"Mediator is already used for ingest, media workflow, transfer management, router control and playout operations at Bush House," comments Nigel Fry, Head of Transmission & Distribution at BBC World Service. "Our objective was to ensure that core programme output could be kept on air in an emergency affecting our normal operations. A rules-based data export ensures that the backup system is kept up-to-date with content which can be used at any time."

The new configuration can be operated on a push-from-main or pull-from-auxiliary basis. Both the new and the existing Mediator installations are based on an enterprise architecture providing user-access from PC workstations running standard web browsers. Task-specific Web-based display screens guide operators through workflow and allow desktop search and browse of any material."

Pharos Mediator is a complete broadcast content management and workflow platform capable of handling studio control, post-production and multichannel playout. Web-browser-based user interfaces running on desktop computers provide operators with the tools they need in a style which is easy to understand, including content browsing, task prioritising and automatic alerts. Pharos Mediator manages content efficiently for media logistics, streamlining library management, ingest and quality assessment, right through to compliance, promotions management and approvals.

The BBC World Service is the world's leading international broadcaster. It provides programmes and content for radio, television, online and mobile phones in English and 31 other languages. Hundreds of reporters and specialist correspondents bring impartial news reports, documentaries and analysis from around the globe. BBC World Service also offers a mix of other programming from arts, business and culture to drama, science and sport. BBC World Service is one part of the collected international-facing television, radio and online services which form BBC Global News.

Founded in 1997, Pharos has pioneered collaborative desktop workflow and integrated third-party infrastructure management. Pharos solutions today handle millions of media assets across hundreds of television channels and an increasing number of new media distribution networks. Pharos is an open company embracing open standards. Pharos software architecture, integration and support services enable disparate broadcast and IT processes to be unified across the enterprise. The unique Mediator content management platform, with its integrated Playtime playout and Pilot control options, provides efficient tools to deliver multi-format content globally.

The full integration of Playtime into Mediator 4 provides advanced broadcast automation functions that help broadcasters and service-providers publish content for a wide variety of distribution channels. Mediator 4 now has the ability to manage presentation requirements and content independently based on schedule priority and media-management workflows.

Another major new feature of Mediator 4 is an enhanced metadata system supporting services such as video-on-demand, .com, podcasting and mobile are launched.

Pharos Mediator is built around the Enterprise Service Bus (ESB) concept to aid speedy implementation and to provide flexibility for future products and services. Key elements such as the Mediator interface, device control, workflow and messaging are based on the best tools for the job and include Oracle, Java, Flash and industry standards such as MXF and BXF. Close integration of media asset management, workflow, playout and automation within Mediator 4 reduces the complexity and costs associated with the task repetition across multiple systems.

Exhibiting on stand 7J2-06, Pharos will be represented at Broadcast Asia by senior team members including Spencer Rodd, Patrick Keys, Tim Butler and Jonathan Yong .They will be available to answer questions and conduct real-time demonstrations showing how Pharos technology has helped international clients including Ascent Media, BBC World Service, HBO and MTV.

Founded in 1997, Pharos has pioneered collaborative desktop workflow and integrated third-party infrastructure management. Pharos solutions today handle millions of media assets across hundreds of television channels and an increasing number of new media distribution networks. Pharos is an open company embracing open standards. Pharos software architecture, integration and support services enable disparate broadcast and IT processes to be unified across the enterprise. The unique Mediator content management platform, with its integrated Playtime playout and Pilot control options, provides efficient tools to deliver multi-format content globally.

The Pharos Mediator program will integrate the company's multiple broadcast systems - including Open Text Digital Asset Management, OmniBus iTX and Pilat IBMS - into a seamless and unified operation of activities at every stage of Corus' ingest, archiving, transmission and content delivery process.

"We selected Pharos Mediator based on its proven track record for delivering highly integrated workflow programs with the flexibility to meet new and demanding broadcast environments," said Scott Dyer, Chief Technology Officer, Corus Entertainment. "We were also impressed with the depth of knowledge and experience shown by the Pharos team and we look forward to implementing Mediator in the coming months."

Pharos Mediator's automated "content centric" workflow engine requires minimal manual intervention and will help Corus meet its commitment to providing viewers with unprecedented access to its programming on multiple platforms including high definition, on-demand, mobile devices and online.

"One of the major strengths of the Pharos Mediator platform is its deep support for industry standards and third party systems which is essential for organizations that wish to create a best of breed environment," explained Glen Sakata, General Manager for Pharos Communications in the Americas. "The power of our workflow system and the substantial number of operational interfaces we provide will allow Corus to perform the vast majority of their end-to-end workflow using a consistent and highly flexible browser based environment, helping to improve efficiency across the organization."

The project will be led by Siemens who will be working closely with Pharos on the project, which is expected to go live in the latter part of the year. "This physical move and technological transformation is something that few media organizations have the opportunity to accomplish," said Holger Kormann, Vice President, Siemens IT Solutions and Services, Inc. "Siemens is pleased to contribute our expertise in technology innovation and media asset management to such an important project. We look forward to working with quality companies like Pharos to deliver to Corus the benefits of Pharos' expertise in automated workflow management. Automated workflow management is a crucial element of the new Corus content management system and will provide substantial benefits to Corus and its customers."

About Corus Quay
Corus Quay, the new base of operations for Corus Entertainment, brings more than 1,100 Corus employees together into an ambitious and technologically sophisticated state-of-the-art broadcast and production facility that is destined to become a community landmark on Toronto's waterfront.

About Corus Entertainment Inc.
Corus Entertainment Inc. is a Canadian-based media and entertainment company. Corus is a market leader in specialty television and radio with additional assets in pay television, advertising services, television broadcasting, children's book publishing and children's animation. The company's multimedia entertainment brands include YTV, Treehouse, Nickelodeon (Canada), W Network, CosmoTV, VIVA, Sundance Channel (Canada), Movie Central, HBO Canada, Nelvana, Kids Can Press and radio stations including CKNW, CFOX, CKOI, 98,5 FM, Q107 and 102.1 the Edge. Corus creates engaging branded entertainment experiences for its audiences across multiple platforms. A publicly traded company, Corus is listed on the Toronto (CJR.B) and New York (CJR) exchanges. Experience Corus on the web at www.corusent.com.

About Pharos
Pharos customers around the world benefit from an enterprise approach in all areas of traditional broadcast and new media operations. Pharos software solutions improve workflow and increase efficiency for broadcasters and service providers in television, radio, VOD and mobile publishing.

Since 1997 Pharos has pioneered collaborative desktop workflow and integrated third party infrastructure management. The unique Mediator content management platform, with its integrated Playtime playout and Pilot control options, provides efficient tools to deliver multi-format content globally. Today millions of media assets across hundreds of television channels and the increasing number of new media distribution networks, now benefit from the unique Pharos approach to integrated creativity, workflow and media logistics.

