MELVILLE, NEW YORK—Chyron has launched PRIME Translate, a new solution that is designed to help regional and local broadcasters to simultaneously produce content in multiple languages to expand audiences.

This orchestrated workflow solution produces highly scalable language translation, including hyper-realistic facial movement and audio of a person speaking, as well as any supporting graphical text overlays, within live production workflows. The result is multiple — and monetizable — localized outputs of the same content, each presented realistically in a different language for local or global audiences.

This complements existing features of Chyron PRIME that support multiple versions of live content including the ability to instantly switch the look of an entire graphics package, adaptive or logic-based parameters and highly customizable and robust controls for playout.

PRIME Translate takes its place alongside these features offering broadcasters a powerful new way to leverage live content.

PRIME Translate operates in collaboration with NVIDIA and its network of technology partners.

At its recent GPU Technology Conference (GTC), NVIDIA announced real-time scalable content localization capabilities via NVIDIA Holoscan for Media and NVIDIA AI for Media’s Content Localization Blueprint, delivered as a collection of NVIDIA and partner AI technologies.

These capabilities translate video, audio and graphics on NVIDIA AI infrastructure. Companies in live media, news and sports can transition from expensive, manual, multi-production business models to software-driven localization at scale. Typically, reaching 80 different geographic markets requires multiple production teams.

Now, with PRIME Translate’s, one-to-many model, broadcasters will unlock new ad inventory, allowing them to sell more hyper-local, high-value advertisements in multiple languages simultaneously.

Leveraging NVIDIA technology, PRIME Translate is the latest addition to an extensive list of time and cost saving Chyron innovations for live production, that were on display this week at the 2026 NAB Show.

Drew Hahn, chief growth officer at Chyron explained that “with PRIME Translate, broadcast news outlets can now serve multiple regions without expensive expansion and can better leverage their existing production capabilities. Likewise, various sports organizations and rights holders around the world can now expand their reach into lucrative new markets.”

“Companies in live media, news, and sports have traditionally been hampered by the expensive, manual processes and multi-production models required to localize content for diverse global audiences,” added Richard Kerris, vice president of Global Media & Entertainment, NVIDIA. “Chyron's PRIME Translate addresses these challenges by leveraging NVIDIA Holoscan for Media and NVIDIA AI infrastructure to deliver real-time, software-driven translation of video, audio, and graphics at scale.”

For more information visit Chyron.com.

PARIS—Ateme has partnered with Lingopal.ai, an AI-driven language translation platform, to introduce a new solution that simplifies the localization of content for global audiences.

This collaboration merges Ateme’s industry-leading video compression and delivery expertise with Lingopal’s cutting-edge AI-powered translation technologies that will allow direct-to-consumer (D2C) services and broadcasters to effortlessly offer content in multiple languages.

Leveraging NVIDIA’s advanced AI capabilities and the power of the NVIDIA L4 GPU. the solution ensures high-quality translations in over 120 languages while preserving the tone, nuance, and emotion of the original audio mix, the companies said.

“This partnership marks a significant step toward breaking language barriers in global content distribution," said Mickaël Raulet, CTO at Ateme. "By integrating AI-driven translation into our video delivery workflows, we are enabling content creators to reach wider audiences with unprecedented ease and quality."

Deven Orie CEO at Lingopal.ai, added: "Our AI-powered translation technology, combined with Ateme’s robust video delivery platform, allows broadcasters to localize content at scale. Essentially, with the click of a button, a live broadcast can be heard in any language worldwide. This opens the door to endless revenue streams and significant opportunities for viewership growth."

The solution is being shown by Ateme and Lingopal.ai at the 2025 NAB Show—West Hall booth W1643 for Ateme and W4143AD for Lingopal.ai.

MUNICH, Germany—Cinegy has released the latest version of its Cinecoder video codec software-development kit (SDK), which addresses a problem that’s faced the TV and broadcast industries since NVIDIA ended H.264 interlace support.

For years, software developers and solutions vendors have used the H.264 encoding capabilities of NVIDIA GPUs, which became a cornerstone of many media industry solutions, the company said.

With NVIDIA’s introduction of the Turing series of GPUs, the company ended H.264 interlace support. While this initially caused issues, the availability of the previous Pascal generation of NVIDIA cards made the situation manageable, Cinegy said.

However, Pascal-based hardware availability has now ended, and these cards no longer receive NVIDIA driver updates, significantly impacting many broadcast workflows.

Cinegy's latest Cinecoder SDK version 4.22 addresses the situation by enabling interlace H.264 encoding using Turing, Ampere and Ada Lovelace (current) generation NVIDIA GPU cards. This development benefits the broadcast and Media & Entertainment industries, which still deliver most of their content in this format, it said.

Current generation NVIDIA cards now offer higher performance, increased encoding throughput and improved energy efficiency, while newer cloud instances provide better value for money with up-to-date NVIDIA drivers, it said.

"This is a great achievement and at the same time a huge relief to all of us," Cinegy Chief Technology Officer Jan Weigner said. "Our customers were really struggling to find a solution, especially after the driver support for the Pascal-based cards ended. Now new NVIDIA cards can be used for H.264 interlace encoding, achieving much better performance. Also, when looking at cloud deployments, we do not have to limit ourselves to using AWS G3 instances, which were the AWS instances with Pascal series GPUs."

Benchmarks using standard test clips show that the Cinecoder interlace H.264 encoder for NVIDIA GPUs creates the same or better-quality output than the original NVIDIA Pascal series hardware encoder, the company said.

