Tyrell Magazine

The essential guide to IBC 2016 

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IBC 2016 REVIEW 

T y r e ll’s Rev iew of the show in Amsterdam 

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Contents 

WELCOME 3 

IBC 2016 Review 3 

VR | PURIFY YOUR VIEWING EXPERIENCE 5 

CLEAR-COM BOLSTERS LQ OFFERING WITH ADDITIONAL UNITS 

AND SOFTWARE UPGRADES. 6 

VIRTUAL POWER OVER IP 6 

INTRODUCING AVID NEXIS | E5 7 

IBM AND THE CLOUD 7 

Avid Alliance Partnership 8 

MEVO – THE TINY CAMERA THAT PACKS A BIG PRODUCTION PUNCH! 8 

WHAT’S THE ‘STORY’ EDITSHARE? 9 

PTZ OPTICS – PERFECT TRACK – TRACKING WITH FACIAL RECOGNITION 10 

LIVESTREAM IMPROVES AND ADDS 4K CAPABILITIES. 10 

FACILIS AT IBC 2016 11 

ROSS VIDEO – BLACK SOLO 11 

LIVEU LU600 – IMPROVING A MARKET LEADER 12 

PROMAX – EFFICIENTLY WORKING AWAY! 13 

SpaceCrate 13 

StorageDNA embraces 4K 14 

TELESTREAM BUY VIDCHECK AND LAUNCH A STREAMING APPLIANCE 14 

IP PRODUCTION IS THE FUTURE 15 

BLACKMAGIC LEAPS INTO AUDIO 15 

ALL IN ONE STREAMING PRODUCTION SOLUTION? 16 

BLACKMAGIC DESIGN AT THE TOP OF THEIR GAME! 16 

NEW FEATURES IN PRO TOOLS 17 

ATTO – MOVING THE BOTTLE NECK AGAIN 17 

G-TECHNOLOGY – MAKING THE LEAP INTO SHARED STORAGE 18 

MEDIA EXCEL HERO GETS A TOOL TO ITS UTILITY BELT! 18 

Glookast provides the glue to make your workflow work 19 

Object Matrix: Object based storage that keeps your data double-safe 20 

Avid enhances its Graphics toolset with Avid Spark, 4Designer, and Avid Maestro 21 

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© | IBC 2016: Essential Guide

WELCOME 

DAN MUCHMORE’S TAKE AWAY 

This year, five of the Tyrell team 

travelled to the RAI in Amsterdam 

for this years IBC where we 

covered the entire show, nearly all 

the halls, with 1,600 exhibitors. We 

arrived for all the reseller meetings 

early on the Thursday morning and 

departed on the Tuesday evening. 

The general consensus from the 

team was a positive one. First of 

all, having our accommodation 

within walking distance to the 

RAI was deemed a success and 

will be repeated, but the technical 

take away was that IBC 2016 

was well attended with quality 

customers asking for the everpopular 

efficient workflows. Let’s 

face it, the entire industry is being 

asked to do more for less, but 

interestingly it was our customers 

talking about virtaulisation this 

year, where it has been traditionally 

the manufacturers waving the 

virtualisation flag. 

We believe the virtualisation 

switch has truly been turned on 

and will become common place 

sooner than we all think, because 

for the first time the technology, 

manufacturers and the customers 

are on the same page 

It is interesting to see how the virtual/hosted service subject is developing 

and how the data centre providers and manufacturers are evolving their pitch. 

Quickly moving from an idea/would we do it? To a WHEN will we do it. As the 

manufacturers start to develop their software with virtualisation in mind and 

the service providers assure us of their security and SLAS the proposition starts 

to become very interesting. Virtual Playout or DR may not be for all tiers of 

broadcasters but for many the reduction in staff, infrastructure and maintenance 

costs is compelling enough. Add to that the speed of deployment, the creation 

of new channels or ability to assure the continuity of advertising revenue makes 

this a technically elegant proposition. An exciting area for me is the use of render 

farms for VFX, why wouldn’t you number crunch this way? You benefit from the 

solution of software subscription so why wouldn’t you take advantage of the 

capex savings of leasable data centre infrastructure for only when you need it. 

The key to the adoption and use is trust. Can we have a relationship with those 

offering the virtual service and can we trust them with our precious content or 

your valuable advertising revenue continuity. As we move to a virtual world we 

still have a need to know who is looking after it for us. 

Anyway, enough of my hot air. Enjoy our IBC 2016 Review. We welcome 

your input and even more so your challenging of our views and reviews. Our 

new London office is looking amazing and is very well fitted out with all the 

equipment from the manufacturers we represent so please come and see us 

to discuss your requirements, we love nothing more than hosting and being 

tested to provide the right solution. 

This year’s annual pilgrimage to the European heart of Broadcasting offered 

me the opportunity to see how the other half live. It’s quite liberating not 

being tied to a stand, having lunch when I decided but also to have the (ahem) 

pleasure of walking the entire breadth of the show over 5 days. 

I am delighted that we were recognised with ‘Best Sales Success’ awards and 

‘Best Website’ awards during the pre-show manufacturer meetings. There 

So please have a read of some 

products and solutions which 

caught our eye over the past five 

days and please get in touch if you 

want to develop your ideas with 

the Tyrell team 

© | IBC 2016: Essential Guide | 3

IBC 2016 Review 

is nothing more humbling and heart-warming than to 

be recognised by your peers. Of course it takes for the 

manufacturers to have the right product at the right time 

but that is nothing unless the Tyrell team know their 

craft and work to provide our customers with the right 

solutions. It’s good to know we are doing things the right 

way! 

We all expect the plethora of product announcements 

from manufacturers and it is always encouraging to see 

those that know they are onto something and are on 

top of their game. Personally I always enjoy reading and 

hearing about the ever changing sands of the industry, 

who has acquired whom and who has moved where, this 

industry is nothing if it’s not a very fluid! I am glad to see 

the heritage of Fairlight will continue with a new owner, 

I am hoping that Blackmagic will be worthy custodians of 

this industry great. 

Dan Muchmore 

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VR | PURIFY YOUR VIEWING EXPERIENCE 

In my last VR article, titled “VR – 

a more immersive rabbit hole” I 

discussed whether or not it would 

be fair to describe this emerging 

technology as a fad and summarily 

decided that, owing in no small part 

to the corporations invested in its 

growth, it is not. I explored VR from 

a bird’s eye view, reviewing the 

companies who had already invested 

(Facebook, Valve, HTC and, of course, 

Oculus) and potential growth areas. 

This article will look more specifically 

at the creative process behind VR 

and what VR could achieve beyond 

being just another way to experience 

entertainment. 

