Vizrt Ltd and Vimond Media Solutions have announced a partnership to bring powerful over-the-top TV technology to the media industry. At NAB 2013, Vizrt will display how the technology gives broadcasters complete control of their video content across platforms while providing the audience a compelling multiscreen experience.

Vimond’s over-the-top TV technology provides an automated workflow for publishing video online as well as a powerful player that broadcasters can use to control and monetize their content. Video is streamed using a variety of formats ensuring the user has the best possible viewing experience.

Together with the Vizrt Online Suite – Vizrt’s high performance content management platform – Vimond’s over-the-top TV toolset integrates to create a complete platform for journalists and broadcasters to control all their online assets with a powerful engine that maintains the online presence and the presence across all platforms.

In the Vizrt Online Suite’s content management system, Escenic Content Studio, the journalists create stories, edit graphics and maps as well as access all their video content through the Viz Media Engine, Vizrt’s media asset management system. The videos are then transcoded in multiple formats with the graphics either burned in or added live while streaming. The Vimond video player and control system handles the distribution and the end user’s interaction with the online content.

Håvard Myklebust, SVP Products and Marketing, Vizrt stated “With the addition of Vimond’s technology, Vizrt stands now as the leader in the online content management world. No other platform combines the ability to merge graphics and video with a comprehensive journalist tool to create imaginative and informative online content while also providing a fantastic user experience on any platform.�

“Our partnership with Vizrt is all about enabling broadcasters to have an efficient and combined workflow for broadcast and TV Everywhere, making sure that video, graphics and metadata give the end viewers a rich and immediate experience on all screens� said Helge Høibraaten, Vimond CEO. “Add this to our rich choice of monetization models, and the combined experience of our two companies, and you get what I believe to be truly a unique offer for broadcasters seeking to elevate their success in TV Everywhere and OTT.�

Vizrt will be at Vizrt South lower hall SL3305. Vimond will display the combined workflow at booth SL10310.

About Vimond Media Solutions

Vimond Media Solutions AS (www.vimond.com) develops and markets the Vimond online TV platform. Based in Bergen, Norway, Vimond is one of a number of successful technology companies spun off from national broadcaster TV 2, together with Vizrt, StormGeo, and Mosart Medialab. After more than 10 years of technology development and use in production at Scandinavia’s biggest commercial online video enterprise, TV 2 Sumo, Vimond was established in 2011 to make advanced solutions available to other broadcasters launching multiscreen over-the-top services. The Vimond platform provides a comprehensive environment for managing highly efficient streaming of content to cellphones, tablet computers, gaming consoles, connected TVs, and Blu-ray™ players. With its depth of experience and expertise, Vimond is a leading player in the field, serving a rapidly growing roster of customers that includes TV4 in Sweden, MTV3 in Finland, TV 2 in Norway, and pan-Nordic distributor C More.

About Vizrt:

Vizrt offers a new vision for content creation and delivery with an end-to-end solution from ingest to visualization. Our solution combines Vizrt’s true 2D/3D graphics tools with Curious Software’s World Maps and Ardendo’s Asset Management. Running on non proprietary software, the combination of these unique cutting edge products ensures a seamless workflow from conception to multi-format distribution.

Vizrt’s product suite is used by the world’s leading broadcasters including: CNN, CBS, Fox, BBC, Sky, ITN, ZDF, Star TV, TV Today, CCTV and NHK. Also, many world-class production houses and corporate institutions, including both the New York and London Stock Exchanges, utilize Vizrt solutions.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Martin Burkhalter / CEO / +41 22 365 75 01 / MBurkhalter@vizrt.com

Tomer Wald / CFO / +47 5351 8040 / TWald@vizrt.com

HÃ¥vard Myklebust / EVP Products & Marketing / +4791845602 / HMyklebust@vizrt.com

LAKE PLACID, NEW YORK: Set in the breathtaking Adirondack Mountains of New York at the site of the 1932 and 1980 Winter Olympic Games, the newly-constructed Conference Center at Lake Placid pairs the splendor and story of its surroundings with amenities that far surpass those of most big city convention centers. The architecturally stunning three-story building boasts over 90,000 square-feet of flexible ballrooms, meeting rooms, and pre-function space, not to mention decks and verandas from which to enjoy the natural beauty of the surrounding landscape. Starr Entertainment Group designed and installed a flexible and abundantly powerful A/V system for the center, in part by relying on Ashly ne8250 eight-channel network amplifiers that deliver 250-Watts of power to 104 zones of distributed audio speakers.