The encode performance of Ada Lovelace-based NVIDIA GPUs, the current NVIDIA generation, is around 500 frames per second (FPS) for H.264 1080i per NVENC encoder unit. This means that cards with two NVENC units, such as the RTX 4070 Ti, RTX 4070 Ti Super, RTX 4080 and RTX 4090 (or their professional counterparts like the RTX 4000 ADA and up), can encode around 1000 FPS, Cinegy said.

Cinegy's Cinecoder SDK can be licensed specifically for enabling NVIDIA GPU H.264 interlace encoding or for all additional encoding, decoding and media handling features. It is also home to Cinegy's proprietary Daniel2 codec, offering more than 10,000 FPS 4K encode and 30,000 FPS 4K decode capabilities, the company said.

More information is available on the company’s website.

PARIS—Ateme has announced that it is deploying its Titan video processing and compression solution with NVIDIA Holoscan for Media, an AI-enabled, software-defined platform for live media. 

The collaboration between Ateme and NVIDIA aims to empower media, entertainment, and service providers by significantly reducing the cost of broadcasting and streaming content while driving the adoption of advanced IP-based workflows, the two companies reported. 

Through this collaboration, Ateme will leverage NVIDIA’s AI technologies to pioneer the next generation of video experiences by delivering an end-to-end, IP-based workflow that adheres to the SMPTE ST 2110 standard. This offers broadcasters, service providers and new media a more efficient, flexible, and cost-effective infrastructure for broadcasting and streaming operations, it explained. 

 "This collaboration is a significant milestone for us as we continue to innovate and provide our customers with cutting-edge solutions that enhance their operational efficiency and deliver superior viewing experiences,” said Mickael Raulet, CTO at Ateme. “We are excited to leverage NVIDIA’s  AI-driven technology to empower our customers to navigate the evolving media landscape with confidence."

Key Benefits of the Integration of Titan with NVIDIA Holoscan for Media include:

• Cost Reduction: The integration allows broadcasters, streaming service providers and new media to substantially reduce operational costs through optimized resource utilization and enhanced workflow efficiency.
• Advanced IP Workflow: With full support for SMPTE ST 2110, the integration provides a seamless, all-IP infrastructure, enabling a smooth transition for media companies towards future-proof, IP-based operations.
• Next-Generation Video Experiences: Leveraging the power of NVIDIA’s AI technologies, Ateme paves the way for broadcasters, service providers and new media to offer immersive, high-quality video experiences, helping set new standards in content delivery and audience engagement.

The Television Academy has announced the recipients of the 76th Engineering, Science & Technology Emmy Awards honoring an individual, company or organization for developments in broadcast technology. 

The awards ceremony, hosted by Criminal Minds star Kirsten Vangsness, will be held on Wednesday, Oct. 23, 2024, at the Television Academy's Saban Media Center in North Hollywood, California.

"The Engineering, Science & Technology Emmy Awards are a testament to the incredible ingenuity and creativity that power our industry," said Cris Abrego, chair of the Television Academy. "We are thrilled to honor these innovators who have pushed the boundaries of what's possible, shaping the future of television for generations to come."

"This year we honor a diverse group of technologies that enable and advance the storytelling process for television production," said committee co-chairs Barry Zegel and Wendy Aylsworth. "Electro/Mechanical Camera Stabilization systems, software programs that aid the editing and creation process, support for LED Volumes production, the MDDF (MovieLabs Digital Distribution Framework) Standard, and the use of generative artificial intelligence tools are all included in this year's awards. This wide range of technologies demonstrates the amazing achievements throughout our industry."

This year, the Charles F. Jenkins Lifetime Achievement Award, which honors a living individual whose ongoing contributions have significantly affected the state of television technology and engineering, is being given to Jensen Huang. Jensen Huang founded NVIDIA in 1993 and has served since its inception as president, chief executive officer and a member of the board of directors.

Since its founding, NVIDIA has pioneered accelerated computing. The company's invention of the GPU (graphics processing unit) in 1999 sparked the growth of the PC gaming market, redefined computer graphics and ignited the era of modern AI. NVIDIA is now driving the platform shift of accelerated computing and generative AI, transforming the world's largest industries and profoundly impacting society.

Huang has been elected to the National Academy of Engineering and is a recipient of the Semiconductor Industry Association's highest honor, the Robert N. Noyce Award; the IEEE Founder's Medal; the Dr. Morris Chang Exemplary Leadership Award; and honorary doctorate degrees from Taiwan's National Chiao Tung University, National Taiwan University and Oregon State University. He has been named the world's best CEO by Fortune, the Economist and Brand Finance and one of TIME magazine's 100 most influential people.

Prior to founding NVIDIA, Huang worked at LSI Logic and Advanced Micro Devices. He holds a BSEE degree from Oregon State University and an MSEE degree from Stanford University.

The Philo T. Farnsworth Corporate Achievement Award, which honors an agency, company or institution whose contributions over time have significantly impacted television technology and engineering, is being given to Adobe Inc.

For over 40 years, Adobe has been a leader in delivering groundbreaking technology that empowers everyone, everywhere to express themselves and bring their stories to life, the Academy said. From students to creative professionals, and from small businesses to the world's largest enterprises, Adobe's customers use Adobe tools to unleash their creativity, accelerate document productivity and power digital businesses — including Adobe Acrobat; Creative Cloud tools such as Premiere Pro, Photoshop, After Effects and Adobe Express; Substance 3D collection; collaboration tools like Frame.io; and Experience Cloud enterprise solutions, such as Adobe GenStudio.

Adobe's tools have powered a record number of award-winning television shows and movies including 2024 Emmy-nominated projects, such as Saturday Night Live, FX's The Bear and HBO's Ramy Youssef: More Feelings and The Jinx — Part Two as well as noteworthy films and docuseries including Thank You, Goodnight: The Bon Jovi Story, Dìdi (弟弟) and Penelope.

