late March, Mini and its creative partner Anomaly decided to bring the stunning scenery on the road trip to those who stayed at home via “The Nomad Hotel in the Cloud” live streaming project.

Media Storm was invited by Mini China to do the live stream. “The road trip route went across different terrains and the destination was a grassland where the travelers slept in the rooftop tents and enjoyed the scenery. Very enjoyable from a traveler’s perspective, but it was not an easy job for us because we were asked to do a 24 hour nonstop live stream when we kept moving along the trip route, crossing mountainous regions where the Internet connection was unstable,” said Tim Pan, founder of Media Storm.

However, Mini didn’t want to lower the requirements for high image quality, which Media Storm is known for, and even asked for a multicam live production. “Sometimes cameras were hundreds of meters away from the switcher and the technical director had to do video switching correctly while on the move. Also, there would be video calls coming in from other vloggers who would interact with us, which could be difficult if the Internet connection was not reliable.”

Yifan, Gary and Huayang, three members of the crew, decided to use a 4G multi SIM bonding device for stable transmission and they designed a multicam workflow consisting of a broadcast camera along with two mirrorless cameras, all connected to the ATEM Television Studio HD.

“We actually started doing live streams in 2016. At first, we used smartphones but it was not a pleasant experience. After some trial and error, we found Blackmagic Design’s live production products were what could meet our demands for reliability, simplicity and affordability, and we have used the Blackmagic Design workflow for all our live streams since then,” recalled Tim.

“For 24 hour nonstop live streaming, reliability of every component in the workflow matters. None of the Blackmagic products failed, even when the temperature dropped to a very low point at night,” he continued. “Also, Mini asked us to record the program from start to finish so they could put the recorded clip out on their bilibili channel once the live stream ended. The Video Assist 4K’s dual card hot swapping feature allowed us to do the 24 hour recording without a glitch.”

Speaking of simplicity, Tim revealed he was not a live production expert at all but the intuitive design of Blackmagic products enabled him to quickly get familiar with them. “Especially the ATEM Television Studio HD switcher because I used the ATEM Mini before. That’s the beauty of Blackmagic products. If you know how to use the entrance level product, you will master the more advanced ones in no time because the operations are almost identical.”

“Everyone knows Media Storm takes post production serious in terms of image quality and techniques. In fact, we want to do live production as professionally as possible too. That’s why we prefer a multicam setup, which makes a program fun. In most cases, including the Mini project, we would use a three camera set up for full shots, medium full shots and close up shots. In the meantime, we like to take advantage of various effects built in the ATEM switcher, such as picture in picture, keying, etc. For example, for this project, when we were showing the viewers the starry night, we also put the roof tent feed in a picture in picture window as required by Mini.

The ATEM Software Control allows us to fully control the switcher from a computer without physically touching the switcher, which is great especially for small teams like us. Sometimes even when there’s only me and an assistant manning a live stream, with the ATEM Software Control, I’m able to perform different switching and effects while I’m talking to our guests or audience, saving a lot of man power.”

A Mini Converter UpDownCross was also used to convert the drone feed to the project format.

According to Tim, Mini was very happy with Media Storm’s work and has reserved them for future projects. “For live streaming projects from clients like Mini, we use solutions customized based on clients’ demands and we are looking to buy some more ATEM Television Studio Pro 4Ks.”

“Moreover, we are also designing live streaming solutions for other streamers, where the ATEM Mini is the first choice because the streamers are on taobao.com and bilibili.com, where the set up rarely needs to be changed and they want high quality multicam live streaming to be as easy as connecting a few cables. Basically, the ATEM Mini made it possible,” he concluded.

Press Photography

Product photos of the ATEM Television Studio HD, ATEM Mini, Video Assist, Mini Converter UpDownCross, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Paris, France – April 30, 2020 –Dalet, a leading provider of solutions and services for broadcasters and content professionals, has opened up registration for live virtual events on its new digital meeting platform, Dalet Connect. An online resource designed to serve and support the media and entertainment community, Dalet Connect is a dedicated space where media professionals can discover Dalet product offerings and engage in live events to learn how they can improve operations and strengthen their content workflows. Dalet’s upcoming webinars will cover topics like streamlining the content supply chain, AI-enabled news production workflows, and enriched graphics production. All live webinars are now open for registration.

Streamlined media processing inside your supply chain

In today’s resource-scarce and competitive landscape, efficient content supply chains are essential to business success. Learn how Dalet AmberFin enables streamlined media processing and discover its latest capabilities from Product Manager Eric Carson.

● EMEA - May 5th at 4 PM CET

● AMERICAS - May 5th at 10 AM and 2 PM ET

● APAC - May 6th at 12 PM SGT

Four AI-enabled news production workflows that will save you time, money, and nerves

In this webinar, Raoul Cospen, Dalet’s News Market Director, explores how Dalet Media Cortex AI-driven indexing, discovery, captioning and rough cut capabilities can boost content production, management and publishing. During a time where most production teams are working remotely, Dalet Media Cortex smart content recommendations will enable them to tell richer stories.

● EMEA - June 2nd at 10 AM & 7 PM CET

● AMERICAS - June 2nd at 1 PM ET

● APAC - June 2nd at 4 PM SGT

Impactful graphics that will increase your viewer engagement

With content consumption growth across digital channels and audiences craving image-rich news stories, it’s critical that broadcasters have a connected premium graphics workflow. In this webinar, Dalet and long-term partner Brainstorm join forces to show you the tools that empower content creators to drive a consistent brand message with engaging visuals.

● EMEA - June 16th at 10 AM & 7 PM CET

● AMERICAS - June 16th at 1 PM ET

● APAC - June 16th at 4 PM SGT

All webinars will be available for on-demand streaming after the event date. Register for the webinars to receive instant alerts when content becomes available and subscribe to Dalet’s newsletter to receive updates on future events.

Watch the Dalet Pulse Encore

This year, Dalet brought its Media Innovation Summit, Dalet Pulse, to the web. Watch the 30-minute online encore anytime to learn about the latest Dalet innovations and best enable new ways of working. Adapt quickly by leveraging the latest advancements in media technology to ensure business continuity while optimizing audience satisfaction. Register and watch the 2020 Dalet Pulse Online recording now.

For more information on upcoming Dalet digital events or to book online product demos and virtual meetings, please visit https://connect.dalet.com/.

About Dalet Digital Media Systems

Dalet solutions and services enable media organizations to create, manage and distribute content faster and more efficiently, fully maximizing the value of assets. Based on an agile foundation, Dalet offers rich collaborative tools empowering end-to-end workflows for news, sports, program preparation, post-production, archives and enterprise content management, radio, education, governments and institutions.

Dalet platforms are scalable and modular. They offer targeted applications with key capabilities to address critical functions of small to large media operations - such as planning, workflow orchestration, ingest, cataloging, editing, chat & notifications, transcoding, play out automation, multi-platform distribution and analytics.

The integration of the Ooyala Flex Media Platform business has opened vast opportunities for Dalet customers to deploy successful strategies that better address their audiences with agile multi-platform content distribution in a wider range of markets, such as sports for teams and leagues, brands and corporate organizations, as well as Media and Entertainment companies looking to scale up their digital offerings.

Dalet solutions and services are used around the world at hundreds of content producers and distributors, including public broadcasters (BBC, CBC, France TV, RAI, TV2 Denmark, RFI, Russia Today, RT Malaysia, SBS Australia, VOA), commercial networks and operators (Canal+, FOX, MBC Dubai, Mediacorp, Fox Sports Australia, Turner Asia, Mediaset, Orange, Charter Spectrum, Warner Bros, Sirius XM Radio), sporting organizations (National Rugby League, FIVB, Bundesliga) and government organizations (UK Parliament, NATO, United Nations, Veterans Affairs, NASA).

Dalet is traded on the NYSE-EURONEXT stock exchange (Eurolist C): ISIN: FR0011026749, Bloomberg DLT:FP, Reuters: DALE.PA.

Dalet® is a registered trademark of Dalet Digital Media Systems. All other products and trademarks mentioned herein belong to their respective owners.

For more information on Dalet, visit www.dalet.com.

Press Contact

Alex Molina

Zazil Media Group

(e) alex@zazilmediagroup.com

(p) +1 (617) 834-9600

West Palm Beach, FL – April 30, 2020 – Ultra Film, the HD movie network, designed for the Latino audience that showcases hit international movies starring well-known personalities from around the world, dubbed into Spanish-language by the Olympusat team in Mexico, announces the May 2020 premieres schedule featuring an American movie awarded at The Tribeca Film Festival, an Ukrainian comedy, an Italian drama, an action movie directed by actor Pierce Brosnan’s son, and the titles of the month ended with an Austrian mystery story.

May wide release Ultra Film movie Calendar is:

Mujeres Que Matan (Women Who Kill) 

5/3/2020 at 10 p.m. ET.

From director Ingrid Jungerman, who also was the script writer and won the 2016 Jury Award as Best Screenplay at The Tribeca Film Festival. A satire of modern relationships set in the Park Slope neighborhood of New York City, where ex-lovers and current podcast partners get involved with a cycle of suspicion and paranoia when one of them begins a new relationship with the beautiful woman.

Una Boda de Locos (Crazy Wedding)

5/6/2020 at 10 p.m. ET.

A comedy set in Ukraine, where a father - Director of the local Museum – discovers by surprise that his future son-in-love is a Frenchman of African American origin. It will be a totally drama the event planning. However, when true love stands in the way things could be happy, but the success of the wedding is not a given.

Nuestra Pasión (Gateway of Love)

5/15/2020 at 10 p.m. ET.

A supermarket clerk is surprised when two robbers suddenly break into the store faces covered and take her hostage. A policeman saves her life. From that moment on, they are not able to resist the passion between them and ask each other how far they can push themselves to live their love since she is married.