Pharos solutions offer a next-generation platform to better manage multi-format content and enable rapid expansion in playout, presentation and publishing. Pharos software architecture, integration and support services enable disparate broadcast and IT processes to be unified across the enterprise.

Pharos is an open company embracing open standards; we are proud of our people and of our unique development philosophy. Potential clients are welcome to inspect our development methods and fully evaluate the Pharos software platform and its unique distributed systems architecture.

phpr-213

Installed over 250m2, this platform will offer services in digitization, storage, archive, post-production, transcoding and distribution in both SD/HD. Pharos will equip and integrate the platform with Media Asset Management and automation capabilities. Uniquely in the marketplace, this technology will make it possible starting from just one digital master to distribute any audio-visual program in a linear and nonlinear manner in all types of format on any types of distributors platform (VOD, catch-up, IPTV, mobile etc). The customers will be able to manage their own media via a custom interface in the form of Web-services. Pixagility platform is initially set to distribute 15 television channels SD or HD, to store several hundred Terabytes and to transcode more than 100 hours of material per day.

"This partnership with Pharos illustrates our will to bring a technical ground-breaking innovation to the French market that is able to answer the tightened budgets of channel editors, with the modes of consumption increasingly pressed for time and pressure from the public at large", declares Ronan Lunven, President de Pixagilty. "We are very excited to work with the Pharos team which is one of the world leaders in the content management solutions and who has the experience of working with the most demanding customers".
With this partnership, Pixagility is based on a technology already tested in Europe, Asia and America by players such as Ascent Media, Red Bee, Technicolor, Globecast, BBC, , and MTV.

Created in 1997, Pharos is based in Reading in the suburbs of London. Pixagility marks the arrival of Pharos (www.pharos.tv) on the French market.

About Pixagility: Created in June 2009, Pixagility is a new broadcast service provider, offering services to television channels and telecoms operators. Pixagility has a global offering: operating production sets for information and sport channels, services on a multi-channel platform, playout and consulting.. Pixagility was founded by Ronan Lunven who has twenty years of experience in the audio-visual field. More information can be found at www.pixagility.tv

PIXAGILITY SIGNE UN PARTENARIAT EXCLUSIF AVEC PHAROS

Spécialiste européen de solutions broadcast, Pharos équipera la nouvelle plateforme de services SD/HD multi-canal de l'opérateur Pixagility.

Boulogne - Billancourt, le 22 mars 2010, Pixagility, l'opérateur alternatif de la prestation
technique audiovisuelle, annonce la signature d'un partenariat inédit avec la société Pharos dans le cadre du développement de sa plateforme de services dont le lancement est prévu en juillet 2010.

Installée sur 250m2, cette plateforme offrira des services de numérisation, stockage, transcodage, publication et distribution multi-canal SD/HD. Pharos équipera la lateforme en solutions de Media Asset Management et d'automation. Unique sur le marché, cette offre technologique permettra à partir d'une seule numérisation de distribuer tout programme audiovisuel de façon linéaire et non linéaire dans tous types de format et sur tous types de plateforme (VOD, catch-up, IPTV, mobilité, ...). Les clients pourront via une interface client sous forme de web-services visualiser et gérer leurs propres médias. La plateforme est initialement dimensionnée pour distribuer jusqu'à 15 chaînes de télévision SD ou HD, de stocker plusieurs centaines de To et de transcoder/publier plus de 100 heures par jour.
« Ce partenariat avec Pharos illustre notre volonté d'apporter une solution technique innovante sur le marché français capable de répondre aux économies resserrées des éditeurs de chaînes et aux modes de consommation de plus en plus éclatés dans le temps et dans l'espace du grand public., déclare Ronan Lunven, Président de Pixagilty. « Nous sommes très excités de travailler avec les équipes de Pharos qui est un des leader mondial dans les solutions de gestion de contenus et qui a l'habitude de travailler avec les clients les plus exigeants ».

Avec ce partenariat, Pixagility s'appuie sur une technologie déjà éprouvée en Europe, en Asie et en Amérique par des acteurs comme Ascent Media, Red Bee, Technicolor, Globecast, BBC, et MTV. Créée en 1997, Pharos est basée à Reading dans la banlieue de Londres.

Pixagility marque l'arrivée de Pharos (www.pharos.tv ) sur le marché français.
- FIN -

A propos de Pixagility :
Créée en juin 2009, Pixagility est une nouvelle société de prestations de services techniques dans un modèle d'outsourcing, au service des chaînes de télévision et des opérateurs télécom. Elle propose une offre globale intégrant le conseil, la production de plateau pour les chaînes d'information et de sport, une plateforme de service, la ontinuité d'antenne et la diffusion de programmes. Elle a été fondée par Ronan Lunven qui bénéficie de 20 années d'expérience dans le domaine de la prestation audiovisuelle.
Plus d'information sur www.pixagility.tv

phpr-218

For its ninth year attending the event in Las Vegas, Pharos will show full integration of Playtime into Mediator 4, providing a functionally advanced broadcast automation system that helps broadcasters and service providers publish content for both traditional channels and new media. Mediator 4 now has the ability to separately manage presentation requirements and content independently based on schedule priority and media management workflows.

Additional enhancements to Mediator 4 include an advanced metadata system allowing information to be added as new delivery platforms such as On Demand, .com, podcasting and mobile are launched. Combined with detailed workflow analytics, ongoing system optimization and maintenance can finally keep pace with a constantly evolving business environment.

Over the course of NAB 2010, senior Pharos team members will be available to answer questions and conduct real-time demos exemplifying how its technology has helped international clients across 40 countries including HBO, MTV, Turner CNN, BBC World Service and Ascent Media.

As Glen Sakata, Senior VP, Pharos Americas; explains, "The close integration between media asset management, workflow, playout and automation within our Mediator 4 platform is helping to reduce the complexity and costs associated with the repetition of the same tasks across multiple systems."

Pharos Mediator is built around the Enterprise Service Bus (ESB) concept to aid speedy implementation and to provide flexibility for future products and services. Key elements such as the Mediator interface, device control, workflow and messaging are designed based on the best tools for the job and include Oracle, Java, Flash and key industry standards such as MXF and BXF.

"Using a Service Oriented Architecture we provide a platform that is able to grow and adapt as our clients explore new business models, processes, delivery methods and content types. This agility is vital in a production and broadcast environment that is evolving rapidly and a key differentiator that defines Pharos as a true innovator within our industry." Sakata adds.