The Academy said that the Engineering, Science & Technology Emmy Awards are presented to an individual, company or organization for developments in engineering, science and technology that are either so extensive an improvement on existing methods or so innovative in nature that they materially affect the production, recording, transmission or reception of television and thereby have elevated the storytelling process. 

The Academy described this year's recipients as follows:  

Recipient: Adobe Inc. for the development of the Adobe Substance Painter. Substance Painter is a non-destructive 3D texture painting application. Initially built for game developers, Substance Painter has seen very quick adoption in visual effects and animation within the television industry despite its relatively young age. Substance Painter's unique approach of procedural-driven materials differs from previous metaphors for texture generation: It leverages algorithmic methods vs. manual painting and cloning. This has enabled fast and creative texture creation by a broader spectrum of artists without requiring traditional art and painting skill sets. This new workflow has helped increase creativity and accelerate asset generation via quicker iterations in visual effects. As a result, Substance 3D Painter is leading the industry in texture painting, allowing the ability to texture a model in real-time. From animation to visual effects studios, the industry uses Painter to bring their creations to life.

Recipients: Tom Ohanian, Ken Goekjian, Joel Swan and Victor Young for the development of the Avid Multicamera System. Introduced in 1994, the Avid Multicamera System has stood the test of time. With its worldwide usage, it continues to be a dominant technology and product offering in the industry. The Multicamera System replaced systems that utilized videotape and laserdisc players. This digital multicamera invention improved upon all the previous limitations: It provided nonlinear, digital, random access to material with multiple tracks of audio. Due to the invention's functionality of auto-synchronization, the time-consuming synchronization of different camera angles was automated. Editing could proceed directly from camera iso (isolated) feeds as well as a line cut (directly from the video switcher), if necessary due to time constraints. These items significantly advanced the art of storytelling, proving why creative people utilize Avid's Multicamera System to make today's most celebrated video and audio content.

Recipients: Paul Pan, Yanchong Zhao, Tie Su, Shimeng Bei for the development of the DJI Ronin Series. The DJI Ronin is a line of professional camera stabilization systems designed for filmmakers and videographers to stabilize cameras, enabling camera operators to capture smooth, steady footage. The Ronin uses a three-axis gimbal system to stabilize pan, tilt and roll, keeping the camera level and steady, often eliminating the need to lay dolly track or set up a Technocrane. The Ronin's modular design allows for easy setup and adjustment and can be adapted for a variety of shooting scenarios and camera setups. Ronin's payload capacity supports a variety of camera and lens combinations from small mirrorless cameras to larger cinema cameras. Ronin gimbals offer a variety of operation modes, such as Pan Follow, Lock Mode and POV (Point of View) Mode; and they are compatible with a range of accessories, such as wireless focus systems, monitors and other filmmaking tools.

Recipients: Stuart Geman, Kevin Manbeck, John Mertus, and Michael Braca for the development of the DRSNova Film and Video Restoration Software. DRSNova film and video restoration software boasts a comprehensive suite of features tailored to meet the diverse needs of modern filmmakers and post-production experts. From its inception, this innovative software has been at the forefront of advancements in digital restoration and film-processing technology, continuously evolving to keep pace with the ever-changing demands of the industry. It seamlessly integrates into the workflows of film labs, post-production houses, and archival facilities, providing robust solutions for a wide array of restoration tasks. Whether it's restoring aging film stock, enhancing visual quality, or preparing content for television broadcast and streaming, or Blu-ray distribution, DRS™Nova excels in delivering exceptional results with unmatched efficiency. By empowering professionals to achieve their creative vision while maintaining the integrity of the original content, DRS™Nova has played a pivotal role in preserving cinematic heritage and elevating the quality of visual storytelling across various platforms.

Recipient: Benjamin Graf for the development of Accentize's dxRevive Pro. dxRevive Pro is a sophisticated speech-restoration plugin engineered to enhance the fidelity of dialogue recordings across a range of scenarios. Unlike other restoration-style software, dxRevive Pro doesn't just filter the signal, it also identifies and reintegrates missing frequency components. As a result, users can produce studio-like recordings (where the audio is not only "cleaned" but the dialogue itself is enhanced) from a diverse array of source materials. Previously, achieving such clarity required painstaking effort and might not have been achievable at all, resulting in the need for ADR sessions and the additional cost and time those incur. By swiftly and effectively improving dialogue quality, dxRevive Pro elevates the overall audio experience for viewers, ensuring that they can be fully immersed in the story without distraction or discomfort. In essence, dxRevive Pro not only mitigates the impact of budget constraints on dialogue quality but also enhances the storytelling process by providing a more comfortable listening experience, ultimately enriching the narrative and its emotional impact.

Recipients: Jeremy Hochman, Chris Byrne, Colin Cook and Justin Nicolaides for the development of Megapixel's HELIOS LED Processing Platform. The HELIOS platform is an advanced video processing system for LED walls. For over 20 years, the platform has revolutionized LED displays, making them reliable and repeatable tools for filmmakers. HELIOS' advancement of LED processing has removed the restrictions of greenscreen production, enabling storytellers to have full creativity — live in camera. HELIOS supports video sources up to 8K resolution and is capable of handling up to four simultaneous SMPTE ST 2110 inputs. This makes it ideal for large-scale displays and complex visual applications that require high-resolution and precise synchronization. HELIOS' innovative GhostFrame technology allows multiple unique video feeds to be displayed on LED panels simultaneously, streamlining virtual production workflows by enabling the recording of multiple backgrounds from a single take. Its advanced color-management system ensures accurate color fidelity, consistently preserving and applying metadata from source to final display. With full HDR support and seamless integration with image-based lighting systems, HELIOS delivers stunning visuals.