Mi Padre Debe Morir (My Father Die)

5/17/2020 at 10 p.m. ET.

A deaf-mute young man seeks to exact revenge on his violently abusive father, who ten years ago killed his oldest son while beat the youngest so brutally that the boy lost his hearing and ability to speak. The son proves himself just as capable of brutality as his father, whose aggressive tendencies have not been lessened by his prison stint.

Muerte En El Hielo (Death on Ice)

5/22/2020 at 10 p.m. ET

During his morning walk a retired policeman suddenly discovers a dead body on a frozen lake. He starts his own investigations, discovering that one of his own family members is a suspect in the case he must choose between family and justice.

Ultra Film is owned and operated by Olympusat Inc., and it’s currently available on Charter Spectrum, Hotwire Communications, Liberty, and FiOS by Verizon.

For more information on Ultra Film, please visit ultrafilmtv.com

Olympusat - Editorial Contact:

Jesús Piñango

Senior Director of News

561-249-5228

jesus@olympusat.com

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The Hollywood Professional Association (HPA) has unveiled a robust suite of virtual programs to provide the production and post-production industry with critical technical knowledge and offer opportunities to build community both during and beyond the COVID crisis. The slate of content is free with registration for the foreseeable future.

The content, created and moderated by industry leading volunteers along with HPA staff and leadership, begins with a focus on the key skills and technology necessary for remote workflow and will continue to center on topics of critical interest to the industry. A few of the new offerings are under the auspices of the NET (Networking, Education and Technology) committee, which will continue to augment future in-person NET events.

HPA NET Presents: Critical Conversations

Webinars: A series of moderated webinars and video interviews featuring industry experts in conversation. Critical Conversations launched with “What We Learned from Creating in the Cloud: A Case Study,” focusing on the technology featured in the virtual production of “The Lost Lederhosen” at the 2020 HPA Tech Retreat; followed by “Collaborating in the Cloud Part 2,” presented in collaboration with American Society of Cinematographers and featuring the director, DP, VFX supervisor, and camera operator from “The Lost Lederhosen;” and “Government Support for the Industry During the COVID 19 Crisis,” featuring experts from Ernst & Young. Webinars, post event, are available at https://hpaonline.com/event/.

Video Interview Series: Launching in early May 2020 is a video interview series produced by industry vet Mark Chiolis (HPA Board, Mobile TV Group) who will dig into incisive conversations with thought leaders. HPA NET Presents Critical Conversations with Mark Chiolis will debut with Dolby Chief Scientist Poppy Crum. AVID President Jeff Rosica and Mark Radonis, SVP of Bunim-Murray Productions follow in upcoming episodes to address today’s most relevant topics.

HPA NET Presents: Through the Frame with Jesse Korosi (podcast)
Korosi brings deep experience and perspective as a workflow expert to a lively podcast that explores what’s happening behind the scenes of a number of compelling projects with knowledgeable experts. Through the Frame launches with Ben Gervais, freelance technical supervisor known for bringing new technologies to current motion picture processes. His credits include “Gemini Man” and “Billy Lynn’s Long Halftime Walk.” Upcoming guests on Through the Frame include Chad Peter, Tai Logsdon, and Rachel McIntire.

HPA Women in Post Webinar: Aiming for Equilibrium While Working at Home During COVID
Leadership coach Diana Tauder leads an interactive, collaborative webinar to help attendees reconnect with our community and build their toolkits for working at home during this turbulent time.

HPA Tech Retreat 2020: Incredible Content
In the next month, important content from the 25th HPA Tech Retreat, including sessions and interviews, will be available at no cost at hpaonline.com

SOC-AFI cinematography sessions
In collaboration with the Society of Camera Operators (SOC), HPA will share the expertise and insights from sessions with American Film Institute (AFI) graduate cinematography students.

Seth Hallen, President of HPA, commented, “HPA is the hub that provides our community with incredible information, shared by some of the most brilliant and engaged experts, and presents the very latest developments. We’re really fortunate to have our own impressive roster of members and volunteers who have the will and ability to turn their inspired ideas into reality that benefits our audience. It’s absolutely thrilling to collaborate with staff, volunteers, and speakers to share the considerable gifts of engagement that are present in these virtual events.” Hallen concludes, “The announcement of our growing focus on creating valuable content is part of a range of activities and initiatives that HPA is working to serve and connect our community. As always, we ask our constituents to let us know what information and support they are looking for, and we will always do our best to deliver.”

The virtual programs are taking place thanks to the generosity of HPA foundation members Avid, Dolby, EFILM, Encore, Deluxe Toronto, and Level 3 Post; NET sponsors Avid and Zeiss; and WIP gold sponsor Adobe and silver sponsor Quantum.

For complete information and registration, visit hpaonline.com.

Toronto, Canada, April, 2020 — Toronto’s legendary El Mocambo live music venue is set to reopen following a five-year, multi-million-dollar renovation by new owner Michael Wekerle, a Canadian financier and television personality. The building, originally constructed in 1910, has been completely gutted and rebuilt with three live performance spaces connected to an audio broadcast and recording control room equipped with a Solid State Logic Live L550 digital mixing console.

“It’s not quite a club anymore. It’s an event space with a very beautifully designed interior inside a broadcast facility,” says Jamie Howieson, executive designer and production manager at the iconic venue, which has long been affectionately referred to as the El Mo.

“The main reason I went with the L550 desk is because, when I was using it in the past, I never heard a better combination of preamp, clock and converter in a live console—ever,” says Howieson. “I got a lot of time with it when I was touring with Mumford and Sons. And with my age-old history of using SSLs in some of the control rooms I’ve done in the past, I knew it was the right desk for this design. With the remote preamps it was no-brainer.”

The revamped building has been restructured as a content creation center where performances on both floors as well as the backstage area can be mixed through the SSL L550 simultaneously for recording and streaming. “We have three performance areas—FL1, FL2 and our green room/dressing room—that are all connected to our control room. Inside the control room, there’s a video control room, an audio control room and an isolation booth,” says Howieson. FL1, on the lower level, accommodates an audience of up to 350 while FL2, on the upper floor, has a 450 capacity and features a large balcony.

Howieson continues, “We have 98 tracks to Avid Pro Tools HD at 24-bit, 192 kHz. I have 32 channels of mic preamps downstairs and 64 channels on floor two. I’ve got all the remote preamps running MADI, point to point, with no patching in between. We also have the ability to capture five 4K video images.” The L550’s onboard digital effects and processing is complemented by a rack of outboard analog mic preamps and tube devices. Over two and a half miles of cabling were installed to support the facility’s audio, video, lighting and internet infrastructure.

Where live music broadcast production facilities more typically feature a large- format multitrack recording console, Howieson figured that touring engineers would be more comfortable with a familiar live desk. “The L550 is a great broadcast console. I can have the guys on the road sit down in front of the L550 and mix, instead of sitting at an SSL 9000 with a house engineer, telling them to turn the kick down or the snare up.

The power and flexibility of the L550 not only allows Howieson to handle three or four bands on a single show, it has already also enabled him to mix and record two bands simultaneously in the individual live spaces. “I tracked them and mixed them down to a two-mix on each floor,” he says. “Acts can come in, and at the end of the performance, we hand them a tracked 5.1/4K line mix on a hard drive.”

Howieson has programmed the desk’s three Solo Channel buttons to select between the ATC SCM100ASL Pro main monitors, ATC SCM25A Pro nearfields and small Auratones.

Other than the control room monitor speakers, he says, every transducer in the building is L-Acoustics. “On floor one we have a set of ARCS II with ARCS II delays. I have 42 surround sound speakers on FL1 and FL2. On FL2 we have an L- Acoustics Kara and KIVA for the main system and X15 HQ for stage monitors with Shure and Sennheiser IEMs.”

There’s one other reason why Howieson chose to install a Solid State Logic desk, he says. “The service I got from SSL has been fantastic. And it always has been. Those guys have been great to us.”

“The partnership between Solotech and Solid State Logic started long time ago. Today, we trust the Live Console Series when it is time to deliver events around the world,” says Frankie Desjardins, VP R&D Solotech Inc. “We trusted Solid State Logic products, on our different projects, for the past 20 years. I think that says it all!”

First opened as a music venue in 1948, the El Mocambo hosted a who’s who of blues and jazz artists in its early days, including Marilyn Monroe, Buddy Rich, Buddy Guy and Muddy Waters. But it was two surprise shows in 1977 by The Rolling Stones, billed as The Cockroaches, that put the venue on the rock ‘n’ roll map. The band’s first live performances in 14 years, recordings from the shows were released on one side of the Love You Live double LP. In the years that followed, the El Mo hosted U2, Pat Benatar, Stevie Ray Vaughan, Cheap Trick, Blondie, The Ramones, Sum 41 and numerous others, many of whom are immortalized on the newly reopened venue’s photo-covered acoustic panels.

About Solid State Logic

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

LOS ANGELES, APRIL 29, 2020 — As one of the industry’s most respected audiophiles, Award-winning Re-recording Mixer, Sound Editor and Sound Designer Ruy Garcia is passionate about using only the best audio equipment for his craft. When it came time to fine-tune the surround mixes for the Netflix release of 2019’s Midsommar and the theater premiere of the recently released Wendy, Garcia selected NUGEN Audio’s Halo Upmix.

Initially, both Midsommar and Wendy were 5.1 projects, but with the advent of streaming releases on the horizon, film execs requested Atmos-compliant mixes. “In today’s mixing environment, you often have to make your projects simultaneously compatible with Atmos, 5.1 and stereo,” explains Garcia. “It’s important to have tools that work well with the artistic side in conjunction with all these technical requirements. In the case of Midsommar, when it was seen in theatres, it was a very sonically complex, 5.1-format movie. After the film was sold to Apple TV, A24 and Supervising Sound Editor, Gene Park, hired me to mix the Atmos version. With Wendy, we originally mixed in 5.1 and then, thanks to a Dolby Fellowship grant, had the opportunity to finish our mix in Atmos before it premiered. Halo Upmix allows for quick transparent Atmos capability, which is very important.”

