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Canon focuses on 4K UHD Broadcast Lenses at NAB2018 - oh! and the C700 FF
Canon launched of three new portable zoom 4K UHD broadcast lenses1: the CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B. These new additions are compatible with 4K UHD broadcast cameras that have 2/3-inch sensors. Flanking the existing UHDxs series of 4K portable broadcast lenses that deliver excellent optical performance, these three lenses usher in the newly launched UHDgc series that will broaden 4K UHD shooting options. These new lenses provide 4K UHD imaging quality at a price point that is more accessible to the majority of the broadcast market. Additionally, the new lenses provide impressive UHD optical performance while maintaining a compact and lightweight design to meet a wide range of needs for video productions that include documentaries, sports, events and news coverage.
Videocraft brings state of the art Avid solutions to Studios 301
When Australia’s longest running professional recording studio, Studios 301 decided to upgrade their Pro Tools systems as part of planning it’s new multi-million dollar facility they brought Videocraft in to advise them on the best way forward, what equipment to use and critically what budget they would need to work within. Videocraft post production and pro audio sales manager Ian Parish explained, “Studios 301 brought us in at the early stages of this project because of Videocraft’s history in delivering Pro Tools HD systems and our extensive experience working with AVID solutions. There aren’t a lot of studios of this size that are being built from the ground up these days, and to be a part of that is unique in itself.” From that initial consultation the discussion expanded to include an AVID Pro Tools S6 modular control surface in a multi-purpose surround mix room and as Videocraft had already installed multiple S6 consoles around Australia, the team at Studios 301 sought their advice on how best to make this a reality. Parish continued, “This was a very large project as they were building an entirely new facility from the ground up with five control rooms, three mastering rooms, digitising facilities and vinyl pressing capabilities. It was clear, due to our experience in this field, that Videocraft’s role would be to supply and support all of the AVID hardware and software and the associated peripherals to make those systems work.” As the project plan developed the brief included 64 channels of analogue IO for the client’s Neve console in Studio One, 48 channels of IO for their SSL console in Studio Two and 32 Channels of IO plus an AVID S6-M40 for Studio Three. In keeping with the tech riders of their top tier international music clientele master clocking was to be provided by an Antelope unit and Apogee Symphony’s would provide AD/DA conversion. Parish continued, “This particular job didn’t require too much translation from brief to system design and quote as the stakeholders involved are all heavily experienced in the industry in particular on the technical side so we all worked incredibly well and efficiently together. Drawing on my experience upgrading Pro Tools HD systems to 64-Bit for SAE Australia, Box Hill Institute and also delivering new systems at Abbey Road Institute, I designed the most logical system that would meet Studios 301’s requirements. Another bonus for them was the fact that we could offer local support so that any issues could be dealt with promptly.” [caption id="attachment_3271" align="aligncenter" width="1440"]
Image courtesy of Studios 301[/caption] As a result of Videocraft’s system consultancy and design, Studios 301 took receipt of and had installed a new, state of the art AVID S6 M40 32 Channel console. The console was in a fully populated 5ft frame and has the addition of the master joystick module for surround panning. Parish explained, “This means that there is one more module than the console can accommodate, however the logic here was that, due to the multi-purpose nature of the room, the console could now either be configured as a classic 32-channel mix console or for post or surround music work with a spill zone and locked master faders and stem metering. The changeover time from one layout to the other is only 15 minutes, so it can easily be done in between sessions.” Whilst the AVID S6 M40 console might be viewed as the headline act just as exciting are the Pro Tools rigs. Parish added, “The backbone of each studio is HDX2 cards in a Sonnet Echo Express chassis, with Apogee Symphony Mk II interfaces handling the AD/DA conversion. AVID SYNC HDs act as loop sync masters and communicate with the automation computers of the analogue consoles whilst being fed word clock from Antelope Pure 2 Master Clocks. The exciting part about all this is the scale of these systems, the track counts and processing resources available. There’s also the fact that we have been able to selectively choose products from different manufacturers that are the best at their chosen role, as opposed to being locked to a single hardware set, so we have the very best results that fit the 301’s very specific needs.” Ian Parish had the privilege of being in Studio One for the first playing of audio, an experience he found quite special. He concluded, “The room was amazingly flat even before acoustician’s Tom Misner and Jochen Veith had applied any tweaks to the monitoring, which really is a phenomenal feet and the Studios 301 team has done a great job to plan and build such amazing rooms. As any musician, producer or engineer knows what is just as important as the technology in a studio is the rooms themselves. If they sound good and are comfortable to work in then you will want to go back and work there.”Videocraft takes the Australian Open Tennis to the Big Screen
The Australian Open Tennis (AOT) tournament is chronologically the first of the four Grand Slam tennis events of the year – the other three being the French Open, Wimbledon and the US Open. Known for always employing the very latest in technology during the event, this year AOT organisers Tennis Australia wanted to take viewer experiences to the next level both on the web and on the big screen at the tournament. For this they turned to Videocraft.