Recipients: Craig Seidel for the development of the MovieLabs Digital Distribution Framework. The MovieLabs Digital Distribution Framework (MDDF) was born from the evolution from physical to digital distribution. Starting in mid-2008, MDDF was originally conceived to support online sales of downloadable content, but it rapidly evolved into a comprehensive collection of essential data standards that drove online streaming. Prior practice was for content owners to provide distribution services an assortment of spreadsheets, emails and other unstructured data. When volumes were small these manual methods could work; but as distribution services evolved to handle tens or hundreds of thousands of titles (millions of assets), those practices were no longer feasible. MDDF provides the solution. MDDF is a suite of digital distribution specifications that define avails (licensing); metadata; asset ordering, delivery and status; bonus/extras; workflows; and APIs. MDDF was designed to get movies and television in front of home viewers in the form most suitable for their needs. It allows a breadth of content to be prepared and delivered by digital service providers to viewers with rich metadata that supports discovery allowing viewers to select the most interesting content. MDDF supports full localization, both in metadata and in handling the complexity of localized and accessibility-focused assets and supports everything from the most primitive formats to the most advanced. MDDF allows people to enjoy content in a way that preserves the creative intent and matches the needs of the individual.

Recipient: The Tiffen Company for the development of the Steadicam Volt. The Steadicam Volt system is an accessory to the already ubiquitous Steadicam that utilizes electronic stabilization technology to assist camera operators in achieving and maintaining smooth, consistent and level camera shots. When mounted on a Steadicam or other brand of camera stabilizer, the Volt will help to maintain a level or preset horizon and filter out unwanted camera movements without affecting normal Steadicam operation or control. Steadicam Volt™ consists of two main components: A "brain" that is mounted fixed in relation to the camera, which houses all gyro and accelerometer motion-sensing components and a gimbal-mounted "motor drive" unit to apply corrections to the tilt-and-roll axis of the camera stabilizer. With the camera stabilizer sled neutrally balanced, the Volt requires very little battery power to manipulate even the heaviest of camera payloads. Difficult shots that involve high-acceleration camera movement — such as running or fast lateral movements — are now easier to obtain smoothly. Operators do not need to focus as much on inertial influences or external forces, such as wind and how they affect camera positioning. The Steadicam Volt™ enables a camera operator to better focus, react and interact with dynamically changing or challenging shooting environments to produce better framing of shots. 

The Engineering, Science & Technology Emmy Awards are made possible by Television Academy sponsors FIJI Water, Franciacorta, Johnnie Walker Blue Label, JUSTIN Vineyards & Winery, People, The Ritz-Carlton and United Airlines.

NEVADA CITY, Calif.—Telestream has announced that it is working with NVIDIA to provide fully cloud-native professional video monitoring services to media enterprises and professionals.

As part of the collaboration, Telestream’s INSPECT application is now integrated into NVIDIA Holoscan for Media for a versatile, cloud-native, SMPTE ST 2110-supported video monitoring solution. 

In announcing the integration, the companies noted that ensuring the highest quality and compliance of live content currently poses significant challenges for broadcasters because the volume of content, complexity of real-time issue detection, and scalability demands of cloud-based and IP workflows often outpace traditional monitoring solutions.

In addition, the complexity of real-time issue detection in live broadcasts — ranging from audiovisual quality to compliance with broadcast standards — requires sophisticated monitoring tools that can accurately identify and flag issues as they arise, without introducing delays into the live production workflow, the companies explained. 

These issues are compounded by the industry's shift towards cloud-based and IP (Internet Protocol) workflows, which, while offering scalability and flexibility advantages, also introduce new challenges in terms of ensuring seamless integration and maintaining consistent quality across distributed production environments.

To address these challenges, Telestream reported that it is integrating NVIDIA Holoscan for Media with its INSPECT monitoring platform. Harnessing NVIDIA's advanced GPU acceleration and AI technologies simplifies and accelerates the process of identifying and resolving quality issues in real time. By leveraging the power of Holoscan for Media, Telestream offers broadcasters an innovative solution to ensure their content consistently meets the highest standards of quality and compliance, transforming the landscape of live media monitoring with enhanced efficiency and accuracy, the companies said. 

Telestream noted that they key benefits to its customers include: 

• GPU Acceleration: Employs NVIDIA GPUs for faster, real-time processing of high-resolution streams, essential for live production.
• AI and Machine Learning: Utilizes AI to automatically identify anomalies and compliance issues, significantly improving efficiency and accuracy.
• Cloud-Native Architecture and IP Workflow Integration: Facilitates INSPECT’s integration into contemporary broadcast infrastructures, offering scalability and supporting standards like ST 2110 for smooth IP workflow transition.

"Telestream has a vision of helping drive a revolution in the media industry to dramatically increase the efficiency of processing high-quality content as the expectations of viewers for more, and better, experiences rise,” stated Charlie Dunn, senior vice president and GM, Test & Measurement, Telestream. “The ability to provide optimized media processes without compromising quality or ease of use has been the hallmark of Telestream’s test and measurement solutions, so we are thrilled to include INSPECT as an integrated solution for ST 2110 on NVIDIA Holoscan for Media.”

“Precise and proven technology is needed for robust monitoring of video content and standards requirements,” added Bob Pette, vice president, Enterprise Platforms, NVIDIA. “Telestream’s integration of its INSPECT application with NVIDIA Holoscan for Media is poised to empower media enterprises to deliver enhanced video content monitoring and output for broadcasters worldwide.”