Visit Pharos at NAB booth N3719

About Pharos
Pharos customers around the world benefit from an enterprise approach in all areas of traditional broadcast and new media operations. Pharos software solutions improve workflow and increase efficiency for broadcasters and service providers in television, radio, VOD and mobile publishing.

Since 1997 Pharos has pioneered collaborative desktop workflow and integrated third party infrastructure management. The unique Mediator content management platform, with its integrated Playtime playout and Pilot control options, provides efficient tools to deliver multi-format content globally. Today millions of media assets across hundreds of television channels and the increasing number of new media distribution networks, now benefit from the unique Pharos approach to integrated creativity, workflow and media logistics.

Pharos solutions offer a next-generation platform to better manage multi-format content and enable rapid expansion in playout, presentation and publishing. Pharos software architecture, integration and support services enable disparate broadcast and IT processes to be unified across the enterprise.

Pharos is an open company embracing open standards; we are proud of our people and of our unique development philosophy. Potential clients are welcome to inspect our development methods and fully evaluate the Pharos software platform and its unique distributed systems architecture.
www.pharos.tv

phpr-212

For its fourth year attending the event in Dubai, Pharos will be demonstrating Mediators strength in challenging multi-platform environments such as television, radio, VOD and mobile distribution.

For the first time, Pharos will be showing the full integration of Playtime into Mediator 4, providing a full-scale broadcast automation system that helps broadcasters and service providers publish content for both traditional channels and beyond.

Playtime allows the presentation requirements and content to be separated and managed independently according to schedule priority and media management workflows. Composing the output at transmission time based on business rules set for each target channel and distribution platform.

Additional enhancements to Mediator 4 include an advanced metadata system allowing information to be added, such as genre, cast, director and trivia. This information greatly enhances the value of content, making it simple to repurpose time and again for new delivery platforms such as VOD, podcasting and delivery to mobile platforms.

"By tightly integrating media asset management, workflow, playout and automation within our Mediator platform, our clients can reduce the complexity and repetition of performing the same tasks across multiple systems," explains Tim Butler, Solutions Architect.

"Consistent data is now available across the entire environments which allows workflow to be more efficient and enables operators to be truly multi-skilled - a growing requirement in our cost conscious industry." Butler adds.

Pharos has implemented its integrated Mediator 4 solution at a number of clients across the Middle East including a high profile project at twofour54, Abu Dhabi's state-of-the-art media precinct offering facilities to production houses and broadcasters to undertake their entire workflow from content generation, editing and delivery in HD.

Pharos will be demonstrating its full range of solutions on stand ZQ-24 at CABSAT 2010 from March 2nd to the 4th at Dubai International Convention and Exhibition Centre.

About Pharos
Pharos customers around the world benefit from an enterprise approach in all areas of traditional broadcast and new media operations. Pharos software solutions improve workflow and increase efficiency for broadcasters and service providers in television, radio, VOD and mobile publishing.

Since 1997 Pharos has pioneered collaborative desktop workflow and integrated third party infrastructure management. The unique Mediator content management platform, with its integrated Playtime playout and Pilot control options, provides efficient tools to deliver multi-format content globally. Today millions of media assets across hundreds of television channels and the increasing number of new media distribution networks, now benefit from the unique Pharos approach to integrated creativity, workflow and media logistics.

Pharos solutions offer a next-generation platform to better manage multi-format content and enable rapid expansion in playout, presentation and publishing. Pharos software architecture, integration and support services enable disparate broadcast and IT processes to be unified across the enterprise.

Pharos is an open company embracing open standards; we are proud of our people and of our unique development philosophy. Potential clients are welcome to inspect our development methods and fully evaluate the Pharos software platform and its unique distributed systems architecture.

phpr-211

"Intaj Lights Up" by Vijaya Cherian on Nov 21, 2009

Last month, twofour54, Abu Dhabi's media precinct, launched a state-of-the-art facility called intaj, to provide production houses and broadcasters with a one-stop HD solution that will enable them to undertake their entire workflow from content generation and editing to delivery.

In more ways than one, intaj is thought to be unique. While it may not be the largest facility in the region, it's the only one that presently offers a media asset management facility service for the region besides providing industry-standard solutions for end users.

Intaj presently operates five studios and several post production suites from two sites in Abu Dhabi located at the National Theatre site and Khalifa Park. The former includes three large HD studios, post production suites, and MAM and archiving systems while the latter, which is located within twofour54's headquarters, comprises, in addition to two small HD studios and post production suites, a playout centre and satellite teleport as well.

Heading the facility is Hasan Sayed Hasan, a former winner of the Digital Studio Broadcast Engineer of the Year award.
Hasan says clients can access an end-to-end solution that spans across all departments or use a combination of services that their project requires.

"The system is built in a flexible way to allow various clients -- each one of them having a different requirement or wanting to work in a different workflow -- to do their work smoothly," he explains. Hasan leads the tour.

STUDIOS

Our first stop is at twofour54 intaj's three large studios that were being used at the time of going to press by Abu Dhabi TV's sports channel -- a clear indication that demand will rise in time. Intaj boasts five studios in all.

Ranging in size from a news studio of 60sqm to a large live audience entertainment production studio of 650sqm, each studio is sound proofed and equipped with fully saturated lighting rigs and soft infinity cycloramas.

"Each of our studios comes with a fully-equipped production gallery, corresponding green rooms, VIP rooms, and make-up and dressing rooms. Each client's individual lighting and studio configurations can be saved so they don't have to revisit their settings each time they come to the facility," explains Hasan.

"In addition, we have a dedicated production gallery for each studio. This ensures that the facility can record or air five live broadcast shows at the same time," he adds. Large "elephant doors" allow full drive-in access to the three larger studios at the National Theatre site.

The studios include dedicated storage facilities to store clients' sets and other paraphernalia.

STUDIO RECORDING

Next, we move on to the studio recording area. The Pharos Mediator plays a key role here. It is used to initiate studio recordings, and control routers and servers for recording live and studio feeds. Hasan explains how it works.

"To start the recording process, the material ID is entered together with other available metadata such as a nominal duration. The server can be cued and placed into record, which will continue until the specified duration is reached or the Stop button is pressed. The recording is automatically entered in the Mediator database and is available for further processing such as transcoding for browse," he says. Multiple record ports can also be triggered from a single panel to provide 'ganged' record functions. In the meantime, ingest can be triggered via a soft panel, mouse click or a physical panel.

STUDIO PLAY-IN

Pharos' Studio Playtime is available in the studio galleries to replace hardware control panels with an intuitive touchscreen-based interface.
"Operations in a busy gallery require random access to clips and multiple channels feeding the studio mixer. Studio playtime is optimised for busy studio gallery operations or other areas where manual assist operation is appropriate," Hasan explains.