Let’s suppose you’ve had an 

epiphany; a creative vision which the 

world deserves to experience, but it 

can only be achieved in virtual reality 

– where do you start? 

In order to capture a VR scene, with 

a full range of 360-degree motion, a 

number of cameras must be stitched 

together which record in different 

directions as the same time, all in 

sync and at the same resolution and 

field depth. Now, that might sound 

like a nightmare if we were expected 

to cobble such a thing together on 

our own, but thankfully we have 

companies who have innovated and 

engineered multi-sensor cameras 

which do just that. 

Nokia (yes that Nokia) have created 

the OZO, which can record 360 

degrees of 2K at 30 frames per 

second using eight separate sensors, 

audio is also designed to follow the 

video sphere, so panning will sound 

natural too. To use, just pop the 

OZO onto a tripod, or even a drone, 

and begin to record using a remote 

app onto the proprietary storage 

and battery module, which provides 

power to the camera and storage 

for up to forty-five minutes (500GB) 

of footage resulting in a single file 

where audio and video are available 

for editing with the OZO creator 

application (only available on Mac at 

the time of writing). “Stitched” output 

from the OZO creator application is 

delivered as DPX. 

Now we’re one step closer to realising 

your vision, so we move into post 

production. 

The Foundry have recently unveiled 

CARAVR, their VR compositing 

software which runs inside Nuke 

and Nuke Studio. Have you spotted 

something in your VR scene which 

needs to be removed, or maybe 

you need to place virtual elements 

in there? Cara will allow artists to 

modify a scene using a live review, 

meaning they can don an Oculus Rift 

headset and make changes as they 

explore the live inside scene. 

Cara will also allow artists to 

modify individual camera footage, 

modifying the physical layout and 

controlling exposure and colour 

balance as well as horizon roll which 

is known to cause motion sickness 

in VR environments. By this point, 

we have recorded and finished a 

scene where participants can wear 

a headset and look freely around a 

virtual environment, audio is panning 

correctly as they move and everything 

is looking just how you wanted thanks 

to the VR compositor. 

“But why did you do this in VR?” 

people might ask, and for the answer 

it’s best to draw on the words and 

vision of Chris Milk, a renowned 

director who took the stage to deliver 

a rousing TED talk earlier this year 

to preach VR and everything it could 

offer us beyond just entertainment: 

Chris believes that VR will connect 

us to entertainment through sheer 

immersion. 

The experience of being immersed 

in media to the point where it totally 

occupies your visual and aural senses 

can bring us closer to the people 

we’re watching, a close up is no 

longer just an intense moment, it 

will actually place an actor beside us 

where we can’t help but experience 

more viscerally what they’re feeling 

whether it’s elation, sorrow or horror. 

Any director, actor or producer should 

strive to bring this level of immersion 

to their audience because it will 

recoup emotions and experiences lost 

through a flat screen. 

Of course, filmmakers aren’t the only 

creatives to make use of VR, not by 

a long shot. The video game industry 

has overtaken Hollywood in revenue 

since roughly 2010 and are just as 

keen to cash in on new technologies. 

VR in gaming is aiming for immersion 

verging on seamless reality as not 

only do players have 360 degrees of 

motion, they can also control their 

position within the VR space and 

interact with objects in the virtual 

environment using motion-sensitive 

handsets reminiscent of the Nintendo 

Wii controller. But, the immersion 

doesn’t stop there, Virtuix are a VR 

company looking to bring full body 

motion to VR gaming. Walking, 

running, crouching and jumping will 

all be translated into a game using 

their Virtuix Omni rig, so you can be 

the Navy SEAL, sorcerer, sorceress or 

Jedi you always wanted to be. 

It’s fair at this point in time to say 

that VR is poised to become the 

next staple in entertainment, just as 

on-demand cable TV did, just as HD 

did and just as Netflix did. With VR, 

we have something to be excited 

about again as we enter a new age 

of immersion and interaction; we’re 

ready to redefine entertainment 

Richard Pritzel 


CLEAR-COM BOLSTERS LQ OFFERING 

WITH ADDITIONAL UNITS AND 

SOFTWARE UPGRADES. 

VIRTUAL POWER OVER IP 

Clear-Com have announced this week that they will 

be adding products to their popular LQ series of 

products. LQ devices which have been traditionally 

used for moving communications in 2-wire and 

4-wire over vast distances have now received a major 

overhaul. The first addition to the range is a third 

connection type, 4-wire audio with GPIO signalling in 

a DB9 connector. This will come in the current range 

of 3 units; 

• LQ4WG2 – which is 2x 4-wire & GPIO in DB9 

• LQ-R4WG8 – which is 8x 4-wire & GPIO in DB9 

• LQ-R2W4-4W4G4 – which is 4x 2-wire ports (XLR- 

3) & 4x 4-wire & GPIO in DB9 

• As before the LQ box is a half rack unit and the 

LQ-R Range is a 1RU rack mount. 

As well as launching 3 new models, Clear-Com, with 

the release of version 3 software for the LQ, has 

enabled all LQ Devices to connect to the Eclipse HX 

Matrix via the IVC-32-HX IP card. This allows 2-wire, 

4-wire and radio communication between the Eclipse 

frame over an IP infrastructure, which could span 

rooms, cities, countries or even continents. Within 

the new software there is also the ability to send 

high quality full 20Khz audio bandwidth between LQ 

devices. This allows broadcast quality audio to be sent 

around any IP infrastructure - bandwidth permitting. 

To enable this harmonious marriage between LQ & 

EHX you will need to have all units of LQ running 

version 3 and EHX will need to be upgraded to version 

8.7 which was also released this week at IBC. 

We also noticed a number of established playout 

technology suppliers, including SAM, Grass 

Valley, Imagine and Pixel Power, were offering 

or showcasing software-based products that can 

be used in virtual environments. The goal is full 

automation, master control and graphics over a 

system deployed in an offsite location, over IP. 

A key component of the successful virtualised 

playout systems and services to come will be access 

to reliable, affordable and flexible high-speed fibre 

connectivity. We’re currently in the process of 

evaluating the network marketplace. We will share 

what we find with customers and use what we learn 

to make our networked service business proposals 

stand out from the rest 

Colin Birch 

In summary this update has now taken what was a 

useful box for the transfer of communications to a 

very useful box and particularly if you have a Clear- 

Com EHX infrastructure. 

