NEW YORK—Nielsen has released data from its co-viewing pilot for February’s top live televised events that shows an average +4.19% lift in total viewers.

The data covered the following major live events: the Super Bowl; the opening ceremony of the Milan-Cortina Winter Olympics; the NBA All-Star Game; the Daytona 500; the Olympics closing ceremony and men’s hockey gold medal game; and the State of the Union address.

For the pilot, Nielsen leveraged state-of-the-art wearable devices to more accurately capture shared viewing.

The co-viewing results from the pilot program will not be included in the final and official Big Data + panel ratings for Nielsen clients and, as a result, will not be considered “currency” that advertisers can transact on.

But Nielsen said it plans to have the co-viewing methodology enhancement fully implemented into its suite of media intelligence products, with a goal to incorporate it into “currency” measurement for the 2026-2027 TV season.

“Our co-viewing pilot exemplifies our unwavering commitment to providing the most accurate measurement for our clients during these dynamic times of change,” Nielsen CEO Karthik Rao said. “In the past year alone, we’ve made continued enhancements to our ratings to better reflect the power of live TV in reaching massive audiences.”

Nielsen’s co-viewing enhancement layers in panelists using wearable devices inside of the home. Those wearable devices were not previously applied to the co-viewing modeling, as Nielsen has been introducing more high-tech wearables into its panel.

Owen Seaton was promoted to vice president, venue solutions at broadcast graphics provider Chyron.

The company said Seaton brings a wealth of expertise to his new role, including customer perspective and deep knowledge of venue-display control technology, the company said.

“Chyron is successfully executing on a multiyear strategy to ensure that we bring enterprise sports venues clients the world’s best in display control technology and creative support,” Chyron CEO Mike Truex said. “We know that every screen in a venue is a driver of ROI—both exciting the fans who buy tickets, and delivering for advertisers. In his time here, Owen has been incredible at building strong relationships and proactively driving the best outcomes for our clients.”

Chyron’s products including sports venues include its Click Effects control system, which drives video clips, graphics and images to any display, the company said. Many professional venues also use Chyron PRIME in their workflows for creation and playout of live, broadcast-grade graphics, it said. Other Chyron products used by event-venue customers include Chyron Paint, for illustrated replay; and VP, for virtually placed down-and-distance markers or other content within live video.

Seaton will contribute vital guidance to the road maps for all of these products, based on input from users and buyers as well as his own experience, the company said.

“Owen has been instrumental in building and fostering a strong professional relationship with the Thunder,” said Jase Chilcot, director of ThunderVision, the in-arena experience for the NBA’s Oklahoma Thunder and a Chyron client. “His unwavering support and willingness to push the efficiency of our control room has set a standard for our relationships with vendors.”

Seaton will work with a growing team of technical, support and creative service professionals who’ve consistently grown Chyron’s venues business by 90% over the past two fiscal years, the company said.

“Chyron has made significant progress the last several years across our sports and venues portfolios. Prime CG and Click Effects are continuing to gain momentum across every level of the venues landscape,” Seaton said. “Our relationships in the venues space continue to deepen and we look forward to working with our customers to deliver best-in-class solutions that tailor to existing workflows.”

For more on Click Effects and other Chyron products, visit its website.

NEW YORK—Although FAST channels are becoming ever more omnipresent in the streaming universe, the vast majority of them will need to start providing more live content if they are to succeed in the long-term.

This is according to Amagi, a cloud-based SaaS technology solutions provider for broadcast and streaming TV, which just released its 15th Global FAST Report, offering insights into the Free Ad-supported Streaming TV (FAST) ecosystem and how it is influencing media consumption.

Amagi’s report highlights the growing importance of live programming—especially sports content—in fueling audience engagement across FAST platforms. According to Amagi, whose technology is used to enable FAST channels, its Q1 2025 data indicates that 84% of live events (managed by Amagi in Q1 2025) were classified as sports, emphasizing why content providers are investing in live programming that caters to real-time, event-driven experiences for viewers.

“Live content is becoming a defining feature of FAST, not just in sports but across genres that benefit from real-time engagement,” said Srinivasan KA, Director & President - Global Business of Amagi. “What we’re seeing now is a shift in how audiences consume free streaming — they’re not just browsing channels but tuning in for moments that matter. As the FAST ecosystem matures, platforms and content providers can build more dynamic, event-driven programming strategies that are aimed at driving loyalty and monetization. Our goal at Amagi is to enable this shift — with the infrastructure, data, and flexibility to support live and linear content at scale.”