Studio Playtime essentially provides a paged content selector, which allows the operator to select and play video clips across a number of server ports. The user interface panels allow the Mediator database to be searched, and clips to be dragged into the grid. These clips can then be cued for playout on the available ports and triggered when required either via the interface or from external triggers such as GPIs.
Full integration with the media management system enables clips to be selected from the entire library.

They are then automatically transferred to the relevant server when required.

The user interface at intaj is fully integrated with browse, allowing clips to be previewed and trimmed as required for playout, explains Hasan.

"It also presents the clips in a grid across a number of pages allowing large numbers of clips to be instantly available. These grids can be pre-built and recalled when required for use," he says.

VIDEO SERVERS

At each of the intaj sites, a shared pool of Avid Airspeeds is available to the Pharos automation system to share between the studios, lines and media management.

Each Airspeed provides a single input or output port when operating in HD mode such as, when combined with a DNxchange module, explains Hasan.

"The Airspeed can also be configured to operate with SD such as, for dubbing SD files back to an SD VTR in the Media Management area. The Airspeeds are controlled with the Pharos Pilot control system," explains Hasan.

In addition to the AVID ports, a shared pool of ports of Omneon Spectrum HD servers is also available to the Pharos automation system to share across the whole chain.

VISION SWITCHERS

In the production galleries, intaj has chosen to install the Sony MVS-8000GSF video switchers. The MKS-2700 device control engines offer direct control of servers and other RS422 devices.

Omran Abdallah, engineering director at twofour54 intaj says the MVS-8000G was chosen because of some powerful features such as a Re-sizer function (internal 2D DME) and built-in format converter.

"The MVS-8000G suits intaj's HD productions and is in line with its operational requirements. It offers full multi-format operation across a variety of SD and HD formats, customisable control panels with highly intelligible indicators and buttons, advanced networking with system peripherals, integrated control and maintenance, powerful M/E functions and effects, and complete system scalability," he explains.

"In addition, the integrated MVE-8000A multi-format DME processor provides a wide variety of effects such as 2D/3D and linear/non-linear transforms in both HDTV and SDTV video formats. The system then allows DME- wipes, processed key, and a wide variety of attractive effects that can be controlled from the control panel as if they were a part of the switcher functions," he adds.

MONITORING

Abdallah then points out to the high quality video monitoring feature at intaj. He explains that this is crucial for producers, directors, and control room operators, especially in HD environments.

"In line with this thinking, we have chosen high-quality seamless video walls as the main monitoring systems. For instance, Barco's OVF-715 series displays are used in the larger studios' galleries. These are fed by the Miranda Kaleido-X multiviewers. The OVF-715 70" video wall systems are designed and optimised for use in a 24/7 mission critical environment.

"The Barco projection engine provides a high-contrast rear projection-system. Brightness, contrast, and large viewing angles are tailored to the human eye providing maximum readability. Also, it features a Sense6 technology that provides consistently excellent video wall colour uniformity over time," he explains.

TALKBACK (INTERCOM)

An important facility is the TELEX KP32 talkback panels and interfaces that provide comprehensive facilities to all operators.
These systems are configured to access assigned cameras, any studio floor wireless and wired facilities and any destinations of the overall broadcast centre intercom system, whether internal or external, Abdallah confides.

ON-AIR GRAPHICS

Taking us through to the next feature is AbdelFattah El-Hammouri, intaj's production operations manager. He tells us that the AVID Deko Graphics systems are accessible by each studio with the help of the Deko 3000. The Deko systems give real-time HD or SD graphics and advanced effects for live production and newsroom integration; delivering real-time 3D motions, 3D DVE-style transitions, video clips, linked sound effects and animating true 3D models.

"They have broadcast-focused workflow using intelligent templates, multi-aspect composition, Photoshop layer associations, user-definable macros with auto-learn functionality and full Unicode and QuickTime file support.

The ClipDeko option allows real-time native HD/SD graphics processing and synchronised audio clip playback," he explains.

AUDIO

Based on the Calrec Omega with Bluefin and Hydra audio network, intaj's audio production facilities provide fully redundant audio production systems with HD 24 bit/ 48KHz, 5.1 Surround Sound format, Dolby E, D and D+ Encoding/ Decoding (ready), 64 Stereo Digital AES I/O, 52 mono Line Outputs and 92 Mic/mono line inputs for each studio.

Calrec's Hydra Network allows the studios to be "combined" providing some 192 digital I/O and 156 analog mono I/O, all controlled from within a single Omega Desk, of 224 channels, 56 A/B Faders. Each console from one studio can access and control the audio lines from any of the other studio floors.

intaj has carefully planned its production facilities. It has paid special attention to the digital and network audio solutions, fitting its audio production suites with DAWs, and several different types of audio players and recorders ranging from minidisks to Dolby and DTS Surround audio formats, provided with GSM and POTS Telephone Hybrids, and ISDN/ IP codecs.

"Our studios, post-production, and VO Rooms/ suites, are acoustically treated to the highest standards. They are fitted with highly fire retardant material, and extremely low noise cooling system, which is less than 20 dBA at floor level," claims Hasan.

POST-PRODUCTION

We then move to intaj's post production facilities. intaj currently has 22 HD post facilities comprising video editing suites, audio post production, graphics and high end compositing suites.

intaj's post-production systems are based on a combination of AVID and Apple systems for video post production, DigiDesign Pro-Tools for audio postproduction and a mix of Mac and Windows-based Graphics workstations with a variety of 2D and 3D software packages installed on them.

"Our HD video editing suites are non-linear and available in multi-resolution for offline and complete end-to-end finishing. The audio suites here are geared for 5.1 surround sound and equipped with Pro-tools HD systems," adds Hasan. All AVID suites are connected to AVID Unity ISIS Storage with a mirrored storage capacity of more than 66TB, explains Martin Roberts, post production manager at twofour54 intaj.

The ingest "house format" for the AVID "world" will be the DNxHD120, he says. "We plan to combine the offline/ online editing process as we don't have any bandwidth limitations to handle the edit of multiple HD streams. This will save our clients both time and money as no online conform is required. For more of our high-end work, where the client requires to work in uncompressed HD, we can re-ingest directly into the AVID DS10 high-end compositing suite's 16TB Raid storage, where any additional finishing and compositing can take place. The DS10 unit also allows us to work in all the digital film formats such as RED, ARRI and other film formats for DPX finishing," Roberts says.

He also claims that the AVID Interplay MAM system allows them to be more productive in the post, providing both flexibility and efficiency. "These client workflows are designed to ensure the process is smooth all the way from ingest to offline/online to finishing, compositing and grading through to the final stages of a 5.1 surround mix in our Pro-Tools suites and that metadata is carried through to all stages," he explains.