Gee Edwards 

6 

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INTRODUCING AVID NEXIS | E5 

IBM AND THE CLOUD 

Avid NEXIS | E5 is an enterprise-class, hyperdense 

storage engine that offers real-time editorial 

collaboration and the highest levels of scalability, 

performance, and client connections for large-scale 

broadcast and post-production environments. Avid 

NEXIS | E5 provides 40GbE connectivity and 80–480 

TB of storage capacity per engine, with the ability 

to scale up to 1.4PB of capacity and 9.6GBps of 

bandwidth, supporting more than 2000 DNxHR HD 

streams or 500 DNxHR 4K streams across over 300 

connected clients in a mere 17U of rack space. 

Avid NEXIS High Availability options increase the 

reliability and performance of NEXIS E-class storage 

systems for the most critical deployments. The Avid 

NEXIS Redundant Storage Controller, Redundant 

System Director, and Redundant Networking options 

protect against potential hardware performance 

issues, while the Media Mirroring option protects 

an entire Avid NEXIS system against up to five 

simultaneous disk failures, and even an entire engine 

failure. 

Bryan Malone 

I’m going to be ‘real’ with you for a second, I’m not the 

biggest fan of the whole cloud based storage workflow 

that I have been reading about recently. I have issues 

around the idea of ownership, the overall cost of the 

service and the speed bottleneck you introduce when 

you move media onto a wider network. 

IBM were at IBC this year showcasing a hybrid model 

of the above workflow mixed with the traditional 

SAN/NAS network we are all currently using. They 

propose using their hardware in a datacentre as an 

emergency backup of your media if and when your 

in-house storage servers failed. What you would have 

is a slightly slower connection to the offsite server 

but in a case of your servers failing this slight slower 

connection will be enough to keep the operation 

afloat. The 2 locations are synced over the network 

every night to ensure a smooth transition if the worst 

ever happened. 

I think this workflow has some great features but 

wouldn’t fit a lot of post-production houses, most 

are only just having a conversation about archiving, 

so backing up is just not something they are thinking 

about. 

I’m still not convinced by the workflow, I see adding an 

additional bottleneck as a step backwards, for me this 

conversation is a few years too early. Let’s revisit this 

when we’re all getting 2Gb broadband speeds. 

Johnny Reed 


Avid Alliance Partnership 

The Avid Alliance Partner Program was established to 

unify the fragmented technologies typically used by 

media professionals and organizations to create the 

best content. Avid have, through a rigorous certification 

process, selected and invited some key technology 

partners to join their Alliance Partners Program. 

New Alliance Partners announced at IBC 2016 include 

Glookast, StorageDNA, Digital Film Tree, ATTO, Burst, 

and Filmlight. 

As an Avid reseller, Tyrell will now have access to the full 

complement of Alliance products to provide the best of 

breed solutions to enhance our customer’s workflows. 

This will provide comparable services to the systems 

beyond the Avid core. The headaches associated with 

large system interfaces are no longer the pain of the 

customer. A brave move. 

Declan Hogan 

What does that mean for our customers? 

Avid are providing solutions, qualifications and support 

for all products within the Alliance. 

MEVO – THE TINY CAMERA THAT PACKS A BIG PRODUCTION PUNCH! 

Livestream’s Mevo Camera might have been announced 

way back at NAB in April, however, we are just starting 

to see the mainstream production units hitting the 

shores of the UK. This tiny camera featuring a 4K Sony 

sensor allowing for cropping within the frame while 

maintaining the quality. The Mevo control app (which is 

only available for iOS) enables you to control the facial 

recognition and set up to 4 different shots up and use 

the interface to change the shot selection. 

The Mevo has local recording in MP4 720p30 up to 

20Mbps onto the Micro SD Card. The Mevo has 2 

microphones for stereo recording which have a high 

signal to noise ratio, you can also use the headphone 

jack on the iOS device to inject an audio source into 

your recording. The networking is done with an 

802.11 a/b/g/n @ 2.4 & 5Ghz or 100Mbps LAN 

network connection 

with the optional 

Mevo Boost. You can 

live stream to both 

Facebook Live! and 

Livestream’s CDN. 

Power is give from a 

rechargeable internal 

battery providing up 

to 1 hour of streaming, however you can use any USB 

power bank to charge the Mevo, with the optional Mevo 

Boost you can stream/record for up to 10 hours. 

This small camera is perfect for anyone who’s starting 

their journey into Livestreaming. 

Gee Edwards 

8 

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WHAT’S THE ‘STORY’ EDITSHARE? 

EditShare have moved into the NLE market, or at least 

entered again with an NLE powered by the engine of the 

legendary Lightworks editor. 

Flow Story is a new member of the Flow Family (See 

Flow and Airflow), an already well developed set of 

Asset tools for the XStream EFS and XStream HT 

servers. In our experience the Production Companies 

and Post Houses are being drawn to the Xstream 

platform because of the power of Flow and Airflow and 

how these are tools that aid the management of assets 

and support the story telling process both in house 

and remote. Flow Story unlike other NLE’s provides 

the story teller with secure on-site and remote access 

to your media. In remote you are locked to working 

from Proxies, if onsite then the editor has the option to 

switch to Hi-Res media. EditShare would like to present 

this as a fast turnaround, live/news editor. I disagree 

with the news side due to the lack of traditional news 

integration features however, I fully buy into the live 

event/sport production angle given the edit while 

capture feature for any format, including XDCAM. 

Flow Story has a record to timeline function and 

integration with ‘Audio Network’ a global music library 

source. 

There are the usual effect, title and colour options. 

Finishing off a nice 1st release is a feature that allows 

Flow and Air Flow users to view and share the marker 

and comments made in Story, and vice versa further 

enhancing the collaborative workflow. Then finally, 

when and if required Flow Story includes publishing 

features back to Media Composer, Premier, Resolve and 

Pro Tools. 

Hardware 

There is nothing new from EditShare on the HT and 

ST platforms. However, their Enterprise XStream EFS 

(http://www.editshare.com/products/xstream-efs) 

platform has had a number of additions. 

• Ability to configure EFS clusters with more than one 

storage node in any combination XStream EFS SSD 

and standard EFS. 

• Qualification for 8TB drives, providing 33% more 

storage 

• New file protection options, previously XORn , now 

COPYn 

• New File-Per-Frame file support. Previously DPX 

only, now supports DPX, DNG (CinemaDNG), EXR 

(OpenEXR), CRI 

• (Cintel), R3D (RedRAW), TIFF and RAW formats 

• Improved Active Directory Support 

• FTP Support 

Dan Muchmore 


PTZ OPTICS – PERFECT TRACK 

– TRACKING WITH FACIAL 

RECOGNITION 

LIVESTREAM IMPROVES AND ADDS 4K 

CAPABILITIES. 