From naturally extracted and expanded soundscapes to full cinematic big-stage enhancement, Halo Upmix delivers all the control needed to fine-tune surround mixes. “Halo Upmix is not only fully immersive, but its visual tools and sonics stand out from all the other upmixers on the market,” continues Garcia. “NUGEN’s Halo Upmix is incredibly useful for simultaneously delivering projects in both stereo and Atmos, and it has given us the option of making a really immersive sound field. For example, with Midsommar, there are scenes where the camera is tilting and rolling around. We literally took an entire piece of stereo score and made it flow all around us with the simple move of a fader. That was incredibly natural, and you could really feel it in the room.”

Although Midsommar was Garcia’s first time using NUGEN’s Halo Upmix, he’s no stranger to the brand. “We use the company’s ISL limiter and VisLM meter to comply with Netflix or Apple’s loudness requirements,” he adds. “When we were creating the theatrical mix for We the Animals, it ran the entire spectrum of loudness. Overall, it’s a very quiet film, but it is also very dynamic, and we didn’t want to lose that to hit a required level. In order to make it work for TV, we had to limit that spectrum to hit specific targets while still aiming to retaining the overall emotional feel. In the case of Midsommar, we set up a recorder system for running VisLM meters after the Dolby DMU, this allowed us to check that the 7.1, 5.1 and stereo versions would also work for Apple’s specifications. By doing so, we still had the Atmos format options and could confidently push the loudness levels, which was really useful.”

For Garcia, NUGEN provides a vast array of other benefits. “I really like NUGEN’s software because, when I’m mixing, I prefer not to leave one setting for the entire movie; I'm moving it all the time,” he says. “NUGEN plug-ins allow me to have more in the center or more in the ceiling, when working between formats. They are really creative tools, not just converters. The graphics are also very informative, especially the meters, which provide visual cues for what we have to adjust. I also really like the Halo Upmix ‘exact’ control mode, which affords me the confidence of knowing that the original source integrity is precisely preserved. No matter what I’m working on, NUGEN is part of my template.”

In addition to his recent projects, Garcia’s credits include the hit movie Y Tu Mama Tambien and the popular HBO series Boardwalk Empire, for which he won a prime-time Emmy Award in 2013.

Information about NUGEN Audio’s complete product family is available at www.nugenaudio.com. For all other inquiries, please email info@nugenaudio.com.

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April 29, 2020 (London) – SDI Media, the world’s largest localization provider, has published a white paper examining the legal implications of recent regulations around dubbing rights of actors in various regions. The white paper, titled “Localization Rights: What Content Owners & Performers Need to Know About the Rapidly Evolving Marketplace”, is available on the SDI Media website at https://www.sdimedia.com/localization_rights/.

Mark Howorth, CEO of SDI Media, said: “SDI Media supports content owners around the world and we want to make sure they are aware of the changing nature of localization rights and the rights of dubbing actors across different regions. Since content is distributed across different platforms and is available for streaming over a long period of time there are many different rules and each country is a little bit different. We encourage all content owners to read this white paper, examine their legal frameworks, and invite them to discuss with us how these may impact their content distribution strategies.”

The white paper was written SDI’s Manager of Business Affairs, Adebunmi Nsofor. She examines several dubbing territories including France, Japan, Hungary and Belgium. She explains the way that dubbing rights are affecting how studios are engaging with performers. It also examines recent legal directives of which all studios should be aware.

Change has come fast to the localization industry. The streaming era combined with the new copyright related laws coming into effect within the next 12 months means that talent unions will want to discuss how rights will work in the new world. Nsofor notes, “No one should assume that the rules of yesterday will still apply tomorrow. It is important for all parties to make sure the rights they think they are clearing are actually being cleared.”

SDI Media is encouraging all content owners to read the white paper and take a look at their legal frameworks, so they are prepared for changes in the near future.

ABOUT SDI MEDIA

SDI Media is the world’s leading media localization provider, offering dubbing, subtitling, and media services to content owners, broadcasters, and multi-platform distributors. SDI Media offers a complete end-to-end localization solution for theatrical releases and episodic series, using the most comprehensive suite of customizable localization software applications in the industry.

With the world’s largest owned and operated network of 33 facilities in Asia, EMEA and the Americas, incorporating over 150 recording rooms and 85 mixing rooms globally, SDI Media and its subsidiary Picture Production Company (PPC) have offices in 29 countries and 35 facilities, providing the only one-stop media localization solution in the industry.

For media enquiries, please contact:

Clare Plaisted/Sally Reid

clare@prcoms.com

+1 703 300 3054

HOUSTON, APRIL 29, 2020 – Breaking down barriers between athletes and fans, Ross Stripling and Cooper Surles launched “The Big Swing” podcast in January 2019 to discuss everything from sports to pop culture to finance, with a focus on all things baseball. When the co-hosts were looking to deploy a high-quality microphone solution to capture crystal-clear audio for their podcast, they found exactly what they were searching for with MXL Microphones’ BCD-1 Live Broadcast Dynamic Microphone.

“In our first few months of podcasting, audio was the biggest challenge for us,” says Stripling. “Once we were able to deploy the MXL mics and put them in front of each speaker, our audio went up twofold – the sound quality of MXL’s BCD-1 is incomparable to the previous solution we were using.”

In addition to high-quality audio pickup, Surles finds the noise rejection capabilities of MXL’s BCD-1 to be extremely beneficial for their recordings. “Not only do the mics pick up audio well, but they also do an awesome job of rejecting outside noise,” he says. “This is a particularly helpful feature when we record in our home studio set up, where my dog might be barking in the other room. Also, we frequently have guests that have no previous microphone experience, so they often won’t speak directly into the mic, and the BCD-1 does a solid job of capturing their voices off-axis.”

For Surles and Stripling, it is also important to have a portable and durable microphone solution as they travel from place to place recording “The Big Swing” podcast remotely. “When we travel, I keep the mics in my carry on, which gets thrown around a great deal, and while my luggage takes a real beating, the MXL mics remain in perfect working condition no matter what,” says Stripling. “They're definitely durable and they've been exactly what we need.”

Additionally, as Stripling and Surles have no prior experience with professional audio equipment, it was crucial that they deploy a truly plug-and-play microphone solution for “The Big Swing” podcast. “When we first launched, we struggled a little bit to figure out some of the other hardware we were using, but with MXL’s BCD-1 mics, they’ve been so easy to work with,” says Surles. “We pulled them out of the box, plugged them in and they worked like a charm from the start.”

Surles and Stripling have become fans of MXL as a brand, finding their customer service to be extremely helpful and dependable. “It’s clear that MXL puts an emphasis on the creators and the people using their mics,” says Stripling. “They are available to us whenever we need additional equipment or have any questions about how we can use their product more efficiently. It’s been a huge help to have this relationship with MXL and we look forward to continuing to rely on the BCD-1 for all of our podcasting needs.”

MXL’s BCD-1 is an end address dynamic microphone with warm, rich tones designed to make vocals stand out in any recording or live performance application. With a tuned grill that eliminates internal reflections and a built in shock mount that prevents unwanted noise, the BCD-1 is an ideal solution for capturing crystal-clear audio in a variety of settings. Additionally, its built-in swivel mount allows for perfect positioning when combined with the optional MXL BCD-Stand.

STEVENSVILLE, Md., April 28, 2020 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the security, commercial, CI, residential, and pro audio/video markets, continues to be Open For Business, launching new products and providing virtual sales tools for its partners and customers during the COVID-19 crisis.

“This is a tough time for both businesses and individuals, and we want everyone to know VMP is here for our neighbors, partners, and customers,” said Keith Fulmer, president of Video Mount Products. “Trade shows and so much of the face-to-face business our industries have always relied upon have become sidelined for the foreseeable future. VMP is here to help you during these trying times. Besides our warehouse being open and fully operational, we are also providing online sales tools to help our partners and customers who must rely on ‘business distancing’, such as virtual options to help keep their businesses open and productive.”

VMP products can be found not just on its website, but also at D-Tools and its distribution partner websites. If you need help choosing the right mount for your application, VMP also offers VideoMount™-Finder at www.chooseamount.com. The VMP sales team and its distributor network are still 100 percent available to field calls.

“We are committed to ensuring that we continue to offer our products during this time while also doing our part in keeping our staff and customers safe and healthy,” Fulmer continued. “Let’s all remember that we are all in this together and hopefully sooner than later ‘business as usual’ will once again become everyone’s mantra.”

VMP recently celebrated its 25 year as a leading provider of mounting solutions for the A/V, communications, and security industries.

For more information, please visit or call toll free 877-281-2169. If you need help choosing the right mount for your application, try the VideoMount™-Finder at www.chooseamount.com.

About Video Mount Products

Video Mount Products (VMP) is a leading provider of mounting solutions for the A/V, communication and security industries since 1994. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to grow by adding mounting systems to address growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of our business.

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AUBURN, AL, April 28, 2020 — Pliant Technologies’ complete line of SmartBoom LITE and SmartBoom PRO headsets offer comfort, durability, and outstanding audio performance for professionals that require the best equipment in demanding production environments. The complete line of communications headsets includes revolutionary SmartBoom technology, an easily accessible flip up microphone feature that acts as an on/off switch for quick and convenient mic control, which can help keep unwanted noise and distractions to a minimum.

Featuring a single-ear lightweight design, the SmartBoom LITE Headset (PHS-SB11L) offers enhanced voice-optimized dynamic or electret microphone options, a low-distortion speaker, and a foam ear pad for added stability and comfort. The SmartBoom LITE is a versatile option for challenging applications where comfort, dependability, and intelligibility are crucial.