NVIDIA Holoscan for Media transforms application development for live media by providing an IP-based, cloud-native architecture unconstrained by dedicated hardware, environments, or locations. It integrates open-source and ubiquitous technologies, enabling developers to simplify the development process, streamline delivery to customers, and integrate emerging technologies like generative Al into their solutions, all while optimizing their R&D spend.

Telestream’s INSPECT IP-based video monitoring and ST 2110 solution is designed to provide extensive production oversight, such as audio levels, picture display, and ancillary data monitoring, as well as automated detection of PTP-related issues. Its monitoring-by-exception approach provides for an efficient troubleshooting process, eliminating the need for constant network supervision. INSPECT also offers remote access monitoring and control from anywhere.

“As media production increasingly migrates to the cloud for operational benefits, our collaborations with technology leaders like NVIDIA offer a powerful avenue for cloud and AI enterprises to swiftly provide cutting-edge tools to customers," Dunn added. 

The solution will be on display at the 2024 NAB Show. For more information about Telestream products and services at the NAB Show visit: www.telestream.net/nab.

LAS VEGAS—Amazon Web Services, Inc. (AWS) and NVIDIA have announced an expansion of their ongoing strategic collaboration to deliver the most advanced infrastructure, software, and services to customers working in the area of generative artificial intelligence.

AWS has been working to stand out as a cloud-provider for AI related solutions while  NVIDIA's chips have been widely used in the development of generated AI services.

As part of the expanded effort, the two companies said they will bring together the best of NVIDIA and AWS technologies to offer training foundation models and building generative AI applications. 

This includes work to develop and design the world’s fastest GPU-powered AI supercomputer and to deploy software to speed the development of generating AI technologies. 

AWS to offer first cloud AI supercomputer with NVIDIA Grace Hopper Superchip and AWS UltraCluster scalability. 

Also during its Reinvent conference in Las Vegas, the AWS cloud unit announced its new Trainium2 artificial intelligence chip and the general-purpose Graviton4 processor.

“AWS and NVIDIA have collaborated for more than 13 years, beginning with the world’s first GPU cloud instance," said Adam Selipsky, CEO at AWS. "Today, we offer the widest range of NVIDIA GPU solutions for workloads including graphics, gaming, high performance computing, machine learning, and now, generative AI. We continue to innovate with NVIDIA to make AWS the best place to run GPUs, combining next-gen NVIDIA Grace Hopper Superchips with AWS’s EFA powerful networking, EC2 UltraClusters’ hyper-scale clustering, and Nitro’s advanced virtualization capabilities.”

“Generative AI is transforming cloud workloads and putting accelerated computing at the foundation of diverse content generation,” said Jensen Huang, founder and CEO of NVIDIA. “Driven by a common mission to deliver cost-effective, state-of-the-art generative AI to every customer, NVIDIA and AWS are collaborating across the entire computing stack, spanning AI infrastructure, acceleration libraries, foundation models, to generative AI services.”

More specifically the two companies described the expanded collaboration as follows:  

• AWS will be the first cloud provider to bring NVIDIA GH200 Grace Hopper Superchips with new multi-node NVLink technology to the cloud. The NVIDIA GH200 NVL32 multi-node platform connects 32 Grace Hopper Superchips with NVIDIA NVLink and NVSwitch technologies into one instance. The platform will be available on Amazon Elastic Compute Cloud (Amazon EC2) instances connected with Amazon’s powerful networking (EFA), supported by advanced virtualization (AWS Nitro System) and hyper-scale clustering (Amazon EC2 UltraClusters), enabling joint customers to scale to thousands of GH200 Superchips.
• NVIDIA and AWS will collaborate to host NVIDIA DGX Cloud, NVIDIA’s AI-training-as-a-service, on AWS. It will be the first DGX Cloud featuring GH200 NVL32, providing developers the largest shared memory in a single instance. DGX Cloud on AWS will accelerate training of cutting-edge generative AI and large language models that can reach beyond 1 trillion parameters.
• NVIDIA and AWS are collaborating on Project Ceiba to design the world’s fastest GPU-powered AI supercomputer – an at-scale system with GH200 NVL32 and Amazon EFA interconnect, hosted by AWS for NVIDIA’s own research and development team. This first-of-its-kind supercomputer – featuring 16,384 NVIDIA GH200 Superchips and capable of processing 65 exaflops of AI – will be used by NVIDIA to propel its next wave of generative AI innovation.
• AWS will introduce three additional Amazon EC2 instances: P5e instances, powered by NVIDIA H200 Tensor Core GPUs, for large-scale and cutting-edge generative AI and HPC workloads; and G6 and G6e instances, powered by NVIDIA L4 GPUs and NVIDIA L40S GPUs, respectively, for a wide set of applications such as AI fine tuning, inference, graphics, and video workloads. G6e instances are particularly suitable for developing 3D workflows, digital twins, and other applications using NVIDIA Omniverse, a platform for connecting and building generative AI-enabled 3D applications. 
• In addition, NVIDIA announced software on AWS to boost generative AI development. NVIDIA NeMo Retriever microservice offers new tools to create highly accurate chatbots and summarization tools using accelerated semantic retrieval. NVIDIA BioNeMo, available on Amazon SageMaker now and planned to be offered on AWS on NVIDIA DGX Cloud, enables pharmaceutical companies to speed drug discovery by simplifying and accelerating the training of models using their own data. The companies said that NVIDIA software on AWS is helping Amazon bring new innovations to its services and operations. AWS is using the NVIDIA NeMo framework to train select next-generation Amazon Titan LLMs. Amazon Robotics has begun leveraging NVIDIA Omniverse Isaac to build digital twins for automating, optimizing, and planning its autonomous warehouses in virtual environments before deploying them into the real world. 