PTZ optics have worked with the software company 

DYCAP to produce a facial recognition system that 

works over HDMI on both the USB 3.0 and HD- 

SDI cameras from PTZ Optics. The facial tracking 

technology works by taking about 500 frame shots of 

the individual front faces and the same on the profile, 

the whole process takes around 2 minutes. The camera 

also works on false positive intelligence meaning the 

more faces you have stored in the system the easier 

it will be to pick out the target in a crowed scene, just 

tell the system which face you want to track. 

One of the more interesting features in this system 

is the ability to schedule multiple people to use the 

system at different times. For example, Mr A is on the 

9th @ 10:00 – 11:00 & 12th 12:00-14:00 and Mr X is 

on the 9th @ 12:00-14:00 and so on. This means for 

lecture halls that have a program of regular use the 

system becomes automated meaning less for nontechnical 

operators to worry about. 

The Perfect track is also available as a retro fit kit 

to any PTZ Optics 2nd Gen Camera and also it 

can be retro fitted to any professional camera with 

VISCA protocol through an RS-232 cable. There is a 

configuration charge to get the system compatible 

with your camera, but it does mean that this system 

is versatile and can be used with more than just PTZ 

Optics cameras. 

The Perfect Track system is shipping Quarter 4. Call us 

for details on pricing! 

Gee Edwards 

Livestream improves Studio HD550/HD51 Switchers 

specs and adds 4K capabilities – introduces 4K crop 

for better looking productions on a small budget. 

Studio HD550 and HD51 have had a revamp with 

64GB of RAM, 8 Core Intel i7 CPU, Windows 10, and 

a 2TB SSD Drive. This is definitely going to improve 

performance with standard HD switching, allowing 

more inputs, effects, and streaming capabilities, as well 

as to accommodate 4K sources which are increasingly 

becoming more common. Livestream switchers offer 

great value for money as users can produce amazing 

looking productions, integrate Twitter feeds as well 

as Skype inputs for more interaction with audiences, 

and include many of the features that more expensive 

vision mixers/switchers offer, at a much lower price. 

Another great new development is their new 4K 

cropping technology which will assist creatives and 

production companies to create a more expensive 

looking production with a smaller budget. The feature 

is integrated in the HD550 and HD51 switchers 

as well as their Studio 4 software. Users can select 

different parts of the 4K live input and by cropping 

those parts mix them as different video sources, thus 

creating the feel of a multi-camera production. Studio 

4 is also supporting Livestream’s new Mevo camera 

which can also be used stand-alone to stream to 

Facebook or Livestream. 

Gee Edwards 

10 

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FACILIS AT IBC 2016 

ROSS VIDEO – BLACK SOLO 

Going through Ross’s show press release archive it’s 

hard to not be impressed with what they are achieving 

and at the pace they are doing so. This year is no 

different with a number of acquisitions and the usual 

product development announcements. 

Where Facilis’ competition is focusing on their 

software platforms and integration with NLEs and 

archive this IBC see’s Facilis setting out their stall as 

the answer to our bandwidth heavy production. 

Facilis at IBC 2016 clearly wants their audience to 

associate their Hybrid24 and SSD8 systems with your 

VR or 4K workflows. With the 12GBPS SAS or 32GB 

Fibre controllers announced at NAB now shipping and 

the lower price points being offered it is hard to ignore 

these as the tool for these bandwidth heavy jobs. 

But is speed everything? Personally I would have 

liked to have seen more developments in their Fast 

Tracker Software, deliberately being positioned as a 

simpler asset tracker by the organisation. But does 

this matter? With the performance, price points being 

hit and any number of developed 3rd party asset 

managers available in the market Facilis clearly don’t. If 

you are looking for a solution to your high bandwidth 

workflows, needing to move to shared storage but 

worried about leaving the performance of direct 

attached then Facilis may well have the solution for 

you. 

Dan Muchmore 

It is the introduction of the Carbonite Black Solo, 

the latest addition to the Black range of production 

switchers that caught my eye. It is a compact vision 

mixer with 9 inputs and 6 outputs that according to 

the Ross staff member was designed to target smaller 

productions such as the ever growing corporate 

events market, increase use of video in theatre and 

the smaller studios. The Solo has 6 floating frame 

synchronisers with format converters that are freely 

assignable to any input, a nice touch for managing 

unreferenced sources. The I/O on the switcher are a 

combination of SDI and HDMI. 

The Black Solo comes in three models: 

All-In-One system – a combination of a production 

switcher hardware with all the I/O included in the 

chassis. 

1RU Processing Engine - all the electronics housed in 

a 1RU frame, controlled by the Dashboard Software. 

Panel only - the same control panel as the All-In- 

One but for use with the 1RU frame or for multiple 

operator points on the system. 

With the look and feel of its bigger siblings and at 

a price point normally associated with other brands 

this is a real winner. Add to that the ability for the 

Dashboard software to simplify complex functions in 

a very accessible UI brings the technical entry barrier 

right down, essential for these non-broadcast markets. 

Sometimes the smallest developments are the ones 

to catch your eye. As our event and corporate studio 

clients grow in number we are intrigued by the response 

the market will have as we introduce it to them. 

Dan Muchmore 


LIVEU LU600 – IMPROVING A MARKET LEADER 

In my opinion, LiveU LU500 has been the market leader 

in IP bonded transmission for the last year. Looking at 

the LU600 I expect that success to continue. 

The LU600 is an improvement on the LU500 in several 

areas which I will try and outline here in this article. Let’s 

start at the beginning, the start-up time for the LU600 

is just 30 seconds, this is great news for breaking news 

coverage. The LU600 also has upgraded its transmission 

bit rate to 20Mbps allowing high quality videos to be 

streamed thanks to its new processor. That also enables 

another improved feature which is a file transfer rate 

of 80Mbps meaning forwarding and recovering files 

is quicker process than previously experienced. The 

improved bonding technology, with LTE Advanced 

support enables the LU600 to achieve a maximum 

100Mbps internet connection to ensure that high quality 

video is transferred as seamlessly as possible. The 

LU600’s list of upgrades doesn’t stop there; H.265 HEVC 

upgradability and 4 hours of live transmission with its 

improved battery and lastly the LU600 contains 16GB 

of on-board storage for files as well as accepting the 

new Micro SD/XC standard allowing for cards of up to 

256GB. 

With all these improvements and at the same weight as 

the LU500 this is a small portable transmission unit that 

certainly packs a big punch. 

Gee Edwards 

12 

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PROMAX – EFFICIENTLY 

WORKING AWAY! 