The report also noted that more than two-thirds of U.S. viewers surveyed (67%) watch live events on free and paid streaming platforms, with 70% watching live content daily or weekly. Nearly 50% surveyed said that being able to watch a live event for free would prompt them to sign up for a tril of a paid streaming service.

Amagi’s report can be downloaded here.

NEP Europe is utilizing technology and teams from across Europe for this year’s Eurovision Song Contest.

The company is the official media services provider for the event for the sixth year in a row.

To meet the demands of the two semifinals and Saturday’s Grand Final, NEP is employing equipment and crew from across its European network, including Switzerland, Sweden, the Netherlands, Germany, Finland, Belgium, and the U.K.

The delivery operation includes:

• Main outside broadcast (OB) unit: UHD2;
• Backup OB unit: UHD24;
• Music mix truck: Music One with dual audio;
• Technical Operations Center: Built on NEP’s TFC broadcast orchestration platform for EBU services and signal distribution;
• 6 wireless RF cameras;
• Augmented reality services;
• 4 EVS servers;
• 27 cameras, including six wireless RF cameras;
• 40 NEP crew, with 780 working days onsite;
• Delivering over 320 monitors around the venue;
• Using over 60 kilometers of cable.

The implementation of the TFC broadcast orchestration platform means NEP can constantly monitor the entire contribution and distribution of all signals involved in Eurovision 2025 on a dashboard, the company said. That gives Eurovision 2025 a faster setup, increased flexibility and more sustainable and efficient resource deployment, NEP added.

“We’re incredibly proud to continue supporting the Eurovision Song Contest 2025 with our technical expertise and innovation,” said Lise Heidal, president of NEP Europe. “This event is not only a celebration of music and culture, but also a testament to what can be achieved when the best of European broadcast talent comes together. Every year, we push the boundaries of what’s technically possible in live production and this year is no exception.

“The deployment of our TFC platform has been a game-changer, allowing us to streamline signal management and reduce rigging and setup time dramatically. It’s this kind of software-defined flexibility that allows us to deliver complex live events with greater efficiency and reliability than ever before,” she said.

This article originally appeared on TV Tech sister brand TVBEurope.

FRISCO, Texas—MediaKind launched new services at IBC 2024, which concluded Sept. 16, within its MK.IO platform to streamline live event workflows from the edge to the cloud.

The capabilities include Fleet Management, Flow Control and AI Automation. With MK.IO Beam edge processing, the new services create a programmable media network that allows producers to manage diverse live workflows on a per-event basis, thereby reducing the complexity and cost of live production and in-venue operations, MediaKind said.

The solution addresses the rising complexity of managing an increasing number of video feeds, camera views, diverse data inputs and formats. Sports venues, in particular, are increasingly using digital video to enhance experiences for spectators, referees and athletes. Traditional production methods rely on stacks of single-purpose hardware that can drive up infrastructure costs, slow integration and require extensive staff training, it said.

Programmable media networks offer a solution by allowing operators a way to rethink how they approach live events. A programmable media network enables them to set up a contribution network with just a few words and use the same infrastructure to stream every camera angle to the public during an event, it said.

MediaKind’s approach enables operators to reprogram live workflows on a per-event basis, eliminating the need for significant infrastructure investments or lengthy setup times. The same infrastructure can support content contribution, distribution, in-venue streaming, replays and even expand to new applications leveraging real-time data from the venue, it said. 

MediaKind’s MK.IO enables programmable media networks with its MK.IO Beam and Fleet Management, a containerized software solution running on commercial off-the-shelf servers that delivers flexible, reprogrammable edge video processing. Managed through MK.IO’s unified cloud control plane, Beam devices can easily be upgraded, configured and monitored across the entire production network, it said.

MK.IO Flow Control and AI-Assisted Automaton is an intuitive API that streamlines feeds and workflow management allowing operators to define network feeds with a few mouse clicks. It automatically routes, configures and processes content. A natural language interface enables operators to set up, monitor and manage workflows without the need for advanced knowledge, it said.

More information is available on the company’s website.

OSLO—A new survey highlights the growing importance of live event programming, particularly sports, for the broadcast industry with the finding that live events are the preferred type of broadcast content for 40% of TV viewers around the world, proving more popular than any other type of programming. 