In the meantime, the FCP suites are connected to the ISILON server with a capacity of 28TB. Ingest is typically done in a central ingest room through the Omneon Spectrum HD servers.

Martin explains that the "house format" for the Final cut Pro suites is the 50 Mbps Long GOP codec (as used in XDCAM HD). "A very wide range of formats is supported depending on clients' requirements. Content can also be ingested into 4TB external units that, in turn, can be directed to the edit suite if uncompressed HD or SD is required. Two of the FCP suites have been upgraded to higher-end online suites containing colour grading software and hardware feature deep effect capabilities," he explains.

MEDIA ASSET MANAGEMENT

This is one of twofour54 intaj's unique features as it cliams to be the first media company in the region to provide comprehensive media management and digital archiving services to the industry.

"A high storage capacity archiving system coupled with a sophisticated content storage management solution is designed to facilitate complex content and storage environments at intaj," claims Hasan.

Heading this part of the project is Eilidh Brandon, media asset manager at intaj.

With Pharos Mediator as the ingest tool, the material is first passed to multiple environments including Avid, Apple FCP and the production studios, allowing for a centralised point of entry for the material across both sites.

The system can handle both SD and HD material in multiple file and tape formats from HDCAM SR, HDCAM, P2 & XDCAM to digital betacam as well as external and studio feeds all from one central point ensuring proper standardised ingest QC and metadata capture.

Pharos contexts and Avid Interplay provide secure workspaces for each client within the edit environments based around their preferred workflows. This, in turn, protects client confidentiality and asset security throughout their stay with intaj. Both Avid Interplay and Pharos Mediator allow clients to browse their material prior to their edits, enabling them to create EDLs, thereby, streamlining the entire edit process.

"Metadata is crucial in facilitating the client's project and communicating vital information," explains Brandon. "By following the set workflow, intaj is able to both store clients' content and enrich their metadata in centralised areas easily accessible to the client as and when required," she explains. In the meantime, two Sony Petasite datatape libraries are controlled across the two sites by Front Porch Digital's DivArchive Middleware.

The full library management service caters to both the physical and file-based assets, thereby, offering a safe and secure environment to store media content at any quality required by the client.

This provides easy access to the client's materials, allowing them to reuse them without loss of quality, as can happen with videotapes.

"This service can also cater to both the content producer or the owner's long and short term requirements ensuring that the assets are always available and secure," explains Brandon.

PLAYOUT AND UPLINK

Besides asset management, intaj also provides a HD-capable teleport and a 20-channel playout centre.

INFRASTUCTURE

Last but not the least is the Evertz EQX routing systems that lie at the core of the project. These systems offer format independent data paths, and support 3Gb/s signals including SD-SDI, HD-SDI, DVB-ASI, SMPTE 310M digital video formats as well as optical formats. They support four independent timing planes that provide independent SMPTE compliant switching for up to four different digital video signal formats.

The central routing format is HD video with embedded audio.

Engineering director Abdallah claims that this simplifies routing operations and ensures consistent audio/married video routing. "All of the studios include a set of incoming line synchronisers, de-embedders and outgoing circuit embedders that allow direct signal routings of synchronous or non synchronous external signals. Those are based on Snell's broadcast infrastructure modular products. The facilities are highly resilient and fully redundant in all stages starting from acquisition till delivery," he explains.

The two intaj sites are linked with the expandable, high bandwidth MPLS network, in addition to dark fibres. This network is shared between VOIP, ftp A/V transfers and metadata traffic.

"All of the systems at twofour54 intaj are fully HD. The systems are 1080i but the infrastructure is designed and set up for 1080p (3Gb/s) as this is the format of the future," explains Hasan.

However, the head of twofour54 intaj is quick to add that cutting edge technology is only part of the equation. He reiterates that what twofour54 intaj brings to the table is the "skills, the talent and the creative minds".

"intaj has sourced some of the best engineers, operators, editors, designers, and client services team from across different parts of the world. We have sourced people who have the right combination of technical expertise, creativity and client-facing skills to facilitate the creation of high-quality content from Abu Dhabi. Our team is what I believe will make twofour54 intaj stand out in this region," Hasan explains.

Key systems integrators
MAIN SYSTEMS INTEGRATOR: SONY Professional Solutions Middle East.
Sony undertook the deployment and integration of the production, post and MAM facilities. The main suppliers under the Sony umbrella include AVID, Pharos, Omneon, Apple, ISILON, Front Porch Digital, Telex, Calrec, Evertz, Miranda, Snell & Wilcox, Barco, Autocue, Sennheiser, Canon, Genelec, Cisco and Vinten.

LIGHTING: Oasis Enterprises.

PLAYOUT CENTRE & SATELLITE TELEPORT:

SES Astra. Key players include Publitronic, NDSatcom, Harris, Andrew and Harmonic.

LIGHTING AT INTAJ

The lighting system at intaj's studios is designed to be flexible and enable a quick shift in the lighting set up from one programme to another.

Lighting in studios

• 80 motorised lighting hoists with 3 × 3kw dimmable channels, 1 X non dim 16 amps, 1 X DMX output (46 motorised lighting hoists in Studios 2 and 3)
• Saturated lighting grid with Desisti Leonardo 1kw Fresnel
• Desisti Leonardo 2kw Fresnel
• 4 tubes cool light and cyclorama light.
• 12 scenery hoists distributed on the border of the ceiling giving flexibility in lifting scenery pieces that do not exceed 200kg. (6 scenery hoists with similar features in Studios 2 and 3).

Dimmers:

• Studio 1 is equipped with 3 ETC + SENSOR RACKS of 288 dimmable channels x 3kw each.
• Studios 2 & 3 have 162× 3KW Dimmer modules each.

Non dim Power:

• Each Studio is able to supply up to 100 amps x 3 phase as non dim power to be used for moving lights and effects.

Hoist control system:

• Each studio is equipped with two Icarus hoist control computerised panels that can memorise hoist positions in order to recall them when required.
• Each studio is equipped with a wireless Motorola remote control to enable the lighting operator to work with more flexibility on the studio floor.

Lighting consoles:

• The lighting controllers consist of Ion and Eos lighting consoles from ETC.
• 5 x Ion lighting consoles with 2 DMX (512) Universes that could be extended into 8 DMX (512) Universes by using the ETC 3 DMX to Ethernet gateway.
• 1 EOS lighting console located in gallery 1 which is compatible with the Ion console in gallery 2 and 3.
• The lighting operator is able to programme the show from the studio floor and save it on a memory stick, then load the configuration onto the gallery console and operate the show on air from there.