SpaceCrate 

While trying to get an afternoon refreshment in the 

popular Beach Bar in the RAI, we meet up with Ben 

Nemes, who we’ve known for nearly 20 years selling 

Avid Audio kit, he told us all about his new venture in the 

virtual space, well its more…… here’s what Ben told us 

about it. 

We often see dedicated transcode/ingest clients which of 

course have to be a 10Gb client, ProMax have removed 

this huge waste of money, making their powerful servers 

do all the hard work. 

I could talk about the new product range that ProMax 

have just released, they have upgraded the Online 

1000 and 2000 servers with faster, high capacity, 

more powerful servers, but it wouldn’t make for a very 

interesting read, that being said I am a people pleaser 

so if server specs get you going (who am I to judge) then 

you can find all the new juicy bits here. What I really 

want to talk about is how ProMax customers can use 

the pre-existing, pre-installed toolset to actually improve 

workflow efficiently. 

SpaceCrate is a permanent or temporary, professionalspec 

creative space designed for a variety of creative 

uses in Media and Entertainment, production & post. 

Prefabricated for simple deployment and instant use, 

anywhere in the world, SpaceCrate is constructed within 

the ISO-standard 20 Foot Shipping Container and is 

every bit as modular, secure and recyclable. SpaceCrate’s 

designers have a long track record of stunning, innovative 

and well-engineered studio projects, and they bring all 

that experience to a new concept of capacity as a service. 

So over the next couple of months the initial designs will 

be proofed, built & tested and we’ll be letting you know 

and see the reactions, but do get in touch if this strikes a 

creative chord for you and your business 

Bryan Malone 

You waste too much time moving data around! I see 

it every day, in fact I can almost guarantee that your 

workflow involves using a client machine to copy RAW 

clips from a portable storage device onto your fast 

network storage, just to move it off again once your 

proxies have been created. This is a huge waste of time 

and resources. ProMax Platform users can directly attach 

portable drives to their ProMax server and archive directly 

to LTO at the same time as transcoding offline proxies 

that land on the SAN. This process can even be scheduled 

to happen whenever suits. Then just restore the RAW files 

to conform when you are finished with the offline edit, 

quickly archive the small project files and wipe the SAN, 

easy. 

It sounds so simple but allowing users to attach USB, 

thunderbolt or network media to the server is a game 

changer. Add the fact that the server can process this 

extra storage without it officially being part of the raid set 

is really unique and something that a lot of our customers 

are interested in. 

Johnny Reed 


StorageDNA embraces 4K 

Storage DNA has been pretty quick to adapt to 

the advancements in video technology, namely the 

explosion of content creation and currently the long 

strides towards 4K production. As 4K/UHD content 

becomes more common, production facilities face great 

pressures on their current storage and editorial system 

resources - costs for upgrades to these systems can 

soar. Storage DNA offers ways to maximise the potential 

of existing storage/editorial infrastructure and reduce 

costs for this painful transition for many companies. 

There is a plethora of archiving and restore options, 

users can archive and restore whole volumes or 

individual files, but can also perform object based 

archive/restore/conform jobs, based on AAF and XML 

open standards, supporting most major non-linear 

editing software (Avid Media Composer, Apple Final 

Cut, Adobe Premier Pro) projects, sequences, and bins, 

significantly reducing the size of archives and online 

storage needed for the restores. SDNA Evolution also 

integrates an archive middleware for CatDV and Avid 

Interplay. 

Searching for archived media in the SDNA Evolution 

interface is extremely easy with Smart Search. Users 

can perform boolean searches via clip name, native 

metadata embedded on media, but also custom 

metadata that they have assigned to media via the 

SDNA interface. Archived content can be accessed just 

the same as online media directories. 

Version 4 of their DNA 

Evolution system includes 

a new 4K/UHD conform 

engine, the philosophy 

behind it is that editors 

can work with HD/4K 

proxies – thus saving a lot 

of space on online storage 

– and conform in the end 

from raw/high res masters 

stored on LTO, even across multi-format sequences. 

The company has also unveiled support of their flagship 

archive management SDNA Evolution system with 

the new mLogic Thunderbolt LTO-7 tape drive. This 

solution is a great proposition for smaller production 

companies who would like to keep their data safe 

and take advantage of the great archive management 

features and conform workflows of SDNA, without 

spending a fortune. The drive can be used with a macbased 

Server running the SDNA software. 

Lastly, their DNAfusion product which was introduced 

earlier during the year takes advantage of Sony’s Optical 

Disc Archive technology, and particularly the random 

access feature, which enables quick browsing, playing, 

transcoding, and sub-clipping of AMA (Avid) media 

straight from ODA cartridges. 

Alex Galanos 

TELESTREAM BUY VIDCHECK AND 

LAUNCH A STREAMING APPLIANCE 

It was the pre IBC 2016 acquisition, Telestream the 

workflow tools specialist buys VidCheck, Tyrell have 

had a lot of success with the quality control software 

company, most of our customers have either tried it 

(maybe more than once) but most have purchased it, we 

think it’s a great addition to the Telestream product line 

and will help extend the conversation with their existing 

customer base. 

Telestream have also launched Wirecast Gear which is 

a live streaming production system that is affordable 

and easy to use. No need to build your own system. 

Start streaming in minutes, with an end-to-end system. 

Wirecast Gear is an extremely portable computer 

workstation designed to run Wirecast Pro for live event 

production and streaming. With four HD-SDI or HDMI 

professional camera inputs and all the live streaming 

production features of Wirecast Pro, in a compact, 

powerful hardware system, Wirecast Gear is a unique 

blend of performance, ease of use and affordability. 

Just plug in your cameras and start streaming. 

Bryan Malone 

14 

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IP PRODUCTION IS THE FUTURE 

IP workflows are gaining 

momentum this year. The 

reason for this is the drive for 

the creation and broadcasting 

of more content and the cost 

of supporting and upgrading 

co-axial cable SDI based 

infrastructure in order to support 

UHD and 4K. At IBC, Avid is 

showcasing emerging IP workflows and support for the 

emerging SMPTE 2022-6 and VSF TR-03 standards, 

and how these are integrated in their MediaCentral 

platform. IBC visitors have the opportunity to go 

hands on with the VRT-EBU LiveIP Production Studio, 

which is entirely based on IP, and have their queries 

answered by the production team. EVS are showcasing 

their IP-connected live environment and IPDirector 

live–content-management system for multiformat and 

multisource ingest. IP production and collaboration 

seems to be the future. 

There are some important questions regarding IP 

productions that video professionals and facilities ask: 

What equipment is required to achieve an IP workflow? 

There is already a wealth of IP PTZ camera 

manufacturers and production equipment from 

manufacturers such as NewTek which enable IP based 

production workflow and streaming. Sony has been 

committed to integrating IP technology in broadcast 

infrastructure for more than a decade and has a wealth 

of IP production products on offer. 

