Télé-Québec Monitors with Mediaproxy

Mediaproxy announced that Canadian French public educational TV network Télé-Québec has deployed Mediaproxy’s LogServer compliance logging and monitoring platform for quality monitoring compliance logging of its output.

La Société de télédiffusion du Québec, branded as Télé-Québec, is a Canadian French public educational TV network. Headquartered in Montreal with 10 regional offices, the station has been creating, curating and broadcasting educational and cultural programming which reflects the regional realities and diversity of Quebec for over half a century. Over 40% of Télé-Québec’s programming is children’s programming. It also presents a range of feature film and documentaries and hosts debate and discussion-oriented shows. The main Montréal station CIVM-TV, also known as Télé-Québec HD, is also aired nationwide on Bell TV and Shaw Direct.

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The Mediaproxy LogServer system is being used to log and monitor the output of Télé-Québec services for compliance to the requirements of CRTC, the Canadian Radio-television and Telecommunications regulator. The system includes both SDI and TSoIP (Transport Stream Over IP) sources to monitor both outgoing and return feeds. The system will also interface with the network’s automation system to be able to reconcile events against broadcast contents.

The system has been installed and will be supported by CEV, Mediaproxy’s partner in Montreal. CEV provides on-site and remote technical support and offers a wide range of high-level services covering sales, systems design, engineering, installation, training and maintenance.

Erik Otto, CEO Mediaproxy said, “Being able to access compliance, monitoring and analysis functions from one place, the unified LogServer solution provides Télé-Québec with a powerful and cost-effective set of tools. The additional convenience of having all user interfaces available in French and English languages, provides seamless interaction for all their users.”

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InSync Partners With Marquise on Software Standards Conversion Within MIST Mastering Solution

MIST revolutionises the mastering process by offering unrivaled features for creating any type of master or file package from any type and resolution of source media within a single software solution. From the RAW data to the final delivery, MIST provides transcoding for multiple formats, extensive editing and conforming tools, and advanced color grading and color management features for workflows including HDR and ACES.

Renowned for its proficiency in IMF mastering, with the industry’s broadest support of IMF applications, MIST is also the tool of choice for creating DCPs, broadcast and web deliveries. Integration of InSync’s FrameFormer motion compensated standards conversion into MIST further enhances the toolset available in the content workflow.

Frame rate conversion is an essential requirement for any content owner wanting to monetize its material domestically and internationally. Footage shot at 23.98 hertz must be converted to 50 hertz and 59 hertz for TV distribution. Frame rate conversion is also necessary when there’s a need to integrate mixed frame rate footage into a production, such as when content turns up unexpectedly at the wrong frame rate for the project. A high-quality motion compensated standards converter is the only solution for these applications.

FrameFormer from InSync Technology is a high-quality motion compensated standards converter that offers frame rate conversion, including cadence management, for all types of content from sub-QCIF up to 8K and beyond. FrameFormer has been carefully designed and finely tuned over many years to provide reliable conversions with automated settings, enabling fast deployment without lengthy parameter setup.

“InSync Technology is delighted to have the opportunity to integrate high-quality frame rate conversion into an industry-leading mastering product,” said Managing Director of InSync Technology Paola Hobson. “We are thrilled that FrameFormer can now be offered within Marquise Technologies’ state-of-the-art solutions for digital cinema, broadcast and OTT applications.”

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“Frame rate conversion is a key element in mastering, and we wanted to offer our customers the best possible quality and flexibility for their deliverables. The collaboration with InSync and the integration of FrameFormer into MIST provides them with renowned excellence and enriches the capabilities of our solutions,” said Laurence Stoll, CEO of Marquise Technologies.

 

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Largest Church in Pacific Northwest Upgrades to FUJINON Zooms as Part of SD to 4K Transition

As the largest church in the Pacific Northwest with its programming carried on national networks, the Christian Faith Center found itself in urgent need of an upgrade. With outdated, standard definition equipment, the networks were pushing the church to overhaul its video infrastructure. With the current technology available, their recent overhaul went beyond HD, and the Church is now fully 4K compatible.

Church Pastor Casey Treat’s show “Successful Living with Casey Treat,” a combination of teachings from recent church services with sit-down interviews, airs weekly on TBN (Trinity Broadcasting Network) and the Hillsong Channel. Earlier this year, engineering staff from both networks requested that the show be produced in HD to mirror the look of their other programming.

Chad Rose, president, of systems integration firm Rose Media, was called in to spearhead the entire facility’s SD to HD transition, including completion of a separate control room. With Rose leading the charge, Christian Faith Center based in Federal Way, Washington, added two FUJINON XA55x9.5BESM and two XA20x8.5BERM zooms on four Blackmagic Design URSA Broadcast cameras in May. Within its new 25’x25’ permanent control room, a Blackmagic switcher and multi-viewer, a Renewed Vision graphics system, and new furniture were installed.

Given the scope of the upgrades, price was a consideration. “The church was very interested in the Blackmagic camera because of its price point,” says Rose. “Churches are beginning to see cameras as a four- to six-year investment. They put more of their money into long-term investments like lenses.”

The new control room, camera and lenses capture content from Pastor Treat’s Sunday services and video interviews, which comprise the weekly show that airs on Hillsong and TBN. The camera/lens combination is also used for live feeds of the Pastor’s services to other Christian Faith Center locations, to the Church’s Federal Way website and other Church location websites, as well as for closed circuit coverage within the sanctuary.

“While the goal was HD, the entire system is now 4K compatible,” reports Rose. “From the switcher to the cameras and lenses, to the multi-viewers, everything is 4K. They just turn it on in the switcher, and they’ve moved from SD to 4K in one fell swoop.”

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While the image quality has taken a serious upturn, the learning curve was far less steep for the all-volunteer camera crew. “They went from a much older SD system,” Rose adds, “and without any training or rehearsal, they were running the new camera and lenses. It was truly a seamless transition.”

The cameras are positioned over a hundred feet away from the stage, so lenses that could cover the distance were essential. The XA55x has a focal length from 9.5 to 525mm (19.0 to 1050mm with a 2x extender). It comes standard with optical image stabilization, making it ideal for any application where the camera operator must maintain a rock steady close-up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts. The XA20x ENG lens features a standard focal range of 8.5-170mm and reach out to 340mm (with a 2x), while only weighing 3 ½ pounds.

“Matching the 4K image sensor of the URSA camera with the FUJINON lenses is just a great combination,” Rose explains. “The images are outstanding, and my client couldn’t be happier with the results. With the film type sensor of the URSA, combined with a great lens like these that can maintain focus throughout the zoom range and handle any lighting situation, is a real winner for churches. Because the URSA broadcast camera comes standard with a B4 mount, no adaptors are needed.”

 

“The look produced is more cinematic. And if you ever need to add gain, any resulting noise created presents in a more film-like way than a typical broadcast camera/lens combination would produce. It’s a very pleasing look.”

 

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