The New York State Olympic Regional Development Authority (ORDA), which manages the state of the art conference center, tapped Starr Entertainment Group to design a thoroughly modern A/V system that could flexibly accommodate a wide range of uses. Pleased with the company’s competence and communication, ORDA invited Starr Entertainment Group to bid on the installation of its design. The bid was successful, and so the company saw its design through to completion.

The system collects its audio inputs from wireless microphone systems, wired microphones, media input panels, visual media players, and a background music system. In addition, several small-frame consoles in rolling racks accommodate events with live music. The inputs feed a Peavey Media Matrix NION processor, which allows system-wide inputs to be assigned to any output zone. Thirteen Ashly ne8250 eight-channel amplifiers deliver 250 Watts to each of the 104 zones distributed throughout the building. The meeting rooms and common areas use 180 JBL Control 26 in-ceiling loudspeakers, and the ballrooms use sixty 12-inch JBL Control 322 in-ceiling loudspeakers.

“ORDA wanted a high-quality system. They wanted to do it right,� said Peter Starr, owner and chief designer of Starr Entertainment Group. “About a year-and-a-half ago, we used some Ashly ne8250 amplifiers in a hotel system. I loved the fact that we could get 250 Watts per channel. It’s ideal for these kinds of systems. Of course, there are other multi-channel amps on the market, but nothing combines the specs, affordability, and reliability of Ashly’s ne Series. It is certain, the Conference Center at Lake Placid sounds great and is capable of some serious volume when needed.�

A 32 x 32 Crestron digital video matrix processor allow any video input to be shown on any combination of the center’s approximately 120 video output devices. Those devices include Sanyo HD projectors and flat-screen monitors. In addition, a large Visix-based digital signage system provides the conference center guests with way-finding and other information. A Crestron Pro2 system with 22 wall panels allow user control of every aspect of system performance, such as video and audio input selection and volume, room combining, as well as room functions such as room temperature and lighting. In addition, the building’s functions can be accessed via secure Internet and LAN connections. According to Bob Hammond, ORDA’s director of planning and construction, “the Starr Group has exceeded expectations,� and was noted by Ted Blazer, ORDA’s president and CEO, to be “the most dependable and cooperative contractor on the project.�

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

PRINCETON, NEW JERSEY: The Hun School of Princeton is a private school for students in sixth grade through high school. Located near Princeton University in Princeton, New Jersey, the school serves five-hundred students from over a dozen states and nearly two-dozen countries. A third of the students board there. School assemblies, dramatic and musical performances, and other events take place in the Hun School’s 350-seat proscenium theater, but a low ceiling and overly-diffuse loudspeakers had given the it poor sound reinforcement for many years. Recently, the school hired local A/V design and integration firm Reid Sound, Inc. to identify the weak links in its sound reinforcement chain and to make strategic improvements on a budget. Reid Sound installed Danley Sound Labs loudspeakers and a subwoofer. Their combination of high fidelity and excellent pattern control elevated the theater’s sound quality from poor to excellent.

“The theater is used for a variety of events, including musicals, dramas, presentations, dance performances, and more,� said Darren R. Sussman, owner of Reid Sound, Inc. Sussman designed the new system together with Timothy Pearce, Reid Sound’s director of installation services. Sussman continued, “Vocal reinforcement was a major concern, but the system had to deliver excellent music reproduction as well. The space is very wide, but it’s not very deep. Moreover, the ceiling height is only around eighteen feet. Because the loudspeakers would be hanging very near the front of the stage, precise pattern control was critical.�

The previous system consisted of a pair of popular commercial powered loudspeakers mounted to the walls next to the proscenium. Although a number of deficiencies existed within the entire system, the project’s budget only allowed for a partial replacement, and Sussman and Pearce identified the loudspeakers as the most significant weakness. “The old loudspeakers weren’t very directional,� Sussman explained. “They spilled a lot of energy onto the walls and ceiling, which contributed to poor intelligibility, and there were seats that were inadequately covered by direct sound.� In short, the coverage was indistinct and uneven.