Can existing network infrastructure be used? 

The answer is yes. Enabling IP workflow does not mean 

replacing all traditional co-axial cable infrastructure 

or necessarily adding new expensive IT equipment. 

Traditional IT infrastructure can handle a standard 

amount of IP streams and data. As the number of sources 

and the resolution of the streams transported by IP 

increase (UHD, 4K, 8K) though, upgrades to cabling, 

switches, and IP based production equipment will be 

needed, but the same upgrades in traditional coaxial 

infrastructure and routers will be a lot more costly. 

What are the benefits of IP based workflows and 

production over SDI? 

• Format agnosticism. 

• Multi-point connections. 

• Bidirectional data transfers. 

• Multiple signal transfers. 

• IP and file based transfers allow for faster access to 

content without transcoding. 

• Fleets of trucks for live events are replaced by IP and 

larger data transfer pipes. 

• Collaboration. 

• Dramatically reduced costs compared to traditional 

SDI based video production. 

Alex Galanos 

BLACKMAGIC LEAPS INTO AUDIO 

Blackmagic Design today announced its acquisition 

of Fairlight, which creates professional digital audio 

products for live broadcast event production, film and 

television post production, as well as immersive 3D 

audio mixing and finishing. 

Fairlight has an impressive history of designing and 

manufacturing integrated audio control surfaces and 

software that are renowned for their speed, flexibility 

and exceptional sonic quality. Fairlight Live products 

feature consoles that are designed for the most 

demanding on-air and live productions, giving customers 

leading edge audio processing and control surfaces 

that range from 12 to 60 faders, along with audio I/O 

interfaces with full redundancy for mission critical 

work in broadcast facilities, outside broadcast trucks, 

performing arts venues and houses of worship. 

For post-production solutions, Fairlight creates 

everything from compact desktop audio post systems 

to large format mixing consoles with dedicated controls. 

Fairlight audio engines can deliver up to 1000 tracks 

which lets customers create 

Bryan Malone 


ALL IN ONE STREAMING PRODUCTION SOLUTION? 

The new all-in-one streaming production solution? 

At first glance, the Wirecast Gear looks like a portable PC 

in a chunky design. However, what lies under the hood 

of this machine is an all in one production solution. It’s a 

capture device, switcher and encoder all in one box, which 

also has the ability to stream to over 30 different online 

CDN providers. 

The Wirecast Gear comes in three different configuration 

options. They are identified as the Gear 110, Gear 210 

and Gear 220. The differences between the units is the 

input method and also the level of bundled software. To 

highlight the changes in the product range, the underlying 

PC remains a very high powered PC and is the same 

across the board, the Gear 110 comes with 4x HDMI 

Magewell Pro Capture Cards and 250 GB of internal video 

storage. The Gear 210 & 220 uses Magewell Pro Capture 

SDI cards with 4x SDI inputs which are SD/HD/3G-SDI 

compatible. The difference between the two units is hard 

drive capacity (500 GB to 2 TB) and also the bundled 

titler software from NewBlue has different features sets 

between these two products. 

Looking at the device it seems a very capable device, with 

a very attractive price point ($4995 – $7995) However 

it is fighting in a very congested marketplace with the 

Livestream Studio HD51 & HD550 and also the NewTek 

Tricaster Mini. The only reservation that I have is the 

integration of a third part titler. The other offerings I have 

mentioned above have their own titling software which 

is integrated. 

However, that 

being said the 

offering from 

NewBlue is a 

very robust 

titler, more so 

than some of 

the integrated 

solutions. One 

of the unique 

things that 

Wirecast Gear includes Telestream Switch 3 Plus. Switch 

3 Plus is a media correction software allowing the user to 

playback media at accurate frame rate for QC process, it 

also allows you to inspect the video and audio properties, 

including captioning and subtitles. Once you have looked 

at the file it also allows you to make changes including; 

trip, crop or scale your media as well as changing speaker 

assignments and re-wrapping and re-encoding media. 

Lastly Switch 3 Plus lets you deliver the file or stream to 

multiple different platforms including; iTunes, YouTube, 

Vimeo and Facebook. 

In summary the Wirecast Gear is a robust and (semi) 

portable all in one production solution which can record 

and stream to various CDN Platforms. Whilst this isn’t the 

only all-in-one production unit in the market it certainly is 

one that should be taken seriously. 

Gee Edwards 

BLACKMAGIC DESIGN AT THE TOP OF THEIR GAME! 

BlackMagic Design at the top of their game. 

BlackMagic Design have taken huge strides in terms of 

the quality and design of their products, as well as the 

capabilities and options available for their customers. 

They have enabled many more creatives to be able to 

produce content easily due to the reduced cost of their 

products, without sacrificing quality or options, in fact 

quite the opposite. They offer a complete roster of 

production equipment from cameras, to capture cards, 

video switchers, and mixers, and recorders, you name it, 

which look the part and do the job, at affordable prices. 

In the past many a video professional would criticise the 

company for producing equipment which did not always 

provide the quality or options they needed, or were 

riddled with bugs and software problems. The company 

has worked hard to overcome these criticisms, surpass 

their competitors in terms of the options BlackMagic 

products offer, and provide a much more reliable 

product range to their customers. At this year’s IBC 

event they are presenting quite a few new offerings and 

exciting news: 

• Acquisition of Ultimatte and Fairlight 

• Teranex AV, a standards converted with 1089 

broadcast quality standards conversions. 

• New Deckling Mini Monitor and Mini Recorder 4K 

• Lower price for the HyperDeck Studio 12G 

Alex Galanos 

16 

| 


NEW FEATURES IN PRO TOOLS 

Avid announces new features for Pro Tools that will 

increase productivity and improve audio workflows – 

Introduces standalone Pro Tools | HD software 

The world’s best audio editing software just got better 

with some new and very cool features that audio 

professionals will appreciate. Pro Tools HD users will now 

be able to apply real-time EQ and dynamics effects to 

single clips or clip groups in the timeline which will allow 

for the assignment of different settings across multiple 

clips on tracks. 

Audio post professionals are now able to take advantage 

of single-system re-recorder workflows allowing for 

the use of a single HDX system for audio playback 

and recording, the software taking care of latency and 

alignment so that punching in and out and switching 

tracks is smooth and without audio artefacts. Other new 

improvements include easier editing of audio layers and 

playlists, and adjustment of fades in real-time, enabling 

faster workflows and more productivity. 