The survey involved consumers in the U.S., U.K., Spain, Germany, France and the Nordics and is based on research commissioned by Nevion, a Sony Group Company that was carried out by research house Vitreous World.

The most notable finding of the research was that more consumers in the regions surveyed prefer to watch live broadcast events (40%) than on-demand content via streaming services (31%) or scheduled programming by TV stations (29%).  

Unlike other content, live programming is also resonating with different demographics and that it is breaking down the generational divide by being universally popular among age ranges. Of the three main content types available to consumers today, live event broadcasting is the preferred choice of 58% of 18-24 year-olds and 31% of over 65s.

In another notable finding, the survey also found that live event broadcasts were a communal activity for many, with viewers seeking shared and memorable experiences. Almost one-in-five (19%) watch live broadcast events with someone else in-person at least once a day, and 59% use social media or messaging platforms to talk to friends and family about key moments.

With live event engagement remaining high, live broadcasters need to be exploring how they can continue to win new subscribers while also keeping current customers subscribed to live event channels, the researchers reported. 

With high visual quality (30%) and specific content offerings (24%) vital for consumers to continue resubscribing, broadcasters will need to focus on providing these benefits now and in the future. Looking ahead to the next 12 months, a quarter of consumers surveyed (25%) say that they will primarily consume live broadcast events.

“Our results show that live event broadcasting is not only more popular than on-demand and scheduled programming, but that it is a powerful unifier across generations. Broadcasters now have a great opportunity to tap into the unique advantages of live events to draw in new customers and keep current ones engaged. With the right technology, they can transform the logistics and economics of mission critical live production to create compelling new content types in the highest visual quality,” says Olivier Suard, vice president of marketing, Nevion.

BURBANK, Calif., and GENEVA, Switzerland—New details have emerged about the Big Sky camera system used at the Sphere in Las Vegas to capture images that immerse audiences in a visual environment up, over and around them with a 160,000-square-foot 16K x 16K display.

Designed by the Sphere Studios team, which develops original content for the Sphere, the camera system relies on a first-of-its-kind 18K sensor manufactured by STMicroelectronics (ST) to capture video at the scale and fidelity needed for the Sphere’s display.

The sensor—said to be the world’s largest cinema camera sensor in commercial use—works with the sharpest cinematic lenses to capture detailed, large-format images, Sphere Studios said.

“Big Sky significantly advances cinematic camera technology with each element representing a leap in design and manufacturing innovation,” said Deanan DaSilva, lead architect of Big Sky at Sphere Studios. “The sensor on any camera is critical to image quality, but given the size and resolution of Sphere’s display, Big Sky’s sensor had to go beyond any existing capability. ST, working closely with Sphere Studios, leveraged their extensive expertise to manufacture a groundbreaking sensor that not only expands the possibilities for immersive content at Sphere, but also across the entertainment industry.”

Big Sky’s 316-megapixel sensor is almost 7X larger and 40X higher resolution than the full-frame sensors found in high-end commercial cameras. The die, which measures 9.92cm x 8.31cm (82.4 cm2), is twice as large as a wallet-sized photograph, and only four full die fit on a 300mm wafer. The system is also capable of capturing images at 120 fps and transferring data at 60 gigabytes per second, Sphere Studios said.

“ST has been on the cutting edge of imaging technology, IP and tools to create unique solutions with advanced features and performance for almost 25 years,” said Alexandre Balmefrezol, executive vice president and Imaging Sub-Group general manager at STMicroelectronics. “Building a custom sensor of this size, resolution and speed with low noise, high dynamic range and seemingly impossible yield requirements, presented a truly novel challenge for ST – one that we successfully met from the very first wafer out of our 12-inch (300mm) wafer fab in Crolles, France.”

Big Sky also allows filmmakers to capture large-format images from a single camera without having to stitch content together from multiple cameras, avoiding issues such as near distance limitations and seams between images. Sphere Studios has filed for 10 patents in association with Big Sky’s technology, it said.

Darren Aronofsky’s “Postcard from Earth,” currently showing at Sphere as part of The Sphere Experience, is the first cinematic production to use Big Sky.

More information is available on the entertainment venue’s website.