The team selected a pair of Danley Sound Labs SH-50 loudspeakers for the center cluster. “The arrayed pair gives excellent 100-degree horizontal coverage to the entire seating area, and the tight 50-degree vertical coverage keeps energy off the ceiling and on the seats,� said Sussman. The center cluster is primarily responsible for vocal reinforcement. They also installed a pair of Danley Sound Labs SH-95s, one on either side of the proscenium, for reproduction of program material or reinforcement of musical instruments. Again, the SH-95s deliver pattern control that excites the listeners, but not the space itself.

Although Reid Sound had done a handful of smaller systems involving Danley Sound Labs loudspeakers, this was the company’s first experience with a Danley subwoofer. “Normally, I would have installed a pair of subwoofers, but when I read the Danley TH-118’s specifications, I realized that a pair would be tremendous overkill,� said Sussman. “Those specifications proved to be accurate. A single TH-118 provides an incredible amount of low-frequency extension in the space. It’s not even turned up halfway, and it can shake the room.� In addition to the Danley loudspeakers and subwoofers, Sussman and Pearce installed a new Biamp Nexia processor and new QSC CX-Series amplifiers.

“We completed the job in February and we’ve heard nothing but great comments from the school,� said Sussman. “They just completed a production of Hairspray using the new reinforcement system. Spoken word was perfectly intelligible and music was full-frequency and engaging. The new Danley system is a great improvement for the Hun School of Princeton.�

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

BELLEVILLE, ILLINOIS: Signal Hill Lutheran Church is located in Belleville, Illinois, southeast of St. Louis. Its sanctuary is gorgeous and inviting, seating 125 people in rows of wooden pews under a natural wood framework that supports a sharply peaked ceiling. Natural light filters through stained glass, and a beautiful alter forms the focus of the cozy room. However, Signal Hill’s sound reinforcement system was not cut from that same fine cloth, a fact made evident by the church’s recent move toward more contemporary music in worship. The sound quality was not very good and a complete lack of user control meant that if something sounded bad, it stayed that way clear to the end of the service. Committed to remedying the problem, Signal Hill hired A/V integration firm Film Otter Inc. and design firm Design and Ideas Inc. The first round of upgrades is now complete, and a pair of Symetrix SymNet Radius 12×8 Dante network audio DSPs provide sophisticated audio processing and, together with a CommandFusion iPad interface, remote user control from anywhere in the pews!

“Signal Hill is a traditional church with a sound system that was not only old, but no longer an appropriate fit for their style of service,� said Phil Mahder, the semi-eponymous owner of Film Otter Inc. “The most difficult issue was that they have no tech booth and no tech person. The sound system equipment was in a closet that no one touched. If the system worked, it worked. But if it didn’t, there was no recourse.� The church contacted Mahder, a commercial A/V veteran of three decades, keenly aware of their problems but unsure whether an affordable solution existed.

Given the church’s budget constraints, Mahder will execute a complete renovation in stages, only the first of which is completed. Signal Hill’s existing amplifiers, loudspeakers, and lighting will be upgraded as funds become available, but for now things are sounding worlds better with just the inclusion of two Symetrix SymNet Radius 12×8 Dante network audio DSPs. Inputs to the system include spoken word microphones at the pulpit, lectern, and altar, as well as wireless microphones, Praise Band inputs, with microphones for up to five vocalists. The reason for two Radius 12x8s is was to get the input count necessary. The processed outputs feed the amplifiers for the speakers in three independent zones, monitor lines for powered stage monitors, ALS, and a digital recorder. The inputs and outputs at each Radius 12×8 meld via the Dante network into a fluid whole, and their open architecture design allowed for a powerful, customized processing and user control.

“Symetrix processing is excellent, and – critical for this job – the Symetrix automix/gain-sharing algorithms are stellar,â€� said Mahder. “The Radius 12×8 allowed us to create a predominately automatic system with convenient and simple manual controls that communicate wirelessly via a custom configuration of CommandFusion’s iViewer 4 iPad app. This solution is better than giving them a dedicated tech booth because the operator can sit with his family in the pews! Moreover, the tool is simple enough that an usher can easily run sound for the more traditional service and, by simply including additional pages on the iPad app, complex enough to mix sound for the band, multiple singers, and two monitor mixes.â€� CommandFusion iViewer 4 software integrates robustly with the Symetrix hardware and software to provide that customized iPad control.