Avid are also introducing standalone Pro Tools|HD 

software options, which will make it more affordable for 

audio professionals to get their hands on the software. A 

new perpetual licensing model will allow people to work 

with Pro Tools anywhere, and a low-cost subscription 

model will enable users to only use the software when 

they need it. 

Alex Galanos 

ATTO – MOVING THE 

BOTTLE NECK AGAIN 

I really like ATTO, their cards are solid, their drivers rarely 

falter and it’s likely their tech is already a huge part of 

your infrastructure. After having the pleasure of meeting 

their engineers I now understand why their products are 

so good, they really know their stuff and are happy to talk 

passionately about the future of IP interfaces. 

One question came up when we started talking about 

100Gb Ethernet coming out in the next year or two. 

What’s the point of it if the bandwidth of a SAN doesn’t 

also increase? Standard HDDs are getting faster thanks to 

SAS upgrades but we will likely see a decline in their usage 

as they just aren’t fast enough for the 4k/8k workflows 

you are all demanding. This leaves SSDs, yes these are 

fast, really fast, around 9000MBs fast, but even this falls 

well short of the 100Gb that the Ethernet world will soon 

deliver. It’s likely that to push storage bandwidth our 

industry will need to adopt a new way of working, NVMe 

could be that next step. 

NVMe or Non-Volatile Memory is a fairly new protocol for 

attaching non-volatile memory to a computers PCIe bus. 

With this technology CPUs can read and write to a storage 

drive much quicker as they don’t have to go via a SAS or 

SATA protocol that currently connect all the media drives 

on a RAID group. SAS and SATA were ideal for HDDs but 

they don’t utilise the true speeds that solid state drives 

can offer, NVMe however, was created specifically for SSD 

and offers around 5x the performance of SSD SATA. 

If and when NVMe and 100Gb Ethernet can be combined 

for shared storage I seriously doubt we’ll be talking about 

bandwidth requirements as often. 

Johnny Reed 


G-TECHNOLOGY – MAKING THE 

LEAP INTO SHARED STORAGE 

MEDIA EXCEL HERO GETS A TOOL TO 

ITS UTILITY BELT! 

I was very eager to get over to the G-Tech stand 

this year and see for myself why there is so much 

buzz around the G-Rack 12. I had read through the 

datasheet and it all seemed a bit too good to be true, 

I arrived with a bunch of questions I thought would 

show this system is not quite right for the shared 

storage environment. When I arrived I was shown 

through the system by the man who designed it which 

meant I got the answers to the questions I really 

wanted answered, and I can say I was impressed with 

what I was shown. What G-Tech have created is a 

fast (around 2000MB) NAS that they say can be used 

for guaranteed video streams on a 10Gb (minimum) 

network. 

This Linux system has been designed for everyone, 

administrators still get overall control of the system 

using a web GUI where users, media spaces, 

storage allocation and user access are all set up and 

maintained, end users see their media as network 

shares, it’s a very simple system to set up and use. The 

web GUI which also offers quick access for hardware 

information such as temperature of the server and 

CPU load, nothing ground-breaking but it’s nice to see 

this important information presented so easily. 

I guess the thing that really gets me excited with 

this system is the speed, it’s really impressive to be 

getting 2000MB out of 12 HDDs, compare this to an 

Avid E2 which offers 400MB and you start to see the 

bigger picture. Now I’m not suggesting the Rack 12 

is a competitor to the E2, that’s not the market that 

G-Tech are looking at, and in terms of features the 

Rack 12 is lacking, it doesn’t support bin locking for 

example but if you are just after extremely fast storage 

then you should be looking at the Rack 12. 

Configuration wise you are looking at a 48TB, 72TB, 

96TB or 120TB system with either RAID 5 or 6 

protection depending on your requirements. It’s cheap 

as well, competitively priced to be a viable option 

for small to medium sized production houses who 

need the high bandwidth for the ever evolving 4k 

workflows. 

G-Tech are likely the company whose storage drives 

you already trust with your media; it makes sense they 

handle your shared storage needs too. 

The Hero series of encoder/transcoder/decoder 

has a shiny new codex in its armoury. The Hero 

series is now able to stream in VP9/DASH directly 

to YouTube. To my knowledge the Hero series is the 

first carrier grade series of products to enable support 

for WebM live encoding and publishing for YouTube. 

This new capability will deliver higher quality live 

streams to YouTube. The open-source WebM/VP9 

codec provides high quality at half the bandwidth 

used by other codes (e.g. H.264) enabling users to 

publish higher resolution, higher quality video without 

increased bandwidth draw. 

So what does all this mean for the start-up streamer 

to a broadcaster: well, if quality is the most important 

consideration in your stream then using a purpose 

built encoder is certainly the way forward. If you are 

just starting off in the streaming domain then there 

are much more affordable ways to get your content 

on the internet, like a Livestream Mevo camera 

or a Wirecast Go. However, if you need rock solid 

uploading to different streams then Media Excel’s 

Hero is definitely the way to go! 

Gee Edwards 

Johnny Reed 

18 

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Glookast provides the glue to make your workflow work. 

Glookast have been recently chosen to join the Avid 

Alliance Partners Program, which is great news for 

the company. It does not come as a surprise, as the 

company has developed several innovative products 

which help making complicated workflows easier and 

are being used by some of the world’s largest media 

companies and productions, as well as broadcasters and 

post production facilities. 

One of the main competences of Glookast solutions is 

rendering MXF workflows seamless, great integration 

with Avid products, and enabling multi-format, multiresolution 

workflows in all areas of production, from 

field to post, broadcast, and distribution. 

Some of their more striking solutions are the following: 

media|parker/media|retriever 

media|parker: Easily moves media, sequences, and 

projects to nearline storage via a tight integration 

with Avid Interplay. Proxies are stored and metadata 

preserved in Interplay. media|retriever: Enables the 

retrieval of full or partial clips from nearline storage. 

Editors can create sequences with proxies and in the 

finishing process retrieve only the parts of clips used 

in the sequences. This means saving space on online 

storage and reducing costs needed to accommodate 

the large number of content that media companies 

increasingly intake. 

Outgest from Avid Interplay with file flattening, transfer 

of MXF files between workgroups/SAN/ NAS/archives, 

as well inter-platform watch-folder workflows. With 

the media|transformer option added, media can be 

transcoded on demand as they are being moved 

between platforms and proxies can be created at the 

same time. 

Glookast also provide file and baseband ingest solutions 

with Gloobox Ingester and Capturer (including UHD/4K 

with Capturer 4K) with simultaneous ingest up to 3 

resolutions/formats per ingest channel, multiple ingest 

destinations, and tight integration with Avid Interplay. 