Why Videocraft Loves Cellular Network Bonding for Live Streaming Video
Streaming video from point A to point B using an Internet connection, smartphones or PCs can be done in just a few clicks. And since most small forms of live streaming are done on handsets with a single 4G connection or at home with a stable hardwired source, live streaming is now very common in the video consumer market. Large-scale projects with high production value like event broadcasting and remote-location publishing, a single Internet connection is about as trustworthy as an Australian politician before election time, whatever the gear promises it is likely to let you down when you least expect it. And when big clients and reputations are breathing down your neck, the last thing you want is a dodgy network connection. At Videocraft, we help both small and large scale live media producers get the job done. We use an innovative piece of technology called cellular network bonding. Teradek’s Bond system combines several 3G/4G/LTE modems into a single, robust pipeline to provide a redundant connection for streaming live video. Here are 4 reasons why Videocraft loves the Teradek Bond system:REASON 1: Portability Teradek Bond is lightweight and incredibly easy to set up. The Teradek Bond has a very small form factor, when compared to traditional live video publishing solutions such as satellite links or ENG trucks. Bond offers a more portable and versatile solution for use on location or at major sporting events; such as beaming straight from camera units carried on motorbikes following live racing events. Check out our blog for our work on the Red Bull Wings for Life race or more recently on the Jayco Sun Herald Cycling Tour where we streamed the last hour of each day from the middle of nowhere in country Victoria. This doesn’t just mean saving camera operators shoulders or some elbow grease and space on the rack though. Being small and portable gives it extreme flexibility for seamless integration with existing workflows, reducing setup times on live event productions and remote locations. REASON 2: Redundant internet connections Ethernet, WiFi and USB cellular modems, the Teradek Bond brings them all together. But let’s be honest, the most important reason content creators rely on the Bond is for its core purpose: network bonding. The Bond is designed to aggregate Ethernet, WiFi and up to 5 USB 4G cellular modems to create a single, robust pipeline for delivering video from point to point. The combinations of several network connections allows broadcasters or live event producers to reinforce their video by sending traffic over multiple routes, repackaging at the destination with rock-solid dependability. In the event of a dropout, a solution such as bonded networking ensures that the live stream runs continuously and smoothly throughout the broadcast. But the Bond isn’t limited to event broadcasting. For smaller workflows, Bond allows content producers and ENG personnel in the field to publish reliable H.265/H.264 video straight to live platforms or studio decoder destinations. Need to send video to a studio hundreds of miles away? No problem. Bond broadcasts to Teradek’s cloud system where the video can be redistributed wherever you choose, even to multiple destinations. As long as the 4G mobile signal is viable, you can stream. REASON 3: It's an affordable solution Convention centres and Hotel conference rooms usually charge a premium just to get in-house Internet - and if you want more than 5 Mbps, the price goes up exponentially. When it comes to broadcasting live on location, costs for bandwidth can be thousands of dollars, making live streaming high quality video a bit of a challenge. Not only that, you have to worry about how stable the connection will be in that clutter of a venue with other users on the same line. It’s like setting up your whole system and then having to roll a dice - it might work or it might ruin your & your clients’ show. When you have experienced this scenario, it is worth incorporating cellular bonding into the workflow. Compared to house-provided Internet at the venue, several bonded 4G connections could potentially save thousands of dollars. In addition, a mix of cellular carriers means that even if one carrier encounters connectivity issues, the failover from the other carriers would fill in to maintain the stability of the stream. When it comes to broadcasting from the field, traditional video transport equipment like satellites and ENG trucks add significant costs to production budgets, not to mention you need to find personnel and time to get that equipment out to location. The Teradek Bond solution offers a lost-cost alternative to these situations. Starting at just $475 per day from our rentals division, it can deliver broadcast-quality video just as quick and pristine as live TV programs.