Mahder continued, “This small traditional church with a small budget had the foresight to invest in tools that will allow them to grow not just in their musical expressions, but also in the technical infrastructure that enables those expressions. They went from an archaic system to one that is way ahead of the curve. The credit for this change goes to the church leadership’s willingness to trust advice even though it is something that they had never heard of, and especially to the system design and programming genius of the system designer, Philip Houser of Designs and Ideas. He not only programmed the DSPs, but actually built a custom interface that provides all the functions that they needed from a traditional audio mixer using the CommandFusion platform. There is no conventional audio mixer in the system; it is entirely the iPad app wirelessly controlling the two DSP units. The church was even able to select fader size, color, labeling, layout, and much more. Have you ever before seen a church that was able to have a mixer built to perfectly meet their needs and imagination?â€�

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management.  For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

File-Based Audio/Video Recorder Ideal For OB, In-Studio and Post-Production Environments

LAS VEGAS, APRIL 2, 2013 — Sound Devices, experts in portable audio and video products for field production, is taking its proven field technology into the studio with its PIX 260i Production Video Recorder at the 2013 NAB Show (Booth C2849). Based on Sound Devices’ PIX 240i Recorder, the rack-mounted PIX 260i is a file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. Currently shipping, PIX 260i also offers 32 tracks of audio record/playback as well as control functionality from browser-capable computers and tablets.

The PIX 260i brings the features and tools needed by production companies and broadcasters looking to migrate to file-based recording and playback environments. The PIX 260i records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

PIX 260i recorders can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on the Sound Devices PIXNET, which offers IP-addressable control of one or multiple PIX 260i recorders. Users can group multiple units for simultaneous control. Data drives connected to PIX 260i are also accessible on Ethernet-based networks as read-only SMB shares, opening up endless possibilities for file sharing. Files can be copied from any PIX 260i located on a network, enabling access from across a room or the globe.

Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

Building on the company’s deep heritage in production sound, Sound Devices has infused the PIX 260i with 32-track record/playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

With its extensive control capabilities, the PIX 260i is a flexible video playback source. The PIX 260i can be controlled by both external RS-422 and via Ethernet through PIXNet.

The PIX 260i includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady, multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time codes can be read from the SDI stream, the HDMI stream or from an external source.

Like the PIX 220i and PIX 240i, the PIX 260i includes a sophisticated scaler and frame-rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up-, down- or cross-conversion at the same or a different rate. Hardware-based 3:2 pull-down removal and anamorphic conversion is also available.

PIX 260i’s convenient half-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector. Sound Devices’ PIX-RACK accessory includes one full 2U rack, which can hold two PIX 260is.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Fiber Solution Streamlines Workflow for State-Owned Public Broadcaster in Norway

BroaMan (NAB booth C8443), a leading German manufacturer of professional digital video, audio and data network solutions providing routing, format conversion and management for a variety of markets, including broadcast, post production and AV, is pleased to announce that German media and broadcast specialists Studio Hamburg MCI recently outfitted a BroaMan automatic routing system into an OB van, owned by NRK, a public broadcast station in Norway.

According to MCI Project Manager Götz Ahlert, his company had the BroaMan fiber solution in mind since the beginning of the installation. “The task was to set up a reliable connection between up to four TV cameras and an OB van-which in turn was connected via satellite to the broadcast center in Oslo-quickly and with minimal cabling. The BroaMan fiber units are located in a stage box on the camera side and on the corresponding side inside the OB truck.”

BroaMan supplied a unique solution for NRK, a small custom box with an SDI input and fiber output to house a single camera on one side, mechanically connected to a camera battery on the other. “Designed that way, the fiber connection is made directly with the camera unit, without any additional cables or separate boxes, providing maximum flexibility to the operator,” explains Ahlert.

In addition, BroaMan’s V3R-FX-IC444-SDI, a 4LI/4LO board with four GPIOs (general purpose input/output), enables four camera signals to be routed via a single fiber connection to the vehicle and then uplinked to the broadcast center. Transmitted in the opposite direction, a monitor picture can be sent to the camera set, which is required if a speaker is communicating with the studio.

“NRK’s aim was to have a simple and easy-to-operate connection between camera and OB van for distances in excess of 100m. This is not possible with coax cables,” says Ahlert. “BroaMan provided us with a small, cost-effective solution with the ability to transport video, audio, data and GPIOs on one fiber cable.”

The new VW T5 vehicle is one of two, more compact OB vans fitted by MCI for NRK. The vehicles are used for brief news reports, sports and cultural events. One operates in the north of Norway, and the other in the Oslo region. In addition to the BroaMan signal transport, MCI also supplied a small video mixer and 16×16 matrix, a Lawo audio mixer and self-positioning satellite system with a carbon antenna as part of the installation.