SmartBoom PRO headsets, offered in both single (PHS-SB110) and dual-ear (PHS-SB210) variations, are available in terminations for almost any application and provide high ambient noise reduction and high-quality, clear audio. SmartBoom PRO headsets also feature a collapsible earpiece design with field-replaceable cable, windscreens, and padding for the ear, headband, and temple.

“Our range of SmartBoom headsets provides an instant upgrade for any existing intercom system,” says Gary Rosen, Vice President of global sales for Pliant Technologies. “The SmartBoom line has recently been expanded to include electret versions as well as versions for use with MicroCom M and MicroCom XR beltpacks, the latest intercom offerings from Pliant Technologies. This specifically designed headset line optimizes voice communication and comfort to ensure that users can communicate messages and hear instructions clearly.”

Available in 4-pin female, 5-pin male, unterminated, and dual 3.5mm connectors, SmartBoom LITE and PRO Headsets feature a non-reflective rubberized matte black finish. Additionally, the headsets’ flexible, ergonomic, and ambidextrous headset design allows for either right- or left-side use and has a low clamping force, soft ear cup padding, and adjustable headband to provide a perfect fit for comfortable all-day wear and less ear fatigue.

More information about Pliant Technologies is available at www.plianttechnologies.com.

Simple, Reliable, and Accurate Metadata Signaling Helps Channel Providers Realize New Opportunities

COLUMBIA, Md. — April 28, 2020 — LTN® Global, whose innovative modular offerings support the full media life cycle, has expanded access to automated channel management, advanced advertising, and content replacement workflow with its new LTN Cue offering. Built on the same technology behind the LTN Connect managed service, which is deployed on the user premises, LTN Cue takes SCTE 35 decoration onto the LTN Network and performs SCTE marker insertion en route to video distribution partners and affiliates. With a straightforward workflow for sending properly decorated feeds to cable, satellite, and virtual MVPDs including, YouTube TV, Sling TV, and Hulu + Live TV, channel originators can scale up their distribution, viewership, and ad revenue.

"Our LTN Cue and LTN Connect managed services help channel providers to realize the new opportunities that come with accurately marking ad breaks and other content for downstream cable, satellite, and digital platforms," said Rick Young, senior vice president and head of global products at LTN Global. "LTN Cue and LTN Connect automate the complex tasks of decorating feeds to suit various distributors' profiles and guarantee the precision essential to proper downstream handling of markers. These services empower broadcasters, cable channels, diginets, and digital-first streaming networks to converge and scale their inventory and video distribution workflows — and in turn drive revenue growth."

LTN Cue and LTN Connect are part of LTN's universal media technology ecosystem, which unites technologies secured with the company's 2019 acquisition of Niles Media Group, Make.TV, and Crystal Corporation to address workflows from production and publishing to transformation and transport. Built on Crystal's innovative and popular AdConnect solution, these two fully managed, linear metadata services make it easier for channel originators to leverage and scale decoration and distribution in a seamless and straightforward workflow.

While LTN Cue is designed for simpler playout operations and LTN Connect for more complex operations incorporating multiple sources, both services read, interpret, transform, and apply the right message at precisely the right time to signal programs, national ad breaks, local ad breaks, and specific ads/promos in a live linear channel feed delivered on any platform. The services connect playout, compression, transport, and cross-platform SCTE 35 distribution workflows according to the needs of channels and distributors. They are compatible and expandable with other industry-standard workflows (i.e., SCTE 104 and 130) and interoperable with workflows involving SMPTE ST 2022, ST 2110, and ST 2038. The services are backed by a 24/7 network operations center to ensure reliable, flexible, and profitable channel distribution.

"LTN Cue and LTN Connect are built on a decade of leadership in SCTE 104/35 channel decoration and supported by industry-leading technical resources and engineering staff," added Roger Franklin, general manager of channel management at LTN Global. "Helping channel providers address the vagaries of ad signaling across platforms, these easy-to-implement services open the door to broader channel distribution and even more effective ad monetization."

Further information about LTN Global is available at www.ltnglobal.com.

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About LTN
LTN® Global's leading media technologies empower content producers and distributors to create, acquire, transform, deliver, and monetize content at scale. Built on the world's fastest and most reliable IP multicast video network, the company's digital media ecosystem supports uniquely unified, optimized, and automated end-to-end workflows that bring customers greater efficiency, agility, and creativity in delivering more content to more viewers. No matter where customers enter this ecosystem, modular solutions and services from LTN add value and streamline each stage in the digital and linear video chains, from any source to every screen. Powered by LTN, customers can deliver the most relevant content and ultimate user experiences on any viewing device and platform, anywhere. More information is available at www.ltnglobal.com.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.wallstcom.com/LTNGlobal/200428LTNGlobal-CueConnect.docx

Link to Photo:
www.wallstcom.com/LTNGlobal/LTN-columbia_4286.jpg
Photo Caption: LTN Network

Follow LTN Global Communications:
LinkedIn: https://www.linkedin.com/company/ltnglobal/
Twitter: https://twitter.com/LTNGlobal
Facebook: https://www.facebook.com/LTNGlobal/

Data Sourced Locally by Nexstar, Sinclair, and Quincy Media Journalists Supports More Accurate and Timely Community-Focused Reporting

MELVILLE, N.Y. — April 28, 2020 — ChyronHego today announced that the company has been collaborating with Nexstar, Sinclair, and Quincy Media to source and aggregate current U.S. statistics on the spread of the coronavirus (COVID-19) down to the county level. Working with ChyronHego, the competing broadcast groups have united to ensure that local broadcasters nationwide can provide their viewers with the information they need to navigate the crisis.

With reporters on the ground at call-letter stations, the broadcasters are uniquely positioned to gather and contribute data that reflects the current impact of the virus across all 50 states and Washington, D.C. ChyronHego is aggregating and organizing this data, along with information from leading health organizations, to support more accurate and timely updates at the national, state, and local levels.

"We undertook this initiative because we saw a clear need for better, more readily available information on the spread of COVID-19," said Drew Hahn, senior vice president, customer success at ChyronHego. "We knew that with our technology and the human resources of our broadcast partners, we could help to ensure that local news outlets have the tools and information they need to tell this story for their communities. Our hope is that by presenting more complete data than is available from other sources, with granular detail down to the county level, we can support journalists in originating local news stories that educate and inform their viewers."

Founded by former journalists, NewsTicker is a robust, web-based content management platform for the creation of on-screen ticker displays. Leveraging the powerful data management capabilities of PRIME Graphics, NewsTicker makes it easy for local stations to deliver localized channel branding, with seamless display of weather alerts and other breaking news stories. The HTML 5-based user interface ensures producers can control shows remotely from their laptops or tablets.

Nexstar, Sinclair, and Quincy Media have standardized on NewsTicker at the local level, and combined with NewsTicker's other call-letter stations, their stations cover almost all of the United States. Employees from ChyronHego and the four broadcast groups worked after hours and on weekends to bring the COVID-19 database to life quickly, the sooner to help local communities get through the crisis and get back on their feet.

"Through unprecedented and unselfish cooperation, broadcast industry leaders are demonstrating the vital and powerful role journalism can play in serving local communities," added Hahn. "Our team worked day and night to help make this collaboration a success. We're proud that the database we've created ultimately will help people and communities across the U.S. to stay informed and stay safe in this very difficult time."

Information about the full ChyronHego product portfolio, including the NewsTicker ticker and branding solution, is available at www.chyronhego.com.

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About ChyronHego
ChyronHego is ushering in the next generation of storytelling in the digital age. Founded in 1966 as Chyron, the company has played a pioneering role in developing broadcast titling and graphics systems. With a strong foundation built over 50 years on innovation and efficiency, ChyronHego has become a household name and global leader in broadcast, with a focus on customer-centric solutions. Today, the company offers production professionals the industry's most comprehensive software portfolio for designing, sharing, and playing live graphics to air with ease. ChyronHego products are increasingly deployed to empower OTA and OTT workflows and deliver richer, more immersive experiences for audiences and sports fans in the arena, at home, or on the go.

ChyronHego is headquartered in New York with operations in 11 countries. ChyronHego is a portfolio company of Vector Capital, an investment and management firm dedicated to the growth of technology companies. More information is available at www.chyronhego.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

Link to Word Doc: www.wallstcom.com/ChyronHego/200428ChyronHego-NewsTicker.docx

Photo Link: www.wallstcom.com/ChyronHego/ChyronHego-Newsticker.png
Photo Caption: ChyronHego unites broadcasters to source and compile up-to-date U.S. COVID-19 data down to the county level.

Follow ChyronHego:
Facebook: https://www.facebook.com/chyronhego
Twitter: https://twitter.com/chyronhego
LinkedIn: https://www.linkedin.com/company/chyron

LAWRENCE, Kan. — April 28, 2020 — Cobalt Iron Inc., a leading provider of SaaS-based enterprise data protection, today announced that the company's Compass™ solution has been selected as one of DCIG's Top 5 Enterprise Anti-Ransomware Backup Solutions.

Compass is Cobalt Iron's flagship SaaS-based enterprise data protection platform, offering enterprise backup and recovery, operation, administration, and protection of data from cyber threats. DCIG's Top 5 Enterprise Anti-Ransomware Backup Solutions criteria included solutions that can detect, prevent, and/or recover from a ransomware attack and meet the expected backup and recovery requirements of large enterprises.

"Expectations as to the features that an enterprise backup solution should offer often come about due to technology advancements," said Jerome Wendt, president and founder of DCIG LLC. "As we enter the 2020s, ransomware represents an external force driving many of the innovations currently occurring in enterprise backup solutions. Cobalt Iron's Compass was able to deliver the data protection traits we were looking for to identify the top five solutions in the market."