REASON 4: Thinking ahead Bond is H.265/HEVC Ready The next generation of video transport codecs is here and ready for action. H.265 video improves data consumption efficiency by a theoretical 50%, allowing broadcasters to save significantly more bandwidth when streaming video. This means that while 1080p video costs an average of 5 Mbps to deliver consistently using H.264, H.265 can achieve the same results at potentially 3 Mbps. This is huge for broadcasting live video out in the field. In large event spaces where data is congested, it’s much easier to successfully deliver HEVC video thanks to the lower bandwidth requirements. At the same time, this reduces the amount of 4G data needed to stream, saving significantly more money on live streaming operations. Need to rent a cellular bonding streaming solution from Videocraft Videocraft can customise a live streaming solution whatever the size your event or live broadcasting application with a cellular bonding kit to provide you with a robust backbone to stream video from point to point. With video set to become 80% of online media by 2020, projected widespread adoption of HEVC video, and cellular services developing towards 5G networks in the next few years, you can see why we love cellular bonding for new media publishing strategies. Teradek Bond rentals kits from Videocraft check them out online:https://www.videocraft.com.au/facebook-live-youtube-bonded-streaming-kithttps://www.videocraft.com.au/remote-link-ob-streaming-kit Long record times or 32 channels of HD recording available on our new AJA KI-Pro Ultra Plus Recorders available to rent.
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Season's Greetings from Videocraft
Videocraft builds State Of The Art TV Studios and Production Facilities For RMIT
Recently RMIT University undertook a significant renovation of its Melbourne city faculty specifically to open their campus up by redoing its Swanston Street facade and substantially renovating seven floors across four buildings. This huge undertaking was known as the New Academic Street, or NAS, Project. The existing buildings were where RMIT had its TV studios, originally built in the 1960s, much used and loved but long overdue for an overhaul. The NAS project provided an opportunity for RMIT to replace the old TV Studios with world class, cutting edge facilities to support both current and future trends in media production as well as RMITs research requirements in the digital media realm. To help them with the design and build of the complete project they turned to Videocraft. Before the project could start the university put out a tender for the design, construction and integration of four control rooms (two of which were to be UHD), five studio spaces and a virtual and augmented reality system. The tender also specified some unique components including a fully distributed routing system, UHD record and replay solution and the ability to quickly move any studio to any control room, or multiple control rooms. Technical Services Manager School of Media & Communication College of Design & Social Context at RMIT University David Beesley explained, “We required world class facilities with a futureproof and flexible infrastructure - a big ask - and we required a company who could work with us to enhance our vision of what these facilities would look like and how they could support our specific pedagogical needs. In conjunction with other industry leaders and after extensive research and consultation, RMIT came up with a base design which was subsequently put out to tender. Videocraft's winning point of difference was their ability to add significant value to our vision and turn it into a functioning reality.” Videocraft worked with RMIT end users to finesse the design and ultimately supplied and installed the kit for four TV studios and control rooms, a master control room (MCR), RMIT’s 'Black Box' research studio and multiple fibre-linked OB points throughout the NAS Precinct. [gallery ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5135.jpg.jpeg|Head of ABC News speaking at the RMIT NAS Project opening,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5130.jpg.jpeg|James Taylor in one of the four control rooms designed and installed by Videocraft,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5136.JPG-e1522805026155.jpeg|,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5131.jpg.jpeg|James and Jeanette Taylor at the Opening of the RMIT NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5132.jpg.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5129.jpg.jpeg|Checking out the studios on RMIT's Opening night for the NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5133.JPG-e1522804985885.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5126.JPG-e1522804965720.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5125.JPG-e1522804937190.