More information is available at nvidianews.nvidia.com/ and at aws.amazon.com.

An analysis of recent price increases among the largest cloud providers shows the impact of AI on cloud services, and in particular, how the price of accelerators is having on rates. 

This is according to Liftr Insights which over the past three months tracked the average price of accelerators, which are used to enhance and expand cloud capabilities. Prices have increased for the top cloud providers, including AWS, Azure, Alibaba (Aliyun) Cloud, and Google Cloud. For example, when looking at certain NVIDIA GPUs, Azure is leading the pack with prices increasing by 55.2% in the past three months. Specifically, these percentages are based on average price for NVIDIA Tensor Core (Ampere) models. Google Cloud was the next largest at 20.0% followed by Alibaba Cloud and AWS at 3.5% and 1.2%, respectively.

A portion of these increases are due to higher core counts, but the prices for these in-demand accelerators also show growth when evaluating the average price per core.

"While we see many valuable data points in the prices across providers and across the globe, Liftr data show that cloud prices don't typically fluctuate to this extent," says Tab Schadt, CEO of Liftr Insights. "It's a sign of the hot AI market. Accelerators—like NVIDIA GPUs—are the technology needed for artificial intelligence training and inference. Demand for AI is driving these price changes."

Among many attributes, Liftr Insights tracks on-demand prices for the top six cloud providers, representing over 75% of the total public cloud space. These prices are measured for all the unique configurations in Liftr Insights data, including numerous dimensions for processors and accelerators, such as global region, architecture, core count, and accelerator count as a few examples.

"This level of information is important for organizations needing to pay attention to their bottom line," says Schadt. "Particularly as they expand into new territories and new technologies, such as artificial intelligence. Our customers will be paying close attention to changes in the data as they occur."

TV Tech has gathered broadcast industry experts from Dell Technologies and NVIDIA, along with the International Trade Association for Broadcast and Media (IABM) to discuss the  M&E tech trends and buzz from the recent IBC23 show.  

Tune in to this live webcast, Tuesday Oct. 17 at 2PM ET  as we unpack the hype and discuss the transformation happening in the world of broadcasting.

This year has witnessed an explosion in the use and discussion of artificial intelligence (AI). It is, of course, something that has been around since the 1950s but since the end of last year, coverage has ranged from the serious to hysterical, particularly over its latest manifestation, generative AI (Gen AI).

This more evolved form of AI can create different kinds of content, from text and images to audio and synthetic data, which is more realistically human instead of something clearly produced by a machine. At the forefront of this is ChatGPT (generative pre-trained transformer), which, although only launched in November 2022, has already radically changed the direction of automated speech, text and image creation.

Fast and Precise
As is often the case with “new” technology, many of the features of AI had been available to broadcasters and media producers in the last decade.

“We’ve been implementing AI in our tools for years, so it’s not something we’ve jumped on with ChatGPT,” says Andre Torsvik, vice president of product marketing at Vizrt. “AI is used to make computers do what they are best at, which is being fast and precise. Human beings can find that difficult to do, with, for example, outdoor keying on a sports field. An AI can react much faster and the end result is a much better key, you don’t see flickering or ads on top of players.”

The most common applications for Gen AI in broadcast include: 

• image generation and video synthesis 
• automated production 
• assisted video editing 
• creation of metadata for automatic “logging” 
• subtitling, captioning, segment-specific searches and re-use of media assets 
• automatic upscaling of content to higher resolutions; and
• encoding/decoding of audio and video streams 

Simon Forrest, principal technology analyst at Futuresource Consulting, comments that AI is capable of assisting artists and producers to create content more quickly, enabling “faster iteration, more exploration and delivering media assets that approach a harmonized composition.”

Another assistive application of AI comes in the form of improved archive searches. This has been a particular area of research at the Fraunhofer Institute for Intelligent Analysis and Information Systems (IAIS). Dr Christoph Schmidt, head of Fraunhofer IAIS’s Speech Technologies Unit, explains that it goes beyond keyword techniques, with Gen AI and natural language processing providing “improved ways to find relevant archival content to produce new programs.”

Efficient and Dynamic
In addition to reducing the number of repetitive tasks performed by operations staff and allowing creatives to do their jobs faster and better, Peter Sykes, strategic technology manager at Sony Europe, sees AI as “making the whole media supply chain as efficient and dynamic as possible, helping analyze and then address resource allocation and process steps to optimize them, leading to better business decisions.”

Sony established an AI division in 2020, focusing on projects in the areas of imaging and sensing, gaming, gastronomy (robotic manipulation of food and cooking utensils) and AI ethics. 

For broadcasting, Sony offers its A2 Production system, which, among other features, can identify sports highlights using automated logging and scene detection features. It is also applying AI to software-defined networks through the VideoIPath media orchestration platform developed by its Nevion subsidiary.

Ross Video implements AI across two of its main business groups: robotic cameras and newsroom systems. Both are working on integrating AI into their product lines, with robotics using a more proprietary-style technology built into its products while news is relying on third party AI engines.

Jenn Jarvis, product manager for newsroom computer systems at Ross Video, says this gives customers a choice of which engine they want to use and a framework for how they integrate it into a product. “We’re also now looking at the content creation side, which is part of the newer aspects of AI we’re still exploring and seeing how it fits into a news workflow,” she said.

For robotics, Karen Walker, vice president of camera motion systems, observes that the person managing shot selection will still have some work to do in keeping the presenter in frame or in focus.