About BroaMan
BroaMan, (Broadcast Manufactur GmbH) based in München-Gräfelfing, Germany, manufactures infrastructure solutions for broadcast applications such as studios, OB-vans or sporting events. The turnkey solutions convert, transport and route all types of commonly used broadcast signals, including digital and analogue video, audio, intercom, and control data, over a high bandwidth fiber infrastructure. If required, this includes format conversions, e.g. from copper to fiber or from analogue to digital, as well as routing of signals based on automatic or manual rules, up/downscalers, frame synchronisers, and many more features. The company offers customized solutions for every application that requires 3G/HD/SD-SDI video transport or routing – whether a big and complex system for broadcast studio or OB Van, or a simple point to point for a small church or conference hall. For more information visit: www.broaman.com.

Leading modular AV signal processing and control specialist Axon Digital Design is incorporating Jünger Audio’s LEVEL MAGIC™ loudness control technology into its Synapse audio and video signal processing and control modules. The result of this collaboration will be on show for the first time at NAB 2013 at the Axon booth, N.6006.

Under the terms of the new partnership, four new audio processing modules will be incorporated into Axon Synapse, thus creating a new standard in a range of modular products covering applications such as audio up-mixing and loudness control. With Jünger Audio processing on board, Axon customers can now eliminate annoying loudness variations between program segments and between programs and commercial breaks.

Axon’s Synapse is a modular system comprising multiple 19-inch frames, active hot swappable cards and (mostly) passive connector panels. It is designed to support demanding mission critical broadcast applications, especially the conversion of composite analogue video signals into HD.

Jünger Audio has developed a custom digital signal processing (DSP) board that integrates seamlessly within a standard Axon Synapse module. Building on this seamless interoperability, the two companies have jointly developed four new Synapse modules, which provide a combination of sophisticated up-mixing and loudness control capabilities within both stereo and 5.1 multi-channel audio environments.

Further extending their application versatility, these modules are available as either 3Gb/s or HD capable. The HD version offers a 3Gb/s upgrade pathway for future migration to the greater demands of 3Gb/s operations.

“Jünger Audio is well known as a pioneer in audio technology and we are delighted to have developed a close partnership with the team there,� commented Peter Schut, Chief Technology Officer at Axon. “Together, we have created a range of audio processing solutions which offer significantly new feature-sets and functionality. These innovative products will open new markets to Axon.�

Peter Pörs, Managing Director of Junger Audio, says: “Loudness control is a hot topic and there is increasing demand from broadcasters for an effective solution that can eliminate jumps in audio levels. More and more customers are demanding our LEVEL MAGIC™ process in individual hardware and software solutions because it delivers high quality audio and supports all known loudness standards including ITU, EBU and ATSC. With AXON, we have found the perfect partner to enable us to address this demand.�

Jünger Audio’s LEVEL MAGIC™ technology uses Wideband processing to control loudness and peak level, and avoid defects like breathing, pumping, and spectral changes. The processing relies on a highly sophisticated, adaptive level con¬trol algorithm.

By incorporating LEVEL MAGICâ„¢ into its Synapse modules, Axon customers can set their desired Loudness Target, or Operating Level, and Peak Level. Once set, processing takes place automatically providing continuous loudness control, regard-less of the source of the audio.

For further information during NAB 2013, please visit Axon at Booth N.6006 or Jünger Audio at Booth C.2333. Alternatively please visit the companys’ websites – www.axon.tv or www.junger-audio.com

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities.

Audionamix, the premier sound separation technology and services company, will present Unmixing Audio with Cutting-Edge Technology at NAB.

In these two 20-minute sessions, free-to-attendees, Audionamix will highlight the role sound plays in revitalizing existing content for future revenue opportunities, and why their ability to isolate and separate audio elements at a high quality has been fundamental in revolutionizing the possibilities for remixing.

Two demos at the 2013 NAB Show take place:
Tuesday, April 9
Pro Audio Pit (Central Hall, C3155)
12:30 p.m.
AND
Wednesday, April 10
HPA Post Pit (South Hall, Lower level, SL15708)
10 a.m.