The Gloobox Scheduler application assists with the 

automation and scheduling of ingest tasks, control of 

multiple channels across multiple Gloobox Capturer 

servers, and assignment of channels to scheduled 

recordings. 

Alex Galanos 

Glooport media|connector 

Media companies use a variety of solutions from 

different vendors, each of these platforms utilising 

different sets of codecs, file wrappers, and metadata 

schema, rendering their integration a complex task. 

Media|connector serves as the glue between these 

platforms. Its main features are: 


Object Matrix: Object based storage that keeps your data 

double-safe 

Object Matrix is one of the leaders in object based 

storage and nearline solutions for the media/ 

entertainment industry, and this is proven by their track 

record in supplying their solutions to major broadcasters 

and events. During the recent summer Olympics, Dega 

Broadcast Systems implemented over 500 terabytes of 

MatrixStore object based storage as nearline storage, 

in EVS and Avid workflows, for BBC sports production 

centre in Rio De Janeiro. 

The company’s solutions success is also reflected in 

the long list of technical partners and integration of 

Object Matrix products with the world’s leading video 

technology companies: Adobe, Avid, Sony, Aspera, 

Telestream to name a few, the list is long. 

Recent partnerships include: 

• FileCatalyst - The synergy of accelerated media file 

transfers with cloud based digital storage solutions 

with Object Matrix’s nearline storage platform, will 

enable significantly faster, secure, and reliable file 

transfers for Object Matrix workflows. 

• Spectra Logic – An integration of MatrixStore object 

storage platform with Spectra Logic’s Spectra® 

BlackPearl® Deep Storage Gateway using the 

BlackPearl Software Developer Kit (SDK), which will 

provide an integrated and automated archive solution 

that combines the benefits of disk and LTO archive 

media. 

• Sony Media Navigator – Combining Sony’s advanced 

MAM system with MatrixStore nearline storage 

reliability and security. 

• Object Matrix announced some significant updates in 

their product packages at IBC 2016. Customers will 

now be able to buy their products in the following 

ways: 

• Hardware & Software 

• Software only: MatrixStore object storage software 

is priced per terabyte on a sliding scale based on 

used capacity. Prices start from £100 per terabyte. 

Minimum starting capacity is 240TB. 

• Subscription/Storage as a Service: 3 and 5-year 

subscription plans allow customers to plan their 

storage costs more effectively. One flat annual fee 

will cover MatrixStore software and annual support 

fees. Customers can choose to provide their own 

hardware or the solution can be delivered as an 

appliance. Subscriptions start at 500TB for £35k p.a 

The company also announced extra features for 

MatrixStore Vision, namely the ability to link proxies and 

thumbnails created by third-party transcode solutions 

with a new post-processing workflow, and Full Amazon 

S3 interface compatibility, which will allow organisations 

to use MatrixStore as part of workflows that require an 

Amazon S3 interface. 

Alex Galanos 

20 

| 


Avid enhances its Graphics toolset with Avid Spark, 4Designer, 

and Avid Maestro 

Avid have showcased their new graphics solutions 

at IBC 2016 to assist organisations, captivate their 

audience and define their brand using augmented 

reality, unique studio enhancements and awe-inspiring 

3D data-driven graphics. Avid’s enhanced graphics 

toolset provides creatives and broadcasters the means 

to create stunning productions. 

Highlights of the new products: 

Spark - Smart telestration for sports 

productions 

Users can draw graphic elements right on top of live 

video by using a dedicated touchscreen interface. 

Commentators can quickly and easily highlight plays, 

players, and more by inserting high quality 2D and 

3D customisable objects exactly where they want. 

Spark is designed for fast operation, its powerful 3D 

graphics engine enables quick creation of enhanced 

clips and drawing graphics using onscreen and in-field 

perspectives. Spark users can bring their own graphic 

elements or choose from the variety of elements 

available within the platform, as well as design their 

own unique features with the advanced authoring tools 

included. The effects bank can be augmented with 

graphics created in 4Designer (see below). 

4Designer - State-of-the-art 2D/3D real-time 

broadcast graphics authoring 

4Designer is the core of Avid real-time graphics 

systems. It offers the tools creatives need to produce 

stunning visual content for a variety of broadcasts 

such as news, weather, sports, and business reports. 

Following up the award-winning 3Designer, 4Designer 

offers increased power, speed, and features, in a 

redesigned interface. The perfect tool to create 

compelling content, 4Designer integrates seamlessly 

into any studio graphics workflow, it allows the 

retrieval of bitmap files from Adobe Photoshop, they 

use of powerful tools for interfacing with 3D modelling 

software, and supports FBX, OBJ, DAE, 3DS, X3D, 

VRML, and SVG formats. Graphics operators do not 

have to re-create all of the graphics imported from 

After Effects from scratch. 

Avid Maestro - On-air graphics and video 

solution for broadcast 

Maestro is a universal controller for video and graphics 

which enables users to create, manage, distribute, and 

play out high resolution 3d graphics and videos easily. 

Maestro 7 includes enhancements which will boost the 

efficiency and production possibilities, and offers social 

media integration, allowing broadcasters to engage 

viewers. Maestro in part of the new Avid story-centric 

workflow. Journalists can use the new Maestro-pane in 

MediaCentral|UX and quickly create and update realtime 

Maestro graphics to make news stories stand out. 

Editors can use the News Producer NLE plug-in to add 

graphics to sequences and editing projects. 

Alex Galanos 


Summary & Sign Off 

Thank you for taking the time to read through our 2nd Edition “The Tyrell IBC Review & 

Opinion” from the recent IBC Trade show, if there was anything in there that prompted any 

ideas or some questions, please simply get in touch through any of the numbers below. 

You might not be aware, but we’ve recently moved our London office to a larger, more customer 

friendly space that houses our fully equipped demo suite. This of course includes our specialist 

demonstration suite, we reckon it’s the only suite in London that can demonstrate your complex workflows 

with lots of media centric storage manufactures all within walking distance from central London, 8 minutes from 

the Thames to be exact. So if you’re looking to have an up close and personal conversation with Avid Nexis, Clear- 

Com, EditShare, EMC Isilon, Facilis, Glookast, ProMax, Object Matrix, G-Tech, Storage DNA, Sony ODA or Sony Media 

Navigator, please get in touch with us and we’ll send the car to collect you- www.tyrellcct.com/request-a-demo/ 

415 The Print Rooms, 

164/180 Union Street, 

Waterloo, 

London, SE1 0LH 

UK 

+44 (207) 148 6200 

Unit 13, Bluebell Business Park 

Old Naas Road 

Dublin 12 

+353 (1) 888 1118 



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