“But the next thing for AI—and a lot of people have come out with this—is a ‘talent tracking’ application,” she says. “You don’t have to have any human intervention so its possible to set up pre-sets and where you want the talent to be in that shot. This is done independently of the talent and can be configured for different presenters. It takes away some of that manual intervention and I think it’s where AI has benefits, in taking out some of the mundane tweaking.”

Reducing Tedium
Removing, or at least easing, the amount of dull but necessary elements in live production by employing AI is now a realistic proposition. This is illustrated by Rob Gonsalves, engineering fellow at Avid, who gives the example of Open AI’s Whisper speech-to-text model. 

“It can be applied for live transcription and real-time translation of multiple languages within a broadcast feed, toggling through as many as 100 languages simultaneously,” he said.

Avid has also tested both OpenAI’s CLIP model and the generic GRoIE ROI (region of interest) extractor as part of research into auto-framing.

“This followed the area of a shot that is of the greatest semantic interest,” Gonsalves explains. “The traditional way to enable search is to manually annotate media assets with metadata tags describing what is in the shot. Using AI object or facial recognition can now automate the scanning and annotation process. Semantic search does something similar but, by creating embeddings into clips, it allows an editor to conduct a free-text search for scenarios.”

Sepi Motamedi, global industry marketing lead for professional broadcast at NVIDIA, comments that “live production, particularly for sports, takes tremendous advantage” of AI. “It is used in super-slow motion replays to localize advertisements seen on the pitch, to quickly generate highlights from the game, to deliver an added layer of data through telestration [which involves pitch calibration and player tracking] and, of course, camera tracking.”

Among the first developers to begin applying AI to broadcast applications from the outset was Vertitone. Founded in 2014, the company offers an enterprise AI operating system platform, aiWARE, along with engines for ChatGPT, audio, biometrics, speech, data and vision. 

“We realized there was an opportunity in the media and entertainment markets to begin to index the world’s audio and video content,” comments Paul Cramer, managing director of media and broadcast at Veritone. He adds that once material is indexed, Gen AI can be used to “create a new personalized experience for the consumer” who is looking for custom content. This could be in the form of news footage tailored for a viewer with an interest in, for example, space exploration.

From Broad to Niche
As AI is adopted more widely throughout the media sector, it is being used for both very niche and quite broad applications. Moveme.tv illustrates a highly specialized use: its search platform is designed to help viewers match films to their mood through the use of descriptive words and emojis. Founder and chief executive Ben Polkinghome says the ultimate aim is to enable people to create “their own hyper-personal entertainment channels.”

On a wider broadcast level, BBC’s R&D department initiated its AI in Media Production program in 2017 with a prototype video editing package that automatically selected and assembled shots into a finished piece. This work continues today and was expanded last year with a new data set for “Intelligent Cinematography” to assist in framing and editing. BBC R&D is due to announce its position on Gen AI soon but could not give any more details before TV Tech went to press.

AI is now exploited by all types and sizes of media creators and organizations, both new and old. Video marketing platform Vimeo announced in June it was making a Gen AI-powered “creation suite” that simplifies the process of making videos. The package includes a script generator, teleprompter and text-based editing system that automatically deletes filler words and long pauses. 

On the more traditional side, the All England Lawn Tennis Club is using the Gen AI capabilities of IBM’s Watson platform to produce commentary for video highlights of the 2023 Wimbledon championships on its app and website.

Despite the innovative spirit of this, AI has caused discomfort among media professionals, both in terms of jobs being potentially lost and the risks of the technology being misused. Major news outlets including “The New York Times” and NBC News recently voiced concern over how Gen AI could not only make journalists redundant but enable unscrupulous types to produce fake but believable stories.

The FCC has its own working group on AI and among the topics it’s initially focused on has been using the technology to improve its services including using AI to manage spectrum more efficiently. The commission is hosting a joint workshop this month with the National Science Foundation “to discuss the possibilities and dangers AI presents for the telecommunications and technology sectors.”

In the U.K., media regulator Ofcom, while acknowledging that Gen AI offers benefits such as synthetic data training for better safety technology, has similarly highlighted the dangers of bogus news and other media content. Ofcom is currently monitoring the development of Gen AI to see how its positive aspects can be maximized and also what threat the more negative ones might pose.

As for the human impact, Karen Walker at Ross Video observes that “a lot of creative things have to be done by humans—people are going to work with AI side-by-side.”

Veritone’s Paul Cramer concludes: “Gen AI won’t replace humans but it will replace the humans who are not using AI.” 

LONDON—Real-time production platform specialist disguise has partnered with NVIDIA on a collaboration to integrate the NVIDIA Omniverse platform with disguise’s platform for immersive experiences, the company said today.

Creatives will be able to connect their preferred digital content creation (DCC) tools in a unified production pipeline. This connectivity allows for easier and quicker changes, enhanced content production, the ability to work in full fidelity and a lower barrier of entry for accessing media and entertainment workflows, the company said.

With so many DCC tools for both 2D and 3D content creation existing separate from rendering tools and applications, more unified content management workflows and solutions are needed, it said.

disguise bridges the physical and the virtual, combining 3D visualization software, cloud solutions, platform, hardware and services to provide creatives and technical teams with the ability to realize any creative vision regardless of complexity, it said.

NVIDIA Omniverse is an extensible platform that enables fast building of custom 3D pipelines and simulation of large-scale virtual worlds. With Omniverse, 3D design teams can work across multiple software suites to collaborate in real time in a shared environment, it said.

The integration with NVIDIA builds on disguise’s existing RenderStream capabilities, a bi-directional protocol that transports rendering information between third-party render engines and disguise. RenderStream allows for greater synchronicity of content and tracking data across the production workflow as well as the seamless merging of the physical and virtual worlds.