Since the mass adoption of streaming platforms, cable has taken a back seat with one exception: live events. For decades, we’ve associated live events with linear cable. We’re used to seeing major league sports games, award ceremonies and reality competition shows broadcast live on cable networks. Cable providers rely heavily on the revenue generated from live events like sports; in 2022, live sports events comprised 94 of the top 100 most-watched cable telecasts. 

In an era of streaming increasingly reliant on advertising revenue, however, live events are taking over the OTT landscape. Netflix recently announced a live golf event with Formula 1 drivers and PGA tour pros; Max has launched a live sports tier to its platform housing coverage of the NBA, NHL, MLB, and more; Hulu’s OTT TV+ offering is now home to the Oscars, Grammys, and Emmys—the list goes on. 

Essentially, streamers are taking the best of the traditional TV model, where big moments bring in big audiences and a sense of cultural relevance, and applying it to OTT. The technological abilities of streaming enable content owners and rights holders to better engage and retain users while generating promising revenue for the brand. Below are four opportunities that live events provide for businesses and users alike.  

Advertising Revenue
In a business landscape where many streamers are reporting higher average revenue per user in their ad-supported tiers than their standard subscription tiers, ad impressions have become a more vital metric for success than subscriber numbers. Scheduled live events promote appointment viewership, which brings large audiences to the same place at the same time. This, in turn, provides a lucrative opportunity from an advertising and sponsorship perspective. Tentpole events like the Super Bowl, which generate roughly $500 million in ad revenue in a single evening, prove this point. 

This dual revenue stream (subscription fee + advertising revenue) imitates the long-successful business model of legacy TV, wherein income was tied directly to consumption. As streamers inch their way towards profitability in an aggressive market, live events both large and niche will prove valuable from an advertising perspective. 

Pay-Per-View Events
Beyond ads and subscriptions, pay-per-view (PPV) is another effective avenue to monetize content. Live PPV programming can be leveraged across industries; examples include WWE’s WrestleMania, esports tournaments like the League of Legends World Championship, or Amazon Prime Video’s single-purchase comedy specials. 

PPV provides a simpler, more predictable revenue model wherein content owners have the flexibility to price content according to its value. PPV offers the potential for significant revenue generation: in 2015, the highly anticipated Floyd Mayweather vs. Manny Pacquiao fight raked in 4.6 million PPV purchases and $410 million in revenue, making it the highest grossing PPV fight of all time.

Live E-Commerce
Livestream shopping has established itself as a successful model in countries like China, where live commerce accounts for 19% of all online retail sales. Although the U.S. market hasn’t reached 

Livestream shopping generates conversion rates up to 10x higher than that of traditional e-commerce, with the U.S. seeing an average conversion rate of 33%, and 40 to 54% of frequent live commerce users reporting they typically make a purchase during the live stream itself. These shopping events, most popular in the fashion and beauty sector, often take the form of runway shows, influencer or celebrity try-on hauls, or sit-downs with designers as they explain the inspiration behind their collections. 

With interactive capabilities like Q&As or live chats, livestream shopping is a great way for brands to not only generate revenue, but build hype, engage viewers, and nurture a relationship with the consumer. 

Live commerce can also be built into live events whose main purpose isn’t the shopping itself. During a livestreamed concert, for example, users could purchase the artists’ album or merch. And in sports, a fan could be prompted with an in-stream pop-up allowing them to purchase a jersey of the player who just scored. 

Interactive Community Features
One goal of streaming destinations today is to bring the user closer to whatever they’re watching, be it a game, a comedy show, or a fitness class. For users, real-time interaction—with one another, performers, merchandise, and more—is a large factor in feeling immersed in the experience. Live e-commerce is just one of the many interactive capabilities afforded by digital delivery models. On top of live shopping and Q&As, streaming platforms can also explore features like community chats, real-time analytics dashboards, and the ability for users to “react” with likes and dislikes. 

The metaverse provides a great example of what the future of interactive, immersive live events could look like: Ariana Grande’s virtual, in-game concert hosted on Fortnite, which amassed 78 million attendees, included a merchandise store and mini-games for users to interact with throughout.

The Bottom Line
By blending the best of traditional television with the interactive capabilities of the digital world, streaming platforms are redefining how businesses engage with their audiences. The multi-faceted live event approach, encompassing advertising revenue, Pay-Per-View models, e-commerce, and interactive community features, not only generates substantial income but also fosters a sense of real-time connection and engagement for users. 

As the streaming landscape continues to evolve, live events will reshape the future of digital entertainment, creating immersive, interactive experiences that captivate audiences worldwide.