The company will demonstrate concrete examples of easy workflow integration and answer questions about the possibilities for unlocking the vaults by:
• Separating dialog from a full mix for foreign re-versioning
• Removing and replacing costly music cues from television shows while preserving the dialog and effects in the original mix
• Isolating and separating a singing voice from its orchestration to fuel new creations, or just modulate the levels while synching to commentary.

Based on years of audio science, Audionamix is the industry’s leading audio deconstruction specialists, providing proprietary sound separation technology and services for the film, broadcast and music sectors. Their ability to isolate audio elements and provide stems at a high quality has unleashed the creative power of many sound editors/mixers/designers as well as the assets of content owners to “unmix to re-create.�

Audionamix’s ADX technology essentially reverse engineers mono or stereo audio recordings into tracks for dialogue/vocal/instrument isolation, music dissociation, and instrumental creation, for various applications.

Stream Bucket IP-IP Archiving System

The Stream Bucket™ IP/IP was developed for broadcasters and content providers to capture their video streams for archiving. It can also be used to repurpose one’s streams at a later date.

The Stream Bucket IP/IP simultaneously records up to ten 1080i/p HD or 50 SD streams, with manual or scheduled inputs. Capture protocols are HLS, UDP, RTP, RTSP, HTTP, RTMP (Open Flash – pull only), or MMS.

The Stream Bucket IP/IP creates files with specified identities that can be readily accessed via other devices over the Internet. It supports H.264, MPEG-2, or VC-1 file recording in native format, or customers can alter the resolutions, bit rates, or codecs.

The system can create and store files with multiple bit rates and resolutions. Supported input file types are H.264 or MPEG-2 transport streams, or MP4.

“We look forward to launching the Stream Bucket at NAB 2013,” stated Laszlo Zoltan, Sales Manager for DVEO. “Our customers will find it indispensable for compliance recording, as-run proof for stream ads, archiving IP camera footage, live stream capture, and more. We also offer this product as part of our Infinity Streamerâ„¢ product line of streaming playout servers.”

The Stream Bucket stores streams in specified folders with specified naming conventions. It can be remotely configured and managed via a web-based GUI. The system ships standard with an Intel® solid state drive.

The Stream Bucket is also available for most video formats, including SDI, HDMI, 8VSB, Analog, DVB-S/S2, DVB-T/T2, and DVB-ASI.

Supplemental Information for Press Release

Features:

• Input: IP (H.264, MPEG-2, or VC-1)
• Capture protocols: HTTP Live (HLS – pull only), UDP, RTP, RTSP, HTTP, RTMP (Open Flash – pull only), MMS
• Capture and output file types supported: TS, MP4
• Capture can be initiated via Schedule or via Manual Start
• Records up to 10 1080i/p HD streams or 50 SD streams
• Streams can be stored in specified folders with specified naming convention
• Incoming streams will be time stamped
• Supports IP unicast or multicast
• Easy to use folder naming system
• Does not alter incoming stream
• Configure and manage via remote GUI
• Can create and store multiple bit rates and resolutions
• Supports H.264 High Profile @ Level 4.0 (HP@L4)
• Supports 1080i, 1080p, 720p, 480i, 480p, CIF, QCIF, qHD, H.264up and many others, and custom resolutions
• SNMP remote management with low power consumption due to Ivy Bridge Intel® CPU

Suggested Retail Price:
Stream Bucket IP/IP in 1 RU system: $2,995 U.S.

Other versions available: SDI, HDMI, 8VSB, Analog, DVB-S/S2, DVB-T/T2, DVB-ASI

DVEO, Infinity Streamer, and Stream Bucket are trademarks of Computer Modules, Inc. All other trademarks and registered trademark are the properties of their respective owners. AAC licensed via Via Licensing.

About CMI and DVEO
CMI, founded in 1982, is a privately held company headquartered in San Diego, California. DVEO, the Broadcast Division of Computer Modules, Inc., sells digital video and high definition television (HDTV) products to the top television broadcast companies throughout the world.

For more information on CMI and DVEO, please contact Rebecca Gray at +1 (858) 613-1818 or rebecca@dveo.com. To download DVEO’s press releases and product images, visit the news section at www.dveo.com.

DVEO, 11409 West Bernardo Court, San Diego, California, 92127
Web: www.dveo.com phone: +1 (858) 613-1818, fax: +1 (858) 613-1815

Targeted ad insertion, shared hub support, time-shifting and lower bandwidth requirements make this next-level solution unique

Ottawa, ON – International Datacasting (TSX: IDC), a global leader in digital content distribution for the world’s premiere radio and television broadcasters, will launch the second generation of its popular STAR Pro Audio solution at the 2013 NAB Show, April 8 – 11 at the Las Vegas Convention Center (Booth SU3711.)