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5128.JPG-e1522804906693.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5127.JPG-e1522804881286.jpeg|Installation by Videocraft at RMIT TV Studios"] Videocraft Head of Engineering and Projects Nick Maclean added, “We also designed a Central Apparatus Room for the 4 control rooms and 5 studios, plus supporting spaces such as green rooms, makeup rooms and production offices. Given that this was not a greenfield site, but a retro fit of an existing building, there were considerable constraints with the spaces, but with clever design we were able to come up with a solution that met the brief.” As part of the scope required a ‘distributed’ router Videocraft decided to install a large Riedel Mediornet system as, based on a 10Gig backbone, the system can handle up to 384x384 3G HD signals. For a distributed audio network they implemented a Dante audio network and ensured that all the audio mixers, stage boxes and tie lines were IP connected over a 10GigE IP network with a Cisco Nexus backbone. Videocraft also installed IP KVM systems, IP talkback using Riedel Smart Panels, and IP wireless comms using the new Riedel Bolero AES67 wireless keypanels. To tie all these systems together they used Lawo Virtual Studio Manager, a control solution that removes all the complicated backend components and presents a unified interface for operators. Beesley continued, Videocraft also installed the first UHD EVS system in Australia, which included IP Director and XFile for file-based ingest and delivery of both HD and UHD studio content. Critically they also supplied and installed kit for our temporary TV studios, constructed for the duration of the major build, to ensure business continuity. It really was a first class job and they met our every requirement.” Other kit supplied and installed by Videocraft included Panasonic 4K UHD camera chains, Sony vision mixers, a Zero Density 'Reality' virtual set and MoSys camera tracking, Ross Expression graphics, Yamaha audio desks and ARRI lighting. Beesley continued, “Videocraft took charge of face to face meetings, design workshops, numerous stakeholder and site meetings, design revision, installation, commissioning and testing. Their approach was professional and flawless.” Now complete the new facilities are used for teaching, including live broadcasts, research and more. As a result RMIT students can now learn on the same tools they will encounter in the field to which Beesley added, “These are the first purpose built UHD studios in Australia. They are at the forefront of technology for anybody, but for a teaching facility they are undoubtedly the number one studios in Australia. They are flexible and their unique infrastructure ensures that they'll be fit for purpose well into the future.” David Beesley, clearly incredibly pleased and incredibly proud of RMIT’s new TV and production facilities felt compelled to highlight the real shining lights of the project concluding, “There are many wow factors with the new facilities with their flexibility, extensive use of fibre, VSM, and 4K UHD capabilities but the real standout is the Zero Density Reality system. Videocraft installed a two-camera system with Star Tracker motion tracking which can render full virtual sets and augmented reality elements in realtime with unbelievable realism. The system uses the Unreal Engine for 3D design and rendering and the results are simply stunning. It’s the most realistic virtual system we have ever seen. I cannot speak highly enough about what Videocraft did for RMIT during this project. They were amazing to work with, incredibly patient, understood our unique requirements and worked with us to create something that is truly great, and the envy of many.”
It's getting a little more hairy at Vide-mo-craft!
It's November, some of the team looked pretty sharp when November 1st hit, some of them even removing beards that had been there for quite some time. The sight of fresh white skin, there was something going on. A few weeks on and we can see exactly what is happening... its competitive hair-growing at its best - and its even cooler when they are all doing it to raise awareness for men's issues So check out the Vide-mo-craft Team at the Movember Foundation website and check out the latest photos of some of our mo-gress below and we will be adding updates for the rest of the month.
Please feel free to support the team or an individual of your choice! Even a dollar can make a difference - Donate HereAJA Releases FS-HDR for Real Time HDR and WCG Conversion and Processing
AJA Video Systems released FS-HDR, a versatile 1RU, rack-mount universal converter/frame synchronizer for real time HDR transforms as well as 4K/HD up, down, cross-conversion. FS-HDR delivers breakthrough real time High Dynamic Range (HDR) and Wide Color Gamut (WCG) conversion and processing capabilities for 4K/UltraHD/2K/HD HDR workflows.