Outdoor lighting:

• intaj also has a comprehensive stock of grips and accessories such as butterflies, reflectors, flags and tripod systems.
• Desisti Rembrandt Piccolo 200W and 575W HMI kits
• Desisti Rembrandt 1200/ 2500/ 4000/ 6000W HMI kits
• Desisti Cosmobeam 800W READ head kits
• Desisti Cosmobeam 1000W open face kits
• 650W Dedo Light Tungsten kits
• Sundance Dedo Light Kit 200W Daylight/Tungsten
• kino flo Diva -Lite 200 and 400 Universal kits
• Mini Flo 12'' Universal Kits

First published on Digital Production Middle East, November 2009

Ascent Media's Stephen Street Media Center in central London has been completely transformed from a transmission center based on linear playout to one capable of realizing the fluid distribution needs of clients faced with multichannel playout and delivery to multiple new media platforms with media asset management and workflow at its core. The new technology enables Ascent Media to build revenue for its clients as they seek to scale operations nationally or internationally.

Ascent's media center, part of its European transmission center, manages services for 18 channels for international broadcasters including Sony Pictures Television International, InfoTV and Disney, with another major broadcast customers on the verge of being added.

Using Pharos' Mediator content management and workflow platform, the service provider now manages 300 hours of new content per week as a combination of electronic file delivery and tape-based ingest. Mediator provides a single point of reference for all the ingest workflow at the ETC, streamlining content encoding into MPEG-file formats ranging from low-res proxies at MPEG-4, SD typically at MPEG-2 15Mb/s or IMX50, and HD across the board as XDCAM HD 50Mb/s. Following ingest, every short- or long-form item is subject to rigorous QC to ensure integrity and that the right material can pass further into the workflow.

SPTI teams in Soho or at Sony's European headquarters in Budapest, Hungary, have remote visibility of their material in Mediator. Promotions teams can browse low-res material and send a shot list to Mediator, which automatically performs a high-res restore of those shots and sends them to the relevant Sony office for editing on Final Cut Pro. The finished promo is output as a file and returned securely to Mediator ready for approval and playout.

The ETC also integrates with Ascent Media's global networks that deliver more than 35,000 hours of media content each week and play out more than 100,000 clock-accurate elements daily across more than 300 linear channels.

First published on Broadcast Engineering website, November 2009

Originally incorporated within the ETC to serve the transmission needs of broadcasters like Sony and Disney, Mediator has enabled Ascent to add VoD provider Filmflex to its roster.

"One of the key reasons we selected Mediator was that it could service different types of business model," affirmed Samwell. "It offers the flexibility to increase or scale the system for clients without escalating the cost. Today we ingest content for Sony for transmission but since the assets we store for them are now entirely browseable they can start to publish content for platforms like VoD, web and mobile. This truly is ingest once at high quality and repurpose many times to maximise the value of your asset."

At IBC Pharos unveiled a range of workflow options to increase the efficiency of content preparation from Mediator. Version 4.2 includes the ability to ingest raw footage and rushes for swift transference to editing platforms including Avid, FCP and Quantel. Mediator can now import metadata from third party editing systems, such as Avid Interplay, for storage and later use during editing.

Pharos and Software Generation (SGL) have announced details of a recent contract for HBO Asia. The Singapore-based broadcaster has re-equipped its playout facility to provide more channels and to support new HD services.

HBO started the project in 2008. Russell Grute at Pharos explained: "HBO wanted to use the same number of staff to get more channel to more countries." As part of the refurbishment, HBO also wanted to add support for HD services. "Since we started the project, they have added about two more channels every six weeks with no more staff" Grute said, "and they launched the first HD service Oct. 1 this year."

The system is designed around an Omneon storage and processing platform, SGL FlashNet archive management and Pharos Mediator and Playtime content management and automation. Channel branding is provided by Pixel Power Clarity and Orad 3D Play.
Media is delivered to HBO Asia as tapes and, increasingly, electronically as files. SD content is handled in QuickTime-wrapped, 50Mb/s IMX MPEG-2 format. The new HD material is ingested using the Apple ProRes 422 codec at 220Mb/s. Following QC, a high-resolution copy is archived and then reversioned for various markets.

More than 1TB of data is processed daily by the new system because thousands of transfers are required to feed the 12 SD and new HD channels. HBO Asia chose SGL to archive both its transmission and post-production content. SGL's FlashNet archive system sits between the Pharos Mediator content management and workflow systems and a Sun StorageTek tape library. HD source masters are stored in the ProRes 422 format. Mediator predicts what rate material is restored from the archive in preparation for playout to avoid contention in the restore process. To reversion content, SGL recalls both the media and project. Using Final Cut Pro, HBO editors create versions to fit the censorship rules for each target market.

"Pharos Mediator uses FlashNet to manage and maintain the data tape archive subsystem, which helps support the complex lifecycle of HBO Asia's multilingual programming from ingest through to transmission," Grute said. "Using FlashNet and Mediator's integrated transfer management, the archive system is seamlessly integrated with the other storage subsystems. These include Omneon Spectrum ingest servers and MediaGrid online storage, new Apple Xsan storage for compliance and promotions editing and the Omneon transmission servers. The existing FlashNet installation already served the busy multichannel workflow at HBO Asia, and it was expanded while live on air and during the network's recent HD migration."

As media flows though the broadcast processes, several transcode steps are needed to create proxies and playout files. HD content is transcoded to long-GOP 50Mb/s XDCAM HD format for playout. HBO uses a mix of Omneon ProXchange and Rhozet for the transcoding process.

The ProXchange transcoding runs on the MediaGrid storage array. Mediator manages metadata linking the five or more versions to the original master. "Mediator mediates the priorities between the traffic and scheduling systems with the broadcast," Grute said. "It doesn't wait until playout to assemble the schedule; Mediator's job is to be a slave to business priorities."

More recently, Pharos has added the promotions workflow with Final Cut editing. Once promos have been compiled, text and graphics are added using Orad 3DPlay with data from Mediator. This allows HBO to easily promote movies across multiple channels and time zones.

There is also a substantial workload to author and deliver subtitles for each movie. Subtitles are inserted into the MPEG transport stream with a Cavena system. Pharos manages the workflow and controls the subtitle system via Cavena's API.

First published on BroadcastEngineering.com, October 2009

Ascent Media's Stephen Street Media Centre has been completely transformed from a transmission centre based on linear playout to one capable of realizing the fluid distribution needs of clients faced with multi-channel playout and delivery to multiple new media platforms with media asset management and workflow at its core. Crucially the new technology enables Ascent Media to build revenue for its clients as they seek to scale operations nationally or internationally.