ST. PETERSBURG, Fla.—CP Communication’s Red House Streaming has launched Flight, a new video production flypack for multi-camera location shoots. Designed for easy setup and quick deployment, Flight offers a professional HD production option for live broadcast or streaming of small-to-medium sized location shoots.

The rack-based Flight system supports four Sony HDC-2570 3-CCD HD cameras with Canon 20x lenses on a base level, for live production of corporate events, concerts, music festivals, and Tier 2/3 sports, the company explained. 

The video infrastructure brings together a complete workflow for content creators that is extendable to Spark HD, a 16-foot production trailer with a hybrid HD-SDI and IP production workflow plus a professional live streaming control room. Flight’s content acquisition capabilities can also scale for eight-camera shoots whether used with Spark HD or as a standalone REMI video production flypack.

The all-IP audio workflow simplifies routing and distribution for up to 40 channels of Dante audio, with direct connectivity to a 32-channel Calrec Brio audio console, Unity radios, and an RTS ADAM matrix intercom with OMNEO and RVON connectivity. When used with Spark HD or a separate transmission rack, Flight’s edge routing capabilities encodes video to IP with SRT transport capabilities for low-latency content delivery. The complete video production flypack workflow also includes a 72x72 Ross Video NK router (with an NK-IPS network bridge), Evertz DreamCatcher replay servers, and choice of a Ross Video Carbonite or Blackmagic ATEM Constellation production switcher, the company said. 

“Not every project calls for a production truck or trailer. Flight will take you wherever you want to go for less money and on short notice,” said Kurt Heitmann, CEO, CP Communications and Red House Streaming. “We have pre-built Flight systems in house and ready to go, and we can quickly accommodate available gear options that plug into its architecture before shipping.”

Flight’s pre-built wheeled racks can be adjusted quickly to add equipment and capabilities, depending on production needs. 

One example is the content creator who wants a more diverse video acquisition strategy for live event capture. “Flight can accommodate PTZs, POVs and RF cameras in the same flypack to provide the director with a broader array of camera angles and shot selections,” said Heitmann. 

For standard four-camera flypacks, Flight includes a portable video control console with four Sony RCP-1500 control panels, monitors and other equipment for easy access and control in the field.

“The bottom line is we are problem solvers, and that includes the ability to quick-ship solutions to support short-notice productions or fill gaps in a production workflow that has already been deployed for a shoot,” added Aaron Segarra, vice president of sales, CP Communications. “Flight is an ideal solution for the on-site production needs of our local clients in Florida, and is built to interoperate with the live streaming production workflow at our Red House Streaming Production Center in St. Petersburg. However, Flight’s powerful and professional infrastructure is also built with the national production community in mind, and we are excited to share it with broadcasters and live streaming event producers across the country.” 

For rental availability and more information on Flight, contact sales@redhousestreaming.com. 

The biggest area of content to have been hit by the coronavirus pandemic has been live events, be that sports, concerts or live entertainment shows.

But eventually these events will return, and operators need to be ready for what’s expected to be a large audience hungry to watch their favorite football team once again.

The question is, are operators ready for that returning audience?

This will be the focus of TVBEurope’s free webinar with MediaKind on Tuesday, May 5.

The webinar, which will include contributions from Carl Furgusson, MediaKind’s vice president of Portfolio Strategy, and Richard Mansfield, head of Media Delivery and Advertising Product Management, will look at how consumer habits toward streaming will have shifted during the first half of 2020.

For many viewers, live TV has been king over the past 10 years or so, with BARB figures showing viewers are still tuning in to live TV for around 2.5 hours a day.

Therefore, delivering live broadcast quality content across all screens is the toughest challenge, especially when the internet is seeing increasing use due to the numbers of people working from home.

Among the questions the webinar will pose will be:

• How can operators achieve a broadcast-like streaming experience?
• What's next for pop-up sport channels?
• Will the coronavirus pandemic accelerate the shift to cloud?
• Is the industry too reliant on on-premise playout?

All of these questions will be answered during the Live Streaming 2020—Shifting Consumer Habits webinar.

Don’t miss out on this webinar with leading experts sharing their knowledge of live streaming. Register for free here.