The connection of NVIDIA to disguise’s cloud platform will enable remote teams and productions can easily collaborate. This suite of applications includes disguise Drive for unified upload and storage and Previz for importing, previsualizing and sharing 3D interactive scenes for any production.

A preview of the integration will be shown at NVIDIA GTC on March 23, 2023 at 1 p.m. GMT in the session titled “How to increase productivity in Media & Entertainment with NVIDIA-enabled end-to-end workflows.”

Register for the session online.

More information is available on the company’s website.

See disguise at NAB Show booth C6118.

LOS ANGELES—Seven companies have come together to form the Volumetric Format Association, dedicated to ensuring interoperability across the volumetric video ecosystem. The founding companies are Verizon, Zeiss, RED Digital Cinema, Unity, Intel, Nvidia and Canon.

Volumetric video is a new way to experience content in holographic 3D, giving the viewer a more immersive and interactive experience, VFA says. It is characterized by the process of simultaneously capturing content from multiple cameras, which can then be viewed from any angle at any point in time.

The goal of the VFA will be to facilitate collaboration, innovation and technology sharing to establish a collection of specifications that will help drive faster development, adoption and ecosystem growth.

As VFA members, the companies will be able to share intellectual property within the confines of the organization while protecting the value of that IP. The VFA Technical Steering Committee has defined four initial working groups to create the specifications, including Capture Acquisition, Interchange of Data, Decode & Render and Persistent Metadata.

"The Volumetric Format Association is leading the way in how content, especially in sports and M&E, is being presented, and we are seeing the biggest shift since B+W went to color" said Tian Pei, head of business affairs for sports at Unity. "Volumetric technologies encompass the process of capturing, viewing, and interacting with the real world and here at Unity we are pushing the limits of what's possible and transforming the interactive experience forever."

VFA is opening membership to other companies. For more information, visit www.volumetricformat.org.  

SANTA CLARA, Calif.—NVIDIA has launched a new AI-based video compression technology that it says when run on NVIDIA GPUs can reduce video bandwidth consumption down to one-tenth of the requirements of the H.264 streaming video compression standard.

The company is deploying the tech in its new NVIDIA Maxine platform, which provides developers with a cloud-based suite of GPU-accelerated AI video conferencing software to enhance streaming video.

NVIDIA said the platform “dramatically reduces how much bandwidth is required for video calls. Instead of streaming the entire screen of pixels, the AI software analyzes the key facial points of each person on a call and then intelligently re-animates the face in the video on the other side. This makes it possible to stream video with far less data flowing back and forth across the internet.”

“As a result, much less data is sent over the network. Slow internet connection and limited bandwidth will not impact the quality of video meetings anymore,” the company added.

LAS VEGAS--“Get Ready for Machine Learning and Artificial Intelligence” is a new half-day program that will be part of The Next-Generation Media Technologies Conference at this year’s NAB Show.

Taking place Tuesday, April 10 from 9 a.m. to noon, the program will present six panels examining the impact of machine and artificial intelligence on production, post, filmmaking, and digital content creation.

“We’re looking forward to hosting some of the industries’ leading creatives and technologists as they reveal how neural networks and other advancements are enabling production techniques previously thought impossible,” said Chris Brown, NAB executive vice president, Conventions and Business Operations.   

The six sessions—taking place in North Meeting Room N257 at the Las Vegas Convention Center—will explore whether machine intelligence can increase productivity, efficiencies and creativity in production planning, animation, visual effects, post-production and localization. Panelists will also delve into the capabilities of today’s neural network-based tools, and their potential to alter jobs, workflows and the nature of content itself.

[Read: NAB Show Previewing Future Of Content Production In New Session]

The program kicks off with “The Evolution of Content Production Aided by Machine Learning,” featuring Usman Shakeel, WW Technical Leader, Media and Entertainment at Amazon Web Services. Next, Jean Bolot, vice president of Research and Innovation for Technicolor will present “Optimizing Production With Neural Networks.” At 9:45, Norman Hollyn, editor/professor at The USC School of Cinematic Arts and Todd Burke, principal solutions engineer at Adobe Systems will explore “How Machine Intelligence Is Transforming Editorial.”

The second set of sessions begins at 10:40 with Rick Grandy, senior solutions architect for Nvidia, speaking about “New Frontiers in Animation and Computer Graphics,” followed with “From Dailies to Master: Machine Intelligence Comes to Video Workflows,” at 11 a.m., featuring Weyron Enriques, vice president of product development at Deluxe Technology, Barbara Ford Grant, senior vice president, Digital Production Services, HBO, and Adrian Graham, cloud solutions architect, M&E, at Google.

The program concludes at 11:40 a.m. with Jeff Kember, technical director, Office of the CTO, Google Cloud discussing “The Future of Content With Machine Intelligence,” and the impact these new algorithms and this increased compute power could have on the entertainment industry.

SAN JOSE, CALIF.—A collaboration between HP and Nvidia will allow 3D content creators and other media professionals to use the new HP Z workstations to create virtual reality experiences. The configurations are Nvidia VR Ready systems equipped with Quadro professional GPUs. The HP configurations come in various units: HP Z240, HP Z640 and HP Z840.

HP Z840

The new workstations can use up to two Quadro M6000 24GB cards. HP systems with Dual M6000 24GB cards can use Nvidia’s GPU Affinity API and VR synchronization technologies to reportedly reduce image tearing. Each configuration is tested with optional HTC Vive head mounted displays.

The Nvidia VR Ready HP Z workstations are now available; the Dual M6000 24GB cards are available as an aftermarket option now and will be integrated in May. Starting price for the configurations is $4,363.