"Our customers saw a huge benefit in moving from a transactional based model to a managed service fee model," explains Steven Samwell, Director of Technology, Ascent Media. "Previously a core client like Sony would pay separately for each job from ingest to playout. Every encode, dub or Fedex of tape was a one-off transaction. Mediator now allows us to offer a managed service and our clients can benefit from a single monthly inclusive rate. This new business approach is of huge benefit to customers, significantly helping them to reduce their media administration overheads."

Ascent's Media Centre, part of its European Transmission Centre (ETC), manages services for 18 channels for international broadcasters including Sony Pictures Television International (SPTI), InfoTV and Disney with another major broadcast customer on the verge of being added. Typically Mediator now manages 300 hours of new content per week as a combination of electronic file delivery and tape based ingest. Regardless of the automation system or distribution engine Mediator provides a single point of reference for all the ingest workflow at the ETC, streamlining content encoding into MPEG-file formats ranging from low-res proxies at MPEG-4, SD typically at MPEG-2 15Mbps or IMX50 and HD across the board as XDCAM HD 50Mbps. Following ingest every short or long-form item is subject to a rigorous Spot Check via Mediator to check its integrity and ensure the right material can pass further into the workflow.

"Our key requirements included automated and accelerated ingest, electronic file processing and the ability to handle multiple languages more efficiently," says Samwell. "Just as our workflow for subtitling and languages was previously tape-based so our clients' ability to edit promos is now file based."

SPTI teams in Soho or at Sony's European headquarters in Budapest have remote visibility of their material in Mediator. Promotions teams can browse low-res material, send a shot list to Mediator which automatically performs a high-res restore of those shots and sends them to the relevant Sony office for editing on Final Cut Pro. The finished promo is output as a file and returned securely to Mediator ready for approval and playout.

Originally incorporated within the ETC to serve the existing transmission needs of broadcasters, Mediator has also enabled Ascent Media to add video on demand provider Filmflex to its roster.

"One of the key reasons we selected Mediator was that it could service different types of business model," says Samwell. "It offers the flexibility to increase or scale the system for clients without escalating the cost. Today we ingest content for Sony for transmission but since the assets we store for them are now entirely browseable and accessible they can start to publish content for other platforms like VoD, web and mobile. This truly is ingest at high quality once, and repurpose many times to maximize the value of your asset."

The ETC also integrates with Ascent Media's global networks which deliver over 35,000 hours of media content each week and plays out over 100,000 clock accurate elements daily across more than 300 linear channels.

"Pharos specializes in content process reengineering, helping world class service providers like Ascent Media transition to the most efficient file-based workflows," comments Russell Grute, Marketing Director, Pharos. "The platform that we've helped establish within Ascent's Media Centre allows them to accept multiple clients, provide clients with a menu of options with which to expand their business and the tools to rapidly carry out those new deployments. Pharos' expertise is the ability to link media, material and metadata together with workflow and we are working with Ascent to help improve services for all its clients"

About Pharos
Pharos delivers content management and workflow solutions to broadcasters and service providers in television, radio, VOD and mobile distribution. Pharos solutions help global media companies rapidly adopt and benefit from file based multi-platform distribution. With Pharos, media organisations can simplify workflow processes, unify operational teams and better utilise their technology infrastructure across the entire broadcast value chain. For further information, visit www.pharos.tv

Pharos unveiled a range of workflow options to increase the efficiency of content preparation from Mediator and at IBC highlighted the business benefits the system brought to its clients, such as Ascent Media in London.

Mediator 4 version 2 now includes the ability to ingest raw footage and rushes for swift transference to editing platforms including Avid, FCP and Quantel. Mediator can now import metadata from third party editing systems, such as Avid Interplay, for storage and later use during editing.

Also new is an advanced metadata system allowing, for example, data to be added for actor, genre, and director information. Trivia for VoD delivery can be added and passed to the appropriate delivery platform. Metadata can pass through a workflow in the same way as content to maintain standards and consistency.

The manufacturer highlighted how, a year after installation at Ascent Media's London-based European Transmission Centre (ETC), Pharos' Mediator content management platform is delivering business savings

According to Steven Samwell, technical director, Ascent Media: "Our customers saw a huge benefit in moving from a transactional-based model to a managed service fee model. Previously clients would pay separately for every single job from ingest to playout. Mediator allows us to offer a managed service where the client is billed one fee per month. That approach significantly helps customers reduce their media administration overheads."

Originally incorporated within the ETC to serve the transmission needs of broadcasters like Sony and Disney, Mediator has enabled Ascent to add VoD provider Filmflex to its roster.

"One of the key reasons we selected Mediator was that it could service different types of business model," affirms Samwell. "It offers the flexibility to increase or scale the system for clients without escalating the cost. Today we ingest content for Sony for transmission but since the assets we store for them are now entirely browseable they can start to publish content for platforms like VoD, web and mobile. This truly is ingest once at high quality and repurpose many times to maximise the value of your asset."

First Published in the IBC e-Daily September 2009 Read more from the IBC e-Daily

As Neil Keaveney, Director of Technology for TG4 explains, "We looked at media management solutions roughly 5 years ago. At the time, we felt, that the available technology and solutions were not mature enough and our needs could still be met by a combination of file and tape based systems."

However, since its launch in 1996, TG4 has grown its audience substantially and was an early pioneer of broadband-based TV services, which it launched in 2003.

The multi award-winning Broadcaster is also part of the scheme run by the BCI to archive media content in high resolution for future generations as well as providing programming to schools in 32 counties via the HEAnet national high speed network.

The multi award winning broadcaster has a remit under broadcasting legislation to preserve and grant access to its programme archive. The BCI or Broadcast Commission of Ireland are currently developing an Archive scheme for national channels. TG4 coincidentally shares the same broadband infrastructure as the HEAnet, which could facilitate University and Schools access on a 32 county basis.

As John Higgins, Systems / Project manager for Media Asset Management systems at TG4 explains, "With more content required for on-demand, a strong in-house production team and high definition TV just over the horizon, we were starting to feel the strain on our people and resources."

Following extensive research at several industry trade shows and backed by a six-month project to catalogue their existing workflows, Keaveney and Higgins began the formal EU tendering process in late 2007. The procurement project reduced the number of prospective suppliers from 6 to just 2 with a combination of Sony and Pharos proving the best fit based on a tough final assessment criterion grading features, reliability and flexibility.

"It is a balancing act between all the different criteria but we were particularly impressed by the way Pharos manages workflows, the strength of Mediator' desktop user interface and the fact that Pharos provides an open API," comments Higgins, "We are a pretty self sufficient organisation and we felt that a system that would allow us to make modest changes in-house without recourse to external developers fitted well with our ethos."

The project is currently going through final equipment testing with the first ingest phase due to go live in September. The Pharos solution will act as our key integration platform between other key technology systems from MediaGenix, Omneon and Sony.