Portland, Oregon, October 10, 2019 – Variant Systems Group, a leading provider of live broadcast production tools for the sports media and entertainment industry, has received a strategic investment from FOR-A Company Limited, a worldwide provider of broadcast and video production technology. VSG and FOR-A have also finalized a global distribution agreement whereby FOR-A will offer, on an exclusive basis throughout the world, VSG’s Envivo family of products. The investment and the agreement are part of FOR-A’s ongoing strategy to invest in innovative companies that can bring new ideas, market knowledge and services into the company’s worldwide business.

Variant Systems Group provides best-in-class live production solutions for the ultimate in audience and fan engagement. The Envivo family of products is transforming the way media producers approach live production. Launched at the 2017 NAB SHOW, Envivo Replay offers a complete live event replay solution packaged in an intuitive user interface with continuous multiple iso-channel recording capabilities, simultaneous clip storage of multiple angles to clip bins, playlists for highlights playback, built-in branding capabilities, direct publishing to social media such as Facebook, Twitter, Instagram, YouTube, WeChat, and Sina Weibo as well as support for high speed super slow-motion cameras. Launched at the 2019 NAB SHOW, Envivo Studio offers the same intuitive interface in a product specifically designed to address the needs of fan and audience engagement in live production workflows.

Adolfo Rodriguez, Co-Founder and CEO at Variant Systems Group said: "This strategic investment allows Variant Systems Group to fast-track our development and innovation efforts and to partner with a well-established, global leader in television and media, while expanding our mutually strong US position across Europe, the Middle East, Africa, and Asia. Variant Systems Group and FOR-A have a very strong alignment on the requirements of live production workflows, and this investment ensures our two companies continue to innovate and grow together."

Katsuaki Kiyohara, President and Representative Director at FOR-A commented: “This investment demonstrates FOR-A’s ongoing commitment to identify and leverage emerging technologies that can enhance our products and provide our customers with improved workflows. This is an exciting opportunity to gain insights from a leader in live production solutions for the benefit of FOR-A’s customers and our mutual ongoing businesses.”

FOR-A, a worldwide, industry-leading manufacturer, offers a wide range of Broadcast and Production products with a focus on cutting-edge technologies including: HD, 4K and IP Products.

FOR-A continues to offer future-ready, cost effective, advanced technology solutions. Products include: Video Switchers, Routing Switchers, Multi Viewers, Full 4K High-Speed Cameras, IP Encoders/Decoders, Multi-Channel Signal Processors, 8K/4K/HD Test Signal Generators, Color Correctors, Frame Synchronizers, File-Based Products, Character Generators, Video Servers and much more.

For a full range of HD and 4K Production and Processing solutions, as well as IP-Based Products, visit www.for-a.com.

Headquartered in Portland, Oregon and founded by a team of video professionals with over 60 years of combined industry knowledge specific to the Live Production market and live event workflows, Variant Systems Group provides top-notch live production tools like “Envivo Replay” and “Envivo Studio” that fills a gap in the college sports market, as well as the high-end production market. Envivo Replay delivers a replay solution that offers ease of use, intuitive and ergonomic designs, and flexibility in addition to features, and workflows to support revenue-generating models. VSG’s Live Replay solution offers a proprietary user interface, which capitalizes on the effective interface of touch-screen user input, as well as mechanical hardware control input devices. Envivo Studio delivers a fan and audience engagement solution with the same intuitive interface in a product specifically designed to address the needs of live production workflows incorporating a Still Store, a Spot Box, Clip Store, a Live Switcher (For Cutting Camera Inputs), Loop Record, Internal Keyer (for Multi-layer Overlays), Switcher Support (Key/Fill Outputs), Drive Multiple Venue Screens (IMAG), VDCP Control, and many more capabilities.

For additional information please visit www.envivoreplay.com.

Videosys Broadcast is a leading supplier of quality camera control systems, RF links and camera backs to outside broadcast providers. At the forefront of technological innovation, Videosys Broadcast has successfully partnered with leading technology companies including, DTC, Wave Central, Hitachi, Panasonic, Ikegami, and Grass Valley . The company manages projects and design from concept to the finished article from its UK head office.

Launching at IBC 2019:
NEW: Epsilon - 4K integrated Camera Control System - Launching at IBC 2019, Epsilon is a multi-function broadcast RF camera control system that includes a fully integrated 4K decoder and receiver. Comprised of base and head modules, Epsilon is an ideal solution for HD and 4K live sports and music events. Significantly reducing rig time and equipment count, Epsilon delivers wide area coverage in stadia, large studio environments, houses of worship and educational centres, simplifying set-up and reducing production costs. The system works seamlessly with the 4K Aeon-CC TX digital video transmitter to provide the complete 4K wireless RF system.