Some of the data protection traits DCIG considered were breadth of hypervisor support, replication capabilities and management, and integration with cloud-native applications. Cobalt Iron Compass provides the broader set of core backup and recovery features that enterprises need, and it simultaneously delivers the new anti-ransomware features that enterprises want.

"At Cobalt Iron we understand the cybersecurity challenges of enterprises and how crippling and expensive ransomware infections can be," said Rob Marett, chief technology officer of Cobalt Iron. "We are thrilled that DCIG has recognized Compass as a platform delivering on risk mitigation including readiness, response, and recovery. Backups are literally the last line of defense against cyberattacks, and we believe that robust security measures should be integral to any backup and recovery architecture, not simply add-on features. And it's gratifying to know that others share these values."

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About Cobalt Iron
Cobalt Iron is the global leader in SaaS-based enterprise data protection. The company was founded in 2013 to bring about fundamental changes in the world's approach to data protection. Through analytics and automation, Cobalt Iron enables enterprises to transform and optimize legacy backup solutions into a simple cloud-based architecture. By leveraging the cloud, Cobalt Iron reduces overall capex by more than 50% while eliminating backup failures and inefficiencies. Processing more than 7 million jobs a month for customers in 44 countries, Cobalt Iron delivers modern enterprise data protection for enterprise customers.

Product or service names mentioned herein are the trademarks of their respective owners.

Link to Word Doc: www.wallstcom.com/CobaltIron/200428CobaltIron-DCIG.docx

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Photo Caption: Cobalt Iron Compass had been named a DCIG Top 5 Enterprise Anti-Ransomware Backup Solution.

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Anthem Sports & Entertainment, Inc., a globally integrated multi-platform media company, and the National Cable Television Cooperative (NCTC)— representing over 750 mid-sized and small independent cable and broadband operators throughout the United States and its territories—announced today the completion of a multi-year renewal agreement offering both AXS TV and HDNET MOVIES to its Member companies.

AXS TV is the premier television channel and digital media company specializing in music content, powered by an extensive roster of unforgettable performances, acclaimed documentaries, candid profiles, and more. AXS TV’s lineup includes extensive coverage of concert events such as Farm Aid and CMA Fest, and original programs such as the celebrity sit-down series The Big Interview With Dan Rather, all-star jam series Rock & Roll Road Trip With Sammy Hagar, and fan-favorite countdown series The Top Ten Revealed. The Network is also home to the award-winning series Live From Daryl’s House, starring Daryl Hall, and delivers unparalleled combat sports content with IMPACT Wrestling and MMA action.

Additionally, AXS TV launched the new “At Home & Social” initiative in support of families, small businesses, healthcare professionals, and many others who have been hardest hit by the COVID-19 pandemic. The ongoing series gives world-class artists and entertainers a unique platform to broadcast exclusive live performances from their homes and studios directly to their fans. Highlights include performances by an eclectic lineup featuring Dave Matthews, Billie Eilish, Alicia Keys, Luke Bryan, and Ryan Tedder, among others associated with Verizon’s “Pay It Forward” live series, as well as the star-studded special event At Home With Farm Aid featuring Willie Nelson, Neil Young, John Mellencamp, and Dave Matthews, that helped raise over $500,000 for family farmers.

HDNET MOVIES gives viewers the ultimate movie-watching experience with a wide selection putting the spotlight on award-winning classics, blockbuster epics, and modern favorites from the 1980s to today. The network also presents a wide variety of themed blocks highlighting memorable Oscar epics, A-List lineups, celebrity birthdays, and more, as well as special events hosted by notable actors, artists, and experts from across the film industry.

“This important agreement with the NCTC presents us with a valuable opportunity to bring AXS TV and HDNET MOVIES’ exclusive premium content to even more viewers across the country,” said Randy Brown, Senior Vice President of Distribution for Anthem. “AXS TV is perfectly suited to music and pop culture fans, providing an unprecedented lineup of classic concerts, exclusive live performances, celebrity interviews and professional wrestling from the industry’s top talent, while HDNET MOVIES has something for film buffs of all ages to enjoy with a catalog of beloved blockbusters and cinematic classics. We look forward to continuing our partnership with NCTC members and delivering high quality content they cannot find anywhere else, for many years to come.”

“We are pleased to have extended our agreement with AXS TV and HDNET MOVIES,” said Judy Meyka, Executive Vice President, of Programming, NCTC. “We are excited to build on this successful partnership with Anthem as we move forward.”

Fremont, CA – April 28, 2020 - Blackmagic Design today announced that the stunning new 8K 3D documentary “Everest VR: Journey to the Top of the World,” produced by Facebook’s Oculus, was edited, graded and stitched with DaVinci Resolve Studio and Fusion Studio.

In April of 2017, world famous climber Ueli Steck died while preparing for climbing both Mount Everest and Mount Lhotse without the use of bottled oxygen. Ueli’s close friends Jonathan Griffith and Sherpa Tenji attempted to finish off this project while award winning VR director and alpine photographer Griffith captured the entire story.

Over the course of three years, Griffith shot footage following Tenji and some of the world’s most accomplished climbers on some of the world’s most extreme locations. The series also includes footage that lets viewers witness what it is like to be engulfed in a Himalayan avalanche, cross a crevasse and staring deep in its depths, take a huge rock climbing fall, camp under the stars and soak in the view from the top of the world.

Griffith worked with a veteran VR post production expert Matthew DeJohn for editing and color correction, VR stitching expert Keith Kolod and Brendan Hogan for sound design.

“It really was amazing how a small crew was able to get all of this done. The collaboration between myself as the cameraman and Matt and Keith was a huge part of being able to get this series done and done at such as a high quality,” said Griffith.

“Matt and Keith would give suggestions on how to capture for VR, how camera wobbling impacted stitching, how to be aware of the nadir and zenith in each frame and to think about proximity issues. The efficient post production process helped in letting us focus on what was needed, and I am incredibly happy with the end result. Everyone on the project worked above and beyond, and the results show.”

DeJohn was tasked with bringing together a huge amount of footage from a number of different high end camera systems.

“A VR project usually has different teams of multiple people for editing, grading and stitching, but with DaVinci Resolve, Keith and I handled everything,” DeJohn said. “DaVinci Resolve is ideal for VR post. The fact that every tool I needed was in a single app made the entire process efficient and cost effective. So much time was saved simply by just having to switch apps with a few mouse clicks instead of shutting down the process by moving files from one system to another.”

For editing, DeJohn used DaVinci Resolve Studio to cut the series at 2Kx2K, relinked to 8Kx8K source and then change the timeline resolution to 8kx8K for final color and rendering. He used the Fairlight audio editing tab for its expanded toolset which allowed him to make fine adjustments, manage different narration takes with audio layers, and manage varied source files such as mono narration, stereo music, and 4-channel ambisonic spatial audio.

“With color correction, I used Resolve to ensure we kept and honest look throughout and to make that look consistent across various camera systems and shooting conditions.

VR forces you to be real, and I used DaVinci Resolve to keep every scene realistic because any hint of oversaturation or an unnatural grade would ruin the VR experience,” he continued. “I colored the project from the very first edit so when it came to finalize the color it was just a process of touching things up.”

Fusion Studio was used for stereoscopic alignment fixes, motion graphics, rig removal, nadir patches, stabilization, stereo correction of the initial stitch, re-orienting 360 imagery, viewing the 360 scenes in a VR headset and controlling focal areas. More intense stitching work was done by Kolod using Fusion Studio.

Kolod, explained: “Every shot in this type of production is a VFX shot and I relied on Fusion. It is better, faster and more affordable. The render time is much faster and the seamless integration with the rest of post is incredibly efficient.”

Footage of such an extreme environment, as well as the closeness of climbers to the cameras, provided unique challenges for Kolod who had to rebuild portions of images from individual cameras. He also had to manually ramping down the stereo on the images north and south poles to ensure easy viewing, fix stereo misalignment and distance issues between the foreground and background and calm excessive movement in images.

“A regular fix I had to make was adjusting incorrect vertical alignments, which create huge problems for viewing. Even if a camera is a little bit off, the viewer can tell,” Kolod said. “The project used a lot of locked off tripod cameras, and you would think that the images coming from them would be completely steady. But a little bit of wind or slight movement in what is usually a calm frame makes a scene unwatchable in VR. So I used Fusion for stabilization on a lot of shots.”

“High quality VR work should always be done with manual stitching with an artist making sure there are no rough areas. The reason why this series looks so amazing is that there was an artist involved in every part of the process, shooting, editing, grading and stitching,” he finished.

Press Photography

Product photos of DaVinci Resolve Studio, Fusion Studio, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

• Aquila Broadcast enables market-leading picture quality and efficiency, providing the capability to support broadcasters and operators to transition towards all-IP workflows and the cloud
• Benefits TV Service Providers with flexibility to transition from appliances to software, cloud-centric offerings, providing wide codec support and increased bandwidth savings
• Combines the value of award winning consumer delivery products including MK Encoding Live, MK Stream Processing and nCompass Control

FRISCO, TEXAS – April 28, 2020 – MediaKind, a global media technology leader, has launched its next-generation broadcast solution, Aquila Broadcast, to enable broadcasters and operators to make a seamless, step-by-step transition from appliance-based platforms to all-IP media delivery. Powered by software-based video compression, control and stream processing, Aquila Broadcast enables industry leading picture quality with resolutions up to UHD with HDR support, while also offering wide codec support and significant bandwidth savings.

As demand for live content increases, satellite and terrestrial broadcasters, as well as some cable and IPTV operators, are faced with the challenge of growing costs – and reduced availability – of satellite capacity. MediaKind has developed Aquila Broadcast to ensure compatibility across all-IP technologies and standards, increased transponder density whilst retaining video quality and deployable as an appliance or as pure software, with the ability to support on-premise and cloud-based implementations.