AJA Announces Io® 4K Plus with Thunderbolt™ 3
AJA Video Systems announced the new Io 4K Plus capture and output device with support for Thunderbolt™ 3. Io 4K Plus offers the latest 12G-SDI and HDMI 2.0 I/O connectivity, advanced audio features and 4K/UltraHD support up to 50p/60p frame rates. Io 4K Plus is the next generation of AJA’s capture and output hardware devices and AJA’s first Thunderbolt 3 product. Offering a range of connectivity, including 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O, Io 4K Plus is compatible with the latest 4K/UltraHD devices. Using AJA’s proven drivers and application plug-ins for macOS® or PC, Io 4K Plus integrates with standard creative tools such as Adobe® Premiere® Pro, Apple® FCP X and Avid® Media Composer®. AJA’s proven conversion technology facilitates real time, high quality scaling of 4K and UltraHD to HD for monitoring and output. Io 4K Plus also includes an additional Thunderbolt 3 port for daisy chaining flexibility. Thunderbolt 3’s broad bandwidth allows Io 4K Plus to support 4K/UltraHD and HD large raster, high frame rate, deep color and HDR projects to Thunderbolt 3 via USB-C equipped workstations or laptops. “Tight deadlines and technology shifts have introduced a new layer of complexity to post-production workflows. Io 4K Plus with Thunderbolt 3 support reduces that complexity by moving high resolution, high frame rate files through a single cable with ease,” said Nick Rashby, President, AJA Video Systems.Io 4K Plus feature highlights include:
- Thunderbolt 3
- Backwards compatibility with existing Thunderbolt hosts
- 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O for 4K, UltraHD, 2K, HD and SD with HFR support up to 60p at 4:2:2
- Real time 4K/UltraHD to 2K/HD down-conversion
- 8-, 10- and 12-bit 4:2:2 and 4:4:4 over 12G-SDI or HDMI 2.0 workflow support
- Two Thunderbolt 3 ports allow easy daisy-chaining of up to six Thunderbolt devices
- 16-Channel embedded audio on SDI; 8-Channel embedded audio on HDMI; 8-Channel analog audio via XLR breakout
- Downstream keyer
- Standard 12v 4-pin XLR for AC or battery power
- Compatibility with creative applications including Adobe Premiere Pro, Apple FCP X, Avid Media Composer; FilmLight products; AJA Control Room and more
- Three year international warranty
Firmware Update: AJA Ki Pro Ultra Plus - Firmware V2.0
Ki Pro Ultra Plus is a multi-channel recorder offering 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, or in single channel mode, 4K/UltraHD/2K/HD recording and playback, with full HDMI 2.0 input and output (up to 12-bit capture and output). Housed in a 2RU half rack or mount 2 side-by side for 8 channels of recording, it offers extensive I/O flexibility and a range of connectivity options from 3G-SDI to HDMI 2.0 and fiber. Ki Pro Ultra Plus captures pristine 4K/UltraHD and HD video to standard production codecs including Apple® ProRes and Avid® DNxHD MXF. Channels can be displayed on Ki Pro Ultra Plus’ LCD screen as a quad-split during capture for confidence monitoring, which can also be output over HDMI, SDI, fiber and the device’s web-based UI. The new v2.0 firmware update enables the latest HDR formats with HLG and HDR10 playback, and adds support for recording and playing ProRes 4444 XQ up to 2K60p, among several other feature enhancements. “The new v2.0 firmware for Ki Pro Ultra Plus is an extension of our commitment to providing customers with updates that keep pace with the latest workflows. With this update, users can quickly and easily play back HDR10 and HLG material for viewing on HDMI 2.0 compatible displays, record/playback ProRes 4444 XQ and much more,” said Nick Rashby, President, AJA Video Systems. Pricing and Availability Ki Pro Ultra Plus v2.0 firmware will be available next month as a free download from AJA’s website. Ki Pro Ultra Plus is now available from the Videocraft online store
Blackmagic Design Announces Ultimatte 12
Ultimatte keyer now has one touch keying, incredible new image processingfor realistic composites with colours that pop, and 12G-SDI for Ultra HD.