NEW: Stagebox – Also launching at IBC 2019 is Videosys Broadcast’s Stagebox solution. Stagebox enables the delivery of video, audio and data from A-to-B, over fibre. Using an ad-hoc commentary position as an example, Stagebox enables all the audio and video components (microphone, monitors, talkback panel) to be multiplexed onto a single SMPTE fibre cable and powered remotely. Traditionally, operators would have to run a cable for each feed. Stagebox provides crews with a swiss army knife style production tool enabling all the feeds to be connected to the base unit in the OB truck and multiplexed onto the single SMPTE fibre cable. This reduces significant rigging time and costs. Stagebox can also be used for the lighting director’s position or in a small remote studio.

The system can manage four video and four audio signals in each direction, which can be selected from a small screen, providing confidence to the operator that the correct signal has been selected. Additional features include a monitoring output so the operator can check individual video and audio signals without interrupting the main feed. Stagebox also includes talkback to the OB truck or studio again adding an extra layer of confidence for operators.

Also showing:
Camera Control (CC) System – The Videosys Broadcast Camera Control System is comprised of three units, Indoor Unit (IDU), Outdoor Unit (ODU) and Camera Receiver (RXSM-E). The CC system provides an end-to-end solution from RCP to camera for the outside broadcaster, allowing them to seamlessly control their camera settings no matter what their location. Videosys’ CC system works with cameras from all the major camera manufacturers and has over 500 deployments worldwide. 

Bedford, England (June 27, 2019) – Polecam, the world leader in lightweight carbon-fiber platforms and remote systems for the broadcast and live event markets, is pleased to announce the appointment of “Manios Digital & Film” as the brand’s exclusive US distributor. This marks Polecam’s official expansion into the US market, following strong sales across the United Kingdom, Europe, and Asia.

“We are excited to work with the Manios Digital team as we expand sales into the US market. As a well-established and respected company in the region, we are confident that Steve and his team have the knowledge and skill to deliver our hero product, the new AutoPod (v2), into a variety of different markets,” explained Steffan Hewitt, Managing Director Polecam.

The Polecam AutoPod (v2) is a remotely operated camera elevation platform, featuring a low-profile for unobtrusive camera shots at close range. Budget-friendly and perfect for mounting single or multiple PTZ camera systems, the AutoPod (v2) has been used by venues around the world for notable performances, including Adele, and Josh Groban. Extremely versatile, the AutoPod (v2) has also been used by Finnish broadcaster YLE, reality show ‘Big Brother’ and EA Sports producers.

“The AutoPod (v2) is an innovative product that can be used in a variety of applications for broadcast studios, live events, and even reality television. We are excited to work with Polecam and begin offering this new and very unique product to dealers and broadcast integrators across the United States,” said Steve Manios, President of Manios Digital & Film.

For product video “in action” and more information: http://www.polecam.com/autopod and for more information on Manios Digital, or to schedule a product demo of the Polecam AutoPod (v2), please contact chris@maniosdigital.com or call 1 (818) 760-8290.

Polecam is Designed to Perform, Engineered to Perfection

##

About Polecam:

Polecam Limited was founded in 1998 by Steffan Hewitt, BSc(hons) Metallurgy & Material Science. Polecam is the recognized world leader in lightweight carbon fiber based camera platforms and remote systems for use in the broadcast, film, tv, industrial and medical sectors. Continuing to successfully design and manufacture unique systems from its headquarters based in the United Kingdom and is supported by an extensive network of global partners providing local sales, service, and support.

About Manios Digital & Film:

Manios Digital & Film is a leading source for premium-quality tools used in broadcast production, digital cinematography and by independent camera operators. With a tradition of excellence, the company acts as a bridge between manufacturers of world-class imaging products and professionals who depend on them.

Founded in 1992 by Steve Manios, Jr., Manios Digital provides cinematographers, camera operators, and photographers with the very best production tools backed by informed technical advice and timely support. More than 25 years later, quality, experience, and service remain the company’s core values. Manios provide demonstration equipment, technical support, and advice – with the added benefit of in-house engineering service, support, and repair. Manios Digital is the exclusive US distributor for Cartoni Camera Supports, Hawk-Woods power solutions, and Kinotehnik LED lights.