Stuart Boorn, VP, Product Management, MediaKind, said: “With Aquila Broadcast, we are combining market-leading picture quality and efficiency with operational simplicity and flexible deployment, enabling our customers to make the transition from appliance-based broadcasting to the cloud while also considering the speed and time that best suits their business needs.”

Deployable as an appliance or software-only, either on-premises or in the cloud, Aquila Broadcast supports of the following video codecs; MPEG-2, MPEG-4 AVC and HEVC.

To enable industry leading picture quality and bandwidth savings with an extensive appliance, software and cloud support system, Aquila Broadcast combines a number of leading MediaKind consumer delivery products, including Encoding Live, Stream Processor and nCompass control.

Aquila Broadcast heralds the next generation broadcast solution deployed within the cloud and enabling consumers to enjoy the experience of live and on demand video services by efficiently delivering pin sharp video and media.

· New Singula Decisions identity replaces established Paywizard brand, building on its long heritage in the pay-TV industry

· Relaunch positions company to empower subscription businesses to tap into subscriber intelligence

· Singula® Subscriber Intelligence bridges the ‘Air Gap’ between subscriber data and being able to use it effectively to proactively engage customers

London, 28 April 2020 – Pay-TV customer management pioneer Paywizardhas relaunched as Singula Decisions to signal its sharper focus on subscriber intelligence. The new corporate brand reflects the company’s trailblazing approach, technology and expertise, which empower TV subscription businesses to bridge the ‘Air Gap’ between their subscriber data and their ability to activate next best actions at every customer touchpoint. The rebrand coincides with the launch of a new version of its Singula® Subscriber Intelligence platform.

“As TV subscription businesses continue to come under increasing pressure to grow and retain customers, finding and executing the perfect growth strategy has become critical to survival,” says Bhavesh Vaghela,Singula Decisions’ Chief Executive. “There is no shortage of money being spent on data projects in our industry, but many companies are failing to truly understand how to activate data to drive subscriber loyalty. To solve this ‘Air Gap’, businesses today need subscriber intelligence to know where their customers are in the journey, how they got there and where they are going – and what actions change their behaviour.”

The rebranded company’s Singula® Subscriber Intelligence platform combines over 20+ years domain experience into three fundamental components that are designed to drive subscription growth. Employing the proven Decision Moments segmentation model, businesses can understand where their subscribers are at the eight key stages of the customer journey. The Subscription Scorecard then determines the true characteristics of each customer and ensures the content, service and communications being supplied equates with the demand-driven factors that include usage, satisfaction and willingness to pay. With this trajectory, the Action Library provides pre-loaded and tested actionsthat businesses can use quickly to react and change customer behaviour.

“One of the amazing things about Singula Decisions is we have two decades of practical experience helping some of the biggest TV subscription brands worldwide, including BT Sport, ABS-CBN and eir Sports to acquire, retain and grow subscribers,” Vaghela notes. “The ethos of Singula Decisions is simple: wecombine our team’s extensive domain knowledge and practical experience with artificial intelligence and machine learning techniques, turning subscriber data into something so tangible that it will transform the way TV operators engage with their subscribers.”

In addition to having Vaghela at the helm of the company – with over 20 years’ experience in software and data analytics, holding top marketing roles at Paywizard, Oracle, IntraLinks and Global360 – the Singula Decisions leadership team includes other experienced industry executives with strong backgrounds. The senior leadership includes:

· Chairman, Andrew Burke, a long-time industry leader who has spent over 30 years working in technology, media and telecommunications, including stints as CEO of BT Entertainment and Amino Technologies;

· Debbie Leishman, Chief Operating Officer, who has over 18 years’ experience managing a broad range of operations within the Singula Decisions business;

· Martin Reynard, Chief Financial Officer, who has 20 years’ experience in Software as a Service (SaaS) and communications, holdingsenior positions at TravelTek, Edesix and Touch Bionics;

· Scott Leckie, Chief Technology Officer, who has expertise in cloud and SaaS solutionsand over 20 years CTO experience, holding that position at The ID Co, HotDocs and Axios Systems;

· Gary Eunson, Head of Global Sales, who brings over 20 years’ experience and whose previous roles included Global Sales Director of both AbacusNext International and HotDocs Group.

Vaghela concludes: “Our company has evolved as the TV market landscape has transformed and we thought it important that our identity reflect what we bring to the table today. Singula Decisions is relentlessly passionate about driving subscriber growth through brilliant decisions and intelligent actions.”

ABOUT SINGULA DECISIONS

At Singula Decisions we are passionate about driving subscriber growth. Our 20+ years’ experience managing over 30 million subscribers for leading TV subscription businesses means we see the world differently.

We see hidden energy, a tension, a flow, a pulse between the way your service is delivered and the way that your subscribers react. Its power is to discern where your subscribers are right now, how they got there and where they are going; and what action is needed to change their behaviour. We call it subscriber intelligence.

Our award-winning Subscriber Intelligence Platform combines our team’s extensive domain knowledge and practical experience with artificial intelligence and machine learning techniques that turn your subscriber data into something so tangible that it will transform the way you engage with your subscribers.

We help you deliver sustainable subscriber growth through Brilliant Decisions and Intelligent Actions.

For more information, please visit our website and follow us on LinkedIn, Twitter, Facebook and Instagram.

MEDIA CONTACT

Hugh Filman, Faye Ratliff & Megan Kicks

Platform Communications

T: +44 (0)20 7486 4900

E: singuladecisions@platformcomms.com

Melbourne, Australia – 28 April 2020:Mediaproxy, the leading provider of software-based IP broadcast solutions, is helping its customers ensure their output of the highest technical quality at a time when many operational staff are having to work from home. The company's compliance analysis and logging systems can be accessed remotely using laptop computers to allow all confidence monitoring to be carried out.

The coronavirus crisis has made broadcasters dramatically reassess not only how programs are produced, but also how distribution operations are managed. The move to both IT and IP-based broadcast infrastructures had already made it possible for technicians to access systems from wherever they are. This option is now widely available, meaning broadcast centers can still run efficiently, while, at the same, time allowing self-isolation and social distancing guidelines to be observed.

Mediaproxy has added capabilities to its LogServer engine for engineers to analyze and monitor linear TV and OTT streams either at home or in the field. This includes the ability to work on MacOS systems, enabling editorial and news personnel to work from home on their MacBooks. Live streams can also be viewed on a low bandwidth browser, giving live access to Mediaproxy's hybrid multiviewer for full confidence monitoring.

Mediaproxy is an engineering-led company, which means it can react quickly to the changing needs of its users. The world largest broadcasters and playout providers are long-term customers and continue to use Mediaproxy's products to meet fresh operational challenges.

"Everyone, from all walks of life, is facing huge challenges right now, because of the Covid-19 outbreak," comments Mediaproxy chief executive Erik Otto. "While doctors, nurses and other health workers are at the forefront of this crisis, television and streaming services are helping inform and entertain people, who are confined to their homes. For our part, Mediaproxy is providing technology that allows engineers to work from home and ensure programs continue to be transmitted in the best possible quality and news items are being turned around as quickly as possible. We also hope that people remain safe and well at this difficult time."

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About Mediaproxy
Since 2001, hundreds of engineers around the globe, rely daily on Mediaproxy’s unified software solutions for 24/7 monitoring, analysis, multiviewing and capture of live video from broadcast and OTT sources. With support for the latest formats and standards including 4K, HEVC, SMPTE 2022-6, SMPTE 2110, NDI, HLS, MPEG-DASH, and DVB-2, Mediaproxy consolidates analysis of on-air incidents, content search and ad verification via easy to use web browser and mobile interfaces. Compliant with current broadcast and IP streaming regulations, Mediaproxy supports all current industry standards for closed captioning, DVB Subtitling, SCTE-35, SCTE-104 and loudness. Whether on the ground or in the cloud, broadcast monitoring, analysis and compliance functions can be performed all in one place.

For more information please visit: http://www.mediaproxy.com/

Press Contact
Fiona Blake
Page Melia PR
E. fiona@pagemelia.com
T. +44 (0)7990 594555

Polygon Labs, an innovative creative studio pushing the boundaries of interactive data applications and visual branding, has today launched two work at home service initiatives, Creative Hub and Training Lab.

Every day global media companies are faced with the challenge of quickly producing graphic content across a variety of platforms. This requires large teams that can deal with complex data integration, while factoring in time constraints and the typical news and sports resource bandwidth issues. Polygon Labs’ Creative Hub provides a remote, on-demand creative and professional services subscription that specialises in real-time graphics, channel branding and virtual production.

A cost-effective, multi-disciplined, on-demand broadcast design and developer subscription-based service, Creative Hub allows news publishers and broadcasters to book any size project for virtual studios, augmented reality, branding, real-time graphics packages, interactive story-telling graphics, video walls, multi-screen tickers, downstream channels, using a flexible utilization plan with no blackout dates. The subscriber simply purchases a number of creative service hours per month and uses them as and when desired.

Creative Hub provides services for real-time production using Vizrt, Unreal Engine and other real-time graphics platforms, as well as post production projects utilizing Adobe and Autodesk solutions. Projects are developed remotely and delivered using online access project files.

Training Lab is the company’s new expert remote training service, which specialises in Vizrt real-time graphics, workflow solutions and products for channel branding, template creation, virtual production, data visualisation and interactive story-telling.

Broadcasters have requirements for new and existing designers to understand how to work with the latest Vizrt solutions and tools. Having remote and consistent training allows them to keep up-to-date with new features and to reduce the cost of training on a complete set of workflow tools. Training Lab saves companies time and money and expands the knowledge of their designers at a flexible and convenient pace. Users can either sign up to an on-demand session, which provides Vizrt training for a specific course, or a subscription session, which provides a continuous private or public training program. With a basic subscription, users can join any of the monthly public sessions announced in a shared training calendar. Using a premium subscription, users get additional hours of private Q&A sessions and project support.