Sony unveils its first 8K System Camera with three 8K sensors at IBC 2017
Sony has unveiled the UHC-8300, its first 8K camera system to include 1.25-inch three 8K sensors, at IBC 2017 for the first time globally. It opens up the world of 8K with the flexibility to offer customers new capturing technology for shooting in 4K and more.
View the short films from the Panasonic EVA1
Sit back and enjoy watching "Near the Superstition", a short film demonstrating the top-class imagery of an EVA1 production. Director of Photography Elle Schneider shot the western in the Mojave National Preserve, where the digital cinema camera captured high-quality footage in extraordinary weather and lighting conditions. No matter the circumstances, the newly-developed Panasonic camera utilizing Dual Native ISO and 5.7K Super 35mm ensures a truly cinematic experience in visual storytelling.
New generation of Ross Video Xpression plus a new portable version Xpression Go!
There is a new generation of Ross Video® XPression, the company’s real-time graphics engine.
Sennheiser's New HANDMIC Digital - professional sounds for mobile journalism
Sennheiser has announced its new HANDMIC Digital. An ideal choice for mobile journalism and podcasting, the microphone brings broadcast sound quality to iOS devices as well as Macs and PCs. The HANDMIC Digital is extremely rugged, highly resistant to cell phone interference, and offers excellent suppression of handling, wind and ambient noise, which is important when recording on the show floor, at events, in manufacturing spaces or in similarly noisy environments. The dynamic HANDMIC Digital features Apogee’s award-winning A/D converter and pre-amp technologies for direct connection to USB or Lightning ports.
Using your IPhone for audio production – coming soon is the new Sennheiser FOCUSMIC Digital
At IBC, Sennheiser is previewing the FOCUSMIC Digital, a rugged mini-shotgun microphone for high-quality videography with the iPhone. Designed with a proven Sennheiser capsule and Apogee PureDigital pre-amp and A/D converter, the FOCUSMIC Digital plugs directly into the Lightning port of the iPhone and delivers high-quality, focused audio from the direction of filming. The new mic attaches to the smartphone via a rugged metal grip that can accommodate a variety of iPhone models (from SE and X to 8 plus) and case designs, and also allows the mic to rotate through 270°, including a selfie position and a transport position. The FOCUSMIC Digital will be available from Q2 2018.
Miller Tripods launch CompassX Fluid Head series
Miller Tripods has announced the CompassX series, premiering at IBC2017, offering five models to choose from – CX2, CX6, CX8, CX10 and the CX18. The new CX fluid heads incorporate Miller’s CB PLUS enabling technology, which takes traditional counterbalancing a step forward. All five models feature 16 positions of counterbalance for fine, rapid adjustment and the side loading base plate enables fast and easy mounting and alighting of camera rigs. The inherent wide payload range of the CompassX series provides maximum flexibility when switching cameras or adding accessories. Its robust construction guarantees a long, low maintenance service-life and low cost of ownership. “In our continued goal towards meeting our customers’ needs, Miller is delighted to present the CompassX series, the most flexible and durable fluid head solution for today’s videographers and their professional requirements,” says Charles Montesin, Global Sales and Marketing Manager, Miller Camera Support Equipment. “This new series is the result of intensive user research and innovative design. We are excited to launch the CompassX fluid heads at IBC and eager to see our customers use them to their full potential.”
Sony announces new palm camcorders featuring 273-point phase-detection AF sensor and 4K HDR recording
The new XDCAM® PXW-Z90 and the NXCAM® HXR-NX80 come equipped with 1.0-type stacked Exmor RSTM image sensor, offer an optimal choice to a wide range of users from professionals to video enthusiasts
Avid Extends MediaCentral Platform with Next-Generation Media Production Suite
Groundbreaking modular platform design with innovative user experience delivers a full suite of applications, modules, services, and connectors to drive unprecedented scalability, extensibility, and efficiency