Cypress, CA, June 10, 2019 – Honolulu-based Mid-Pacific Audio Visual is known as Hawaii’s premier firm for live corporate event and entertainment production with high-end clients in search of the best technical staff and equipment. Last month, the company added a FOR-A HANABI HVS-490 video production switcher to its roster, largely based on the success enjoyed with the compact HVS-300HS HD/SD 1 M/E switcher.

“Purchasing the FOR-A HVS-490 was an easy decision,” said Chuck Baughn, Senior Video Engineer, Mid-Pacific Audio Visual. “In addition to FOR-A’s excellent reputation for quality products, we already had an HVS-300HS-based flypack in heavy rotation. Many of our Japanese clients producing events in Hawaii are quite familiar with the capability and dependability of the FOR-A HANABI line of switchers and request them for live event work.”

Event memory and macro functions as well as integrated frame synchronizers and multi-viewers make it easier to prepare for live performances with the HANABI HVS-490 video switcher. MELite™ technology extends the switcher’s 2 M/Es to 6 M/E, which eliminates the need to have several switchers ready for multi-monitor staging. It also opens the door to more affordable 4K production. HDMI 2.0b specification support provides 4K output to a multi-viewer. Offering exclusive features, including the HVS-490 is designed for use in any live environment, including mobile shoots, events, and in-house corporate productions.

“The incredible features of the HVS-490 help to further set us apart from its competition,” added Baughn. “With the optional HVS-49IO card, we’ve got 32 inputs and 18 outputs (including two HDMI outputs), which we need for 4K production. We also have two additional MELites, which allow us to preview transitions prior to execution. We use them to send out delay screens and other destinations. And we appreciate the three built-in multi-viewers with so many display options.”

Baughn said while the HVS-490 sets Mid-Pacific Audio Visual apart from the crowd, it’s FOR-A’s technical support that distinguish it from other manufacturers: “Any issues or questions we have had, FOR-A’s engineering staff have always been there for us with timely information and follow up. We’re very happy with our purchase of the HVS-490, and it’s nice to know that FOR-A will always be there for us in the future.”

About Mid-Pacific Audio Visual

Mid-Pacific Audio Visual is a locally owned and operated, full-service Audio Visual, Rental and Staging company based in Hawaii. Whether it’s a service convention, business meeting, sports event, concert, or any other group gathering, Mid-Pacific Audio Visual offers the best customer service, combined with the latest technology. Company specialties include broadcast video, high-resolution imagery, HD & 4K screen switching and much more.

About FOR-A

FOR-A, a worldwide, industry-leading manufacturer, offers a wide range of broadcast and production products with a focus on cutting-edge technologies, including: HD, 4K and IP products. FOR-A continues to offer future-ready, cost effective, advanced technology solutions. Products include: video switchers, routing switchers, multi-viewers, full 4K high-speed cameras, IP encoders/decoders, multi-channel signal processors, 8K/4K/HD test signal generators, color correctors, frame synchronizers, file-based products, character generators, video servers and much more.

For a full range of HD and 4K production and processing solutions, as well as IP-based products, visit our web site at www.for-a.com.

# # #

FOR-A CORPORATION OF AMERICA, 11155 Knott Ave., Suite G&H, Cypress, C.A. 90630 Phone: 714-894-3311, Fax 714-894-5399 Web site: www.for-a.com 

DENVER—Wazee Digital is incorporating TrackVia’s low-code application platform into the Wazee Digital Media Hub and related live event services. With this, users of live event services can integrate real-time scoring data into workflows for instant information for both on-site and remote operators.

TrackVia is designed to create, modify and deploy customized and scalable web and mobile applications to allow users to streamline workflows and processes that require fast and accurate data collection, real-time workflow automation and synchronized task management. TrackVia combines drag-and-drop functionality with a user interface with features such as in-app scripting and modern APIs for application development and management.

With custom applications built atop TrackVia’s low-code platform, Wazee Digital can centralize multiple data feeds so a single producer can track, manage and make real-time decisions about content during a production. The TrackVia platform also works with Wazee’s on-site and cloud workflows. Remote team members have access to all of TrackVia’s data; and Wazee Digital customers can see snapshots of the content being processed through their own dashboard.

Wazee Digital is a provider of cloud-native video management and licensing services.