David Jorba, Chief Strategy and Business Development Officer says, “Media companies need flexible, on-demand service options for graphics production projects. Using Creative Hub, they can quickly complete projects using Polygon Labs’ team of professional multi-disciplined designers, developers and producers with cross-platform and hybrid production expertise. Creative Hub and Training Lab answers the needs of media companies who want to use a single source with an OPEX model for their creative graphics requirements.”

Across the USA (April 27, 2020) –A leading group manufacturers including Lectrosonics, Sound Devices, Audio Ltd., Ambient, dB Audio, DPA Microphones, K-Tek, Sonosax, Bubblebee Industries, Schoeps, Ursa Straps, Viviana Straps and more are pleased to present the virtual Sound Summit 2020, a two-day virtual event which will feature a number of exciting new product announcements which would have taken place at the NAB 2020 show. The Sound Summit 2020 will feature new product and technology presentations of interest to location sound and production professionals, chief engineers, news technicians, eng crews, camera operators, network executives and other audio professionals in the field.

The first virtual event in the successful Sound Summit series, the 2020 event will be held on Thursday April 30th and Friday May 1st, from 8 a.m. to 12 p.m. PST, and will present new products which would have originally premiered during the NAB 2020 show This event is part of the highly successful Sound Summit series of educational presentations for audio professionals to join together collaborate, and discuss their techniques and tools for audio production.

“In past years we’ve done these events as live gatherings with DPA Microphones, Sound Devices, and handful of other manufacturers, in different cities,” explains Karl Winkler, VP of Marketing & Sales for Lectrosonics. “This time, the virtual event makes the most sense and we’re grateful to Sound Devices for organizing it.”

Find more information and register for the Virtual Sound Summit 2020 at: https://thesoundsummit.org/.

The Sound Summit will also be recorded an available afterwards on the Sound Summit YouTube Channel.

About Lectrosonics

Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company's dedication to quality, customer service, and innovation. Lectrosonics received an Academy Scientific and Technical Award for its Digital Hybrid Wireless® technology and is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com. 

Fremont, CA – April 27, 2020 – Blackmagic Design today announced that Aputure’s Asia office has been live streaming updates using a ATEM Mini video switcher and Pocket Cinema Camera 4Ks. The live streams are shot from Aputure’s Singapore office and are aimed at staying in touch with their community and on new product developments.

Aputure, with offices in the US, Europe and Asia, is one of the fastest growing cinema technology companies, designing and specializing in lighting and lighting modifiers. Aputure’s Singapore office, their main office in Asia, recently started the new live stream, which can be seen on Facebook as part of the public Facebook Aputure Asia User Group.

The stream, which began in March and is hosted by Aputure’s Asia Pacific Marketing & Sales Director Jimmy Lim, takes place twice a week. One session is done in conjunction with Aputure US and is focused on Aputure Lighting Certifications, even including a weekly quiz where winners receive certifications and product. The second stream includes weekly guest directors, DPs, photographers and gaffer interviews, as well as discussion on wider camera work and lighting discussions and customer stories by Lim.

“Streaming is more important now than it has ever been. Brands should be staying in touch with customers, but also doing everything they can to keep the feeling of being a connected creative community going. That is what we are doing with these streams and the ATEM Mini and Pocket cameras let us do a high quality stream efficiently,” Lim said.

Each stream is manned by Lim and two other Aputure team members, one in charge of audio and external monitoring stream performance and the other for master control and onsite stream performance. Two Pocket Cinema Camera 4Ks, one for a wide shot and one overhead for close ups, are switched live by the ATEM Mini, which also provides the ability for live picture in picture graphics. The overhead camera is fed into the ATEM Mini through a wireless transmitter.

For audio streaming, Deity Microphones lav or shotgun mics are fed directly into the Pocket Cinema Camera 4Ks, which is also used to dial in audio signal strength. From there, the final switched feed is sent live over OBS streaming software.

“Aputure is known for our high quality products and our customers expect the very best. So the streams we are doing have to look good,” Lim said. “The Pocket 4K is a go to camera for serious filmmakers that we ourselves use on our product commercials and lighting tutorials for the Aputure 4 minute Film School. It is easy to set up anywhere we need, and we love the look it gives us.”

“The ATEM Mini worked quickly out of the box with OBS and allowed us to connect a range of devices with both wired and wireless options without any issues. It has a clear and concise layout of controls and gives us all of the options we need to switch both video and audio for the stream,” Lim finished.

Press Photography

Product photos of ATEM Mini, Pocket Cinema Camera 4K, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - April 27, 2020 - Blackmagic Design today announced that pioneering media and entertainment company Rooster Teeth is using a host of its gear, including URSA Broadcast cameras and ATEM 4 M/E Broadcast Studio 4K live production switcher, across its Austin, TX and Los Angeles studios to broadcast content across a multitude of platforms, reaching more than 45 million viewers.

Rooster Teeth is a leading media and entertainment company with devoted entertainment fandoms around the world, with a diversified business model across memberships, advertising, podcast sales, distribution, events and ecommerce.

According to Rooster Teeth’s Director of Broadcast, Patrick Salazar, “Along with live events like E3 and our Extra Life charity stream, our broadcast department handles up to 10 productions a week on a floor equipped with Blackmagic Design cameras and a control room operated by Blackmagic Design switchers, media recorders and more. The studio features five pedestal cameras, a jib, full broadcast quality lighting system and grid, a livestream capable control room, and a live graphics and audio booth.”

The Austin studio is equipped with six URSA Broadcasts which are fed into a Smart Videohub 40x40 router along with all other sources, such as graphics, prompter, gaming consoles, etc. Signals are routed to the ATEM 4 M/E Broadcast Studio 4K, ATEM 1 M/E Advanced Panel, MultiView 16 and SmartScope Duo 4K monitor. Four HyperDeck Studio Pro and two HyperDeck Shuttle SSD recorders record ISO camera feeds with a separate HyperDeck Studio Pro recording the line cut from the ATEM, which also feeds the livestream. A similar workflow is used in Rooster Teeth’s Los Angeles studio.

“The URSA Broadcast looks smart, is versatile and has really stepped up the quality of our picture,” said Salazar. “Some segments may call for a handheld camera, and the URSA Broadcast can easily come off the pedestal for a new job that’s comfortable for the operator. The built in features give the operators and engineer more control of the visuals and movement needed in a production.”

Rooster Teeth has been using ATEM switchers since 2012. “Initially, the ATEM was chosen because of its price point and flexibility. Having the option to not only operate from a laptop, but also switch with the software on multiple devices was awesome. It was and still is incredibly reliable. Today, the ATEMs and the control panels we currently use have become even more sophisticated without sacrificing user friendliness,” noted Salazar.

He also noted that the ATEM’s DVE comes in handy during gaming livestreams and visual podcasts by allowing the technical directors some room to play with picture in pictures and resizing images and other inputs on the fly.

“We couldn’t produce our 24 hour Extra Life charity livestream without the ATEM’s SuperSource. For 24 hours, we display multiple sources, including donations, extra cameras, gameplay and more. SuperSource is also a must have for any gameplay livestream,” added Salazar.

Over the past seven years, Rooster Teeth has now raised more than $6 million for Extra Life, a charity that helps gamers fundraise for Children’s Miracle Network (CMN) Hospitals where thousands of children are treated each year, regardless of their family’s ability to pay. The money Rooster Teeth raises has directly benefited the Dell Children’s Mental Health Unit located in Austin, Texas. In honor of Rooster Teeth’s continued support, Dell Children’s dedicated their mental health unit’s garden after the company and named it The Rooster Teeth Healing Garden. Extra Life unites thousands of players around the world in a 24 hour gaming marathon to support Children’s Miracle Network Hospitals. Since its inception in 2008, Extra Life has raised more than $40 million for local CMN hospitals.

Extra Life is produced in the Austin studio with the addition of two more URSA Broadcasts, a second ATEM, numerous converters and a full rework of the camera routing map. “

The Smart Videohub 40x40 gives us the flexibility to route signals in and out of the control room, allowing us to create a system for a production at any scale,” said Salazar.

For the 2019 event, Equipment Manager Hector Gonzales and his crew used a Pocket Cinema Camera 4K to capture behind the scenes footage.

“The camera’s small form factor lets us capture cinematic images without a large camera build, which was ideal for our crews running around during Extra Life. The Blackmagic RAW and ProRes codecs are super versatile which is important because the turnaround for our videos varies greatly, so having codec options is a must,” explained Gonzales. “The 13 stops of dynamic range give us a lot more flexibility moving outside, which is exactly why we use the Pocket Cinema Camera 4K to shoot our exteriors on Extra Life, as well as so many of our shorts. We don’t always have ideal time for lighting setups, so the camera’s dual native ISO is a very useful feature for helping us achieve dynamic looks with clean images when we are shooting on the go.”

“On the technical side of my department, I am responsible for making sure the gear in our control room and studio floor is capable of delivering a quality picture, can allow us to work as efficiently as possible in any situation and can hold up to our tight schedule of weekly productions,” concluded Salazar. “It’s why we chose Blackmagic Design from the beginning and continue to build out our ever growing workflow with its products.”

Press Photography

Product photos of URSA Broadcast, Pocket Cinema Camera 4K, ATEM 4 M/E Broadcast Studio 4K, ATEM 1 M/E Advanced Panel, Smart Videohub 40x40, MultiView 16, SmartScope Duo 4K, HyperDeck Studio Pro, HyperDeck Shuttle as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

About Rooster Teeth

Rooster Teeth is a pioneering media and entertainment company responsible for some of the biggest online series in history, such as the award winning and longest running web series, Red vs. Blue. They also produce the globally acclaimed animated series RWBY, the first western anime series to be distributed in Japan; the award winning Rooster Teeth Podcast; and Immersion, a reality format that brings video game theory to the real world. Rooster Teeth has a massive global footprint of more than 45 million subscribers to its YouTube Network, 5 million unique monthly visitors to its RoosterTeeth.com hub and 3 million registered community members. The company was founded in 2003, and is a subsidiary of Otter Media, a WarnerMedia company. Discover more at RoosterTeeth.com.