The second generation of the STAR Pro Audio solution opens up new revenue generating opportunities for radio networks by providing localized ad insertion. The new platform also enables time-shifting functionality, allowing broadcasters to play the right content at the desired time. Broadcasters can now seamlessly adjust for time zones and rapidly adapt to conflicting live programming schedules.

In addition to increasing ad revenues and improving flexibility, the STAR Pro Audio solution significantly lowers per-channel costs through shared hub support. Additionally, it uses up to 70% less bandwidth compared to competitive solutions.

“With this next generation of STAR Pro Audio, radio broadcasters can look forward to two very important things—boosting revenue and lowering their operating expenditures,� said Del Lippert, Chairman of the Board and Interim CEO, International Datacasting. “The platform increases advertising revenues because it enables highly localized ad insertion. The ability to sell more targeted ads—by location, demographic, time zone, or language—means more revenue opportunities across the entire network. “We’re eager to show off our next generation of STAR Pro Audio at the NAB show next month.�

STAR Pro Audio includes a copy split capability that allows operators to send select ads to specific regions or specific receivers. Audio files stored in the receiver can be inserted into live or recorded programming. Cost savings are realized through shared hub support which enables multiple radio networks to share one 4-channel receiver instead of having each network deploy its own standalone, single channel receiver. Additionally, STAR Pro Audio requires just 120 kHz space segment for stereo, as opposed to 440 kHz for competitive systems, resulting in further cost savings.

Industry experts believe there will be a resurgence of radio advertising due to the inclusion of FM radio receivers in smart phones. This will add millions of new FM radios in the market.

The second generation of the STAR Pro Audio solution will be featured at the NAB 2013 Radio PIT in Central Hall:

April 8th, 2:15 p.m. – 2:35 p.m. PT

April 9th, 1:15 p.m. – 1:35 p.m. PT.

Virginia Lee Williams, Vice President of Global Sales and Marketing, and Walter Capitani, Vice President of Product Management, will discuss the second generation of STAR Pro Audio at the above-listed dates and times.

About International Datacasting Corporation:

International Datacasting Corporation (TSX: IDC) is a global leader in digital content distribution for the world’s premiere broadcasters in radio, television, data and digital cinema. IDC offers a broad portfolio of advanced solutions including the STAR Pro Audio solution, LASER targeted ad insertion platform, and the Digital Tattoo DTH over IP gateway. The company’s products and solutions are in demand for radio and television networks, targeted ad insertion, digital cinema, 3D live events, satellite news gathering, sports contribution, VOD, and IPTV. IDC is headquartered in Ottawa, Canada, with regional offices in Arnhem, the Netherlands and in San Diego, California. The company has installations in over 100 countries and service offices in Thailand and Singapore, with an international network of value-added partners and resellers. For more information visit: www.datacast.com.

Forward-Looking Statements:

This press release contains forward-looking statements reflecting IDC’s objectives, estimates and expectations that may involve risks and uncertainties, including statements about expected revenue impacts. IDC’s actual results, performance, achievements and developments may differ materially from the results, performance, achievements or developments expressed or implied by such statements. Factors that might cause actual results to differ materially include, but are not limited to, competitive developments; risks associated with IDC’s growth; any difficulties with integrating acquired product lines into IDC’s business and/or manufacturing procedures; any difficulties or disputes with IDC’s subcontractors, contract manufacturers and suppliers; IDC’s dependence on the development and growth of the satellite datacasting market; a lengthy and variable sales cycle for IDC’s products and services; IDC’s reliance on a small number of customers for a large percentage of its revenue; regulatory risks and intellectual property infringement. IDC assumes no obligation to update these forward-looking statements to reflect events or circumstances after the date hereof, except as expressly required by applicable law. Forward-looking statements are provided to assist external stakeholders in understanding IDC’s expectations as at the date of this release and may not be appropriate for other purposes. Readers are cautioned not to place undue reliance on such statements. More detailed information about potential factors that could affect IDC’s financial and business results is included in the public documents IDC files from time to time with Canadian securities regulatory authorities and which are available on SEDAR at www.sedar.com, including, without limitation, IDC’s Annual Information Form dated April 29, 2011.