An audience 100 million strong tuned in to the 2020 North American football championship broadcast held in February 2020 on a range of platforms and device types. For the first time ever, a live broadcast of the event was made available in both UltraHD- and HD-High Dynamic Range (HDR), though a majority of the acquisition was in 1080p and most audiences viewed the game in HD-SDR. To help facilitate simultaneous live production across HD-HDR and HD-SDR formats, Bexel, an NEP Broadcast Services Company, a leading global provider of outsourced broadcast solutions and production equipment rentals, was brought in. The company arrived on site armed with more than 70 AJA FS-HDR converters and frame synchronizers to handle more than 200 conversions between multiple sources spanning live camera feeds, graphics, commercial content, historical footage and more.

Embracing a Single Master HDR workflow, Bexel set up the FS-HDRs to transform and combine a range of external SDR sources into one master 1080p HDR feed. While specialty footage captured in UltraHD was down-converted to 1080p in the CCU, the FS-HDR supported simultaneous conversion of the master 1080p HDR feed to HD-SDR for distribution to displays without HDR capabilities. Throughout the various HD-SDR to HD-HDR, HD-HDR to HD-SDR, and 720p HD to 1080p HD-SDR transforms required, the FS-HDRs ensured the image integrity of each source while reducing overall production complexity.

“FS-HDR bridges the gap between modern SDR and HDR live production workflows,” shared Johnny Pastor, Vice President, Technical Services, Bexel. “The flexibility it provides for the price point is truly unmatched and has made it our go-to for events like this. For all that it does, it’s also super compact; we can easily integrate it into our flypacks without driving up the weight, so we can save on shipping costs.”

Tom Dickinson, Vice President Technology, Bexel, added, “Producing a live HDR broadcast while working in an SDR external environment can be challenging to say the least, as you’re working with multiple different sources and have to be sure that quality is not compromised as signals are converted and moved throughout the chain. Our FS-HDRs make it easier to go between both worlds to meet the demands of SDR integrity, while also enticing audiences with an impressive HDR feed, and in the case of other client products UltraHD-HDR feeds.”

As Bexel continues to service high profile clients around the world, it expects AJA to remain a staple in its workflow, especially as the transitions from SDR to HDR and HD to UltraHD advance. Pastor concluded, “We looked at a number of HDR converters, but FS-HDR ultimately stood out and we’ve been impressed by its solid performance in the field. We also really enjoy working with the AJA team, who have been instrumental in bringing new features to the device that help us better support our clients as HDR continues to evolve.”

About FS-HDR

FS-HDR is a versatile 1RU, rack-mount universal converter/frame synchronizer for real time HDR transforms as well as 4K/HD up/down/cross conversions. Fusing AJA’s production-proven FS frame synchronization and conversion technology with video and color space processing algorithms from the award-winning Engine, FS-HDR matches the real time, low-latency processing and color fidelity demands that broadcast, OTT, post production and ProAV environments require. FS-HDR offers comprehensive signal conversion, and allows users to also convert a range of camera Log formats to HDR broadcast standards as well as to/from BT.2020/BT.709.

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at . 

Portland, Oregon – April 24, 2020 – Organizers of the 4K 4Charity Fun Run series announced today that the running and walking event hosted in collaboration with the National Association of Broadcasters’ (NAB) Show is going virtual for 2020. The 4K 4Charity series leverages fun, healthy activities to help raise funds for non-profits focused on increasing diversity and inclusion in the technology and media industries, and celebrates advancements in video technology, such as Ultra High Definition (UHD) 4K and 8K video. This year it will also help to raise funds for those most impacted by COVID-19. Registration is open, and donations may be made until June 1, 2020 at 4K4Charity.com/nab.

To get going, you select a 4K (2.49-mile) or 8K (4.97-mile) distance, plot a course, print out a race bib, and then complete the route at your own pace, whether that’s on one day or across several days within the event registration and donation window. Participants are encouraged to share their unique 4K 4Charity journey on Twitter, Instagram, LinkedIn or Facebook with the social tag #4K4CharityVRun. All registrants will receive a finisher’s packet at the conclusion of the event period.

A portion of proceeds from the 4K 4Charity virtual event benefit UNICEF, which is on the ground in more than 190 countries, partnering with front-line responders to keep children healthy and learning, and protected from sickness and violence. The 4K 4Charity also raises funds for the National Center for Women & Information Technology (NCWIT), which builds a more equitable industry by teaching programming to K-12 girls and inspiring Latinas to pursue careers in tech.

The 4K 4Charity Series has raised more than $1.1 million in gross proceeds since it was founded in 2014. 

The 4K 4Charity Virtual Run is hosted by Amazon Web Services (AWS) and made possible by sponsors including Planar Systems, Bitmovin, EditShare, Irdeto, SDVI, and Verimatrix.

"Though current events are keeping us physically apart, this virtual approach provides a positive way to bring our industry together on behalf of a great cause. We are excited to sponsor the first-ever 4K 4Charity virtual event and look forward to seeing colleagues join the fun and show their support for a healthier more equitable industry,” said Adam Schmidt, Executive Vice President, Sales, Marketing, and Professional Services, Planar Systems.

About the 4K 4Charity Fun Run

The 4K 4Charity Fun Run Series is a 4K (2.49-mile) and 8K (4.97-mile) running and walking event is held annually in Las Vegas (NAB Show), Amsterdam (IBC Show), Los Angeles (SMPTE Annual Technical Conference & Exhibition) and Portland, Oregon to raise awareness and financial support for global and local nonprofits that support underrepresented communities, including increased diversity and inclusion initiatives. The 4K 4Charity Fun Run makes it easy for participants and sponsors to get active and give back. https://4k4charity.com

Leader in content and connectivity solutions increases technical reach across Africa, APAC, LATAM and Europe by 12 million TV households in 2019

Luxembourg, 23 April 2020 — SES announced today that the number of global TV households it reaches directly or indirectly via satellite increased by 12 million to 367 million in 2019. Findings from the company's annual Satellite Monitor market research validate, once again, SES's position as the world's leading video content distributor via satellite and shows the important role that satellite continues to play in reaching the largest possible audience globally.

Much of the increase in the 12 million TV households is attributed to the leading infrastructure of TV reception — satellite and cable — which grew by 9 million in 2019 to 153 million and 149 million homes, respectively. Internet Protocol TV (IPTV) and terrestrial TV grew by a combined 3 million to 43 million and 21 million homes.

The Satellite Monitor study also showed that SES's technical reach has increased across several continents, including Europe, Africa, Asia-Pacific (APAC), and Latin America (LATAM). Europe continues to be the strongest market for SES, with 168 million total households served by the SES fleet, up by 1 million from 2018, followed by North America at 69 million.

In LATAM, SES has captured an audience of 42 million households, a significant increase from the 34 million households reported in 2018, thanks in part to the launch of a new satellite — SES 14 — which is boosting cable and IPTV growth in the region. This year also marked the first time that SES collected results from Indonesia and the Philippines. In total, SES serves 39 million APAC households with Direct-to-Home (DTH) feeds. The research also found that SES delivers digital television to 13 million households in the Middle East and 35 million homes in Africa. Altogether, SES has observed a combined growth of almost 5 million households across APAC and Africa.

SES's TV market research sheds light on several key trends behind the relevance of satellite broadcasting, including the transition from analog to digital TV and the rise of HD broadcast. End consumers in Ghana and Nigeria are choosing satellite TV for its better value proposition and free-to-air offerings, rather than purchasing new hardware and switching to digital terrestrial TV. The Satellite Monitor study also revealed that HD broadcast has been on the rise in Europe, with 167 million TV households, an increase of 5 million from 2018. Satellite remains the preferred choice of infrastructure when it comes to HD content broadcasting, underscoring the key value proposition of satellite broadcasting as a reliable and cost-effective video delivery to large audiences.

"Broadcasters and TV platform operators need robust and reliable data before they make the decision to enter new markets. For more than 25 years, SES has been the only satellite-based solutions provider in the world to regularly and extensively monitor the industry in specific countries and identify key trends for our customers to help them succeed in their business and expand their reach," said Ferdinand Kayser, CEO at SES Video. "The results of our annual Satellite Monitor market research demonstrate that satellite continues to be the most optimal infrastructure to deliver high picture quality, and that despite changing consumption habits, people still strongly rely on linear TV and complement it with OTT content."

Introduced in 1994, SES's annual Satellite Monitor research reveals the detailed technical reach of SES and valuable insights into the video market and trends worldwide. It is seen as an important tool for SES's customers, the leading broadcasters and content owners.

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Link to Word Doc: www.202comms.com/SES/200423SES-SatelliteMonitor.docx

Photo Link: www.202comms.com/SES/SES-SatelliteMonitor.jpg

About SES

SES has a bold vision to deliver amazing experiences everywhere on earth by distributing the highest quality video content and providing seamless connectivity around the world. As the leader in global content connectivity solutions, SES operates the world's only multi-orbit constellation of satellites with the unique combination of global coverage and high performance, including the commercially-proven, low-latency Medium Earth Orbit O3b system. By leveraging a vast and intelligent, cloud-enabled network, SES is able to deliver high-quality connectivity solutions anywhere on land, at sea or in the air, and is a trusted partner to the world's leading telecommunications companies, mobile network operators, governments, connectivity and cloud service providers, broadcasters, video platform operators and content owners. SES's video network carries over 8,300 channels and has an unparalleled reach of 367 million households, delivering managed media services for both linear and non-linear content. The company is listed on Paris and Luxembourg stock exchanges (Ticker: SESG). Further information is available at: www.ses.com.

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