"The system is going to have a profound and positive long term effect on our organisation" explains Keaveney, "The benefits will be felt across every department and will ultimately let our staff focus on their production and content preparation jobs and less on the time consuming administration duties that have gradually taken up more of their valuable time."

"TG4 entertains nearly a million viewers every day, producing everything from live news and sport, as well as highly popular in house shows such as Paisean Faisean." Says Russell Grute, Marketing Director at Pharos, " An award winner for its promos and idents, TG4 also offers the TG4 BEO VOD service. Pharos and Sony have worked closely to devise one of the most tightly integrated systems ever, to improve productivity and allow TG4's creative and technical teams get the most out of every piece of content and equipment."

Pharos solutions help multi-channel broadcasters and service providers quickly adopt and benefit from file based multi-platform distribution. With Pharos, organisations can simplify workflow processes, unify operational teams and better utilise the technology infrastructure across the entire broadcast value chain. Millions of media assets across hundreds of television channels are powered 24/7 by Pharos' software architecture, integration expertise and comprehensive support services.

Final roll out of the complete solution is planned for mid 2010.

About Pharos
Pharos delivers content management and workflow to broadcasters and service providers in television, radio, VOD and mobile distribution. Pharos solutions help global media companies rapidly adopt and benefit from file based multi-platform distribution. With Pharos, organisations simplify workflow processes, unify operational teams and better utilise the technology infrastructure across the entire broadcast value chain.

phpr-206

Any interesting trends to report?

At NAB this year I could feel a much keener focus on making the right decisions - customers had done their homework, and they did not leave us until they had the answers they wanted. We met some very well prepared customers this year.

Regarding technology trends - key building blocks in IT, media file wrappers and codecs, they are now ready and mature, there is less inventing going on and more integration. Another trend I noticed was the rise of the business and channel management companies - I think the future trend is to look from the top down, look at business priorities, at what various processes mean to the business, where they are being monetised and crucially what bad processes really cost.

Working efficiently across the business is a top priority for broadcasters. What can Pharos do for them?

Efficiency is our core business, trying to get processes, users and technology better screwed together on a wider scale. We're helping our customers change the processes and work more efficiently department by department. Our typical customer is either a multichannel broadcaster or a busy publisher broadcaster with complex thematic content. They broadcast to a growing number of regions and they need to efficiently localise content using subtitles or voiceovers. They also create multiple local channel identities and the promotional structure to grow these new audiences. Our solutions are now addressing a wider range of departments across the business - we have almost reached critical mass where we can cover enough of the business, or enterprise as many like to say, to help reorganise content preparation and playout operations completely.

Let's look at a recent project.

We've been working with HBO Asia in Singapore for a year now - they now broadcast to over 30m viewers. The main difficulty for HBO is the number of languages they have to manage and the number of different promotions they have to create and securely distribute to 22 different countries in and around SEA. So we've worked closely with both the operations and engineering teams to study the key backend processes to help improve that workflow. HBO replaced their existing automation with Pharos Playtime but the most significant achievement was rationalising out the backend workflow using Pharos Mediator. An integrated approach to workflow and automation meant they could be very much more efficient upstream to make the playout automation work more cost efficiently downstream. Their long term aim was to create a cost-efficient workflow to enable them to expand further in Asia so they can get to more countries without increasing staff. We have also helped them go HD at no extra cost. In the next phase for HBO we are going to tackle automated QC workflows, and their compliance and promotions editing workflows. These kind of workflow reorganisation projects are long term, customers need to recognise which department or processes to tackle first. Another recent new client is UK multichannel broadcaster Channel 5. Over a one-year project we are improving their in-house workflow - they are aiming to save hundreds of thousands of pounds per year in tangible costs. Channel 5 uses other service providers in London including Ascent Media and Red Bee Media, and this project also aims to integrate Channel 5 more closely with those other providers in areas like ingest and content transfer.

If a new client comes to you - what typically happens?

Try to look at key processes that should be improved across the business. They often see their challenge in terms of technology choice first, although increasingly they do want to talk about their users, operators and departments and the processes developed so far, so that's bottom and middle. There is however a crucial top layer where we recognise that the business management systems they use in planning such as acquisitions, resource management, traffic or scheduling are actually running their organisation. Alonger term perspective that looks top down to mediate business priorities across the departments, staff and technology - and work out where they could make the biggest gains first whilst showing them that they can tackle all the other stuff in the longer term. We're embarking on one of these projects every few months now, so we have built up a lot of experience. And it is getting easier to show prospective clients what other customers have achieved so far.

You are one of the companies that drives technological change...

There is innovation in the product and the solution of course, and in project delivery. We have become a specialist for content, workflow management and automation projects. There are 70 of us here at Pharos, and that's all we do. We're also a software integrator which really helps. Where we have really innovated is in long term support. The real unsung hero is our support team who keep our customers in action 24/7 - we provide the backend to keep content moving for more than 300 channels globally now and more importantly our solutions are managing millions of assets a year for our customers. We have developed a whole new remote support methodology here, with a support team of only about 8 -10 people who manage this 24/7.

What are the latest developments?

We recently founded our first overseas office in Singapore and now have staff there. Asia and what is usually known as the Middle East are very interesting to us right now. Both regions have complex content and many regions to address. One recent large project is a contract to provide studio control, media management, workflow and playout for new Arabic content creator twofour54 in the Abu Dhabi Media Zone and its partner venture in transmission ADTV. And we are also striking out to North America - we have opened a new US office and appointed Glen Sakata as General Manager - Americas to help capitalise on strong demand for Pharos solutions.

What about the competition?

It's a confusing time because things are moving so fast. Use of the more conventional broadcast signal path technology is decelerating rapidly and the need for file-based workflows and tapeless systems to work properly now is very pressing. So technology providers that really have learnt what they needed to know for tapeless and file-based, the manufacturers that really have the breadth of experience in delivering real workflow and media management projects, real archive projects, real transmission projects, and really extending linear TV into VOD, those are the ones that are now best placed. It's our future strategy to extend linear TV workflow efficiently into whatever on-demand becomes. We did this for Channel 4 with 4OD quite a few years ago and all of our customers including Ascent, MTV and Viasat are adding their own on demand workflows.

How do you see the broadcast industry moving?

It's going through a traumatic yet healthy consolidation right now which is driving efficiency - viewers in turn are moving from push to pull consumption which is making investment decisions difficult for our customers. So we are helping our customers increase efficiency in their existing linear TV, get to more countries and a wider audience, and at the same time get them ready for on demand - with the same Pharos solution and aiming at no staff increases. We have already taken some big organisations through some big changes. Our customer base is trying to survive, isn't it, so we are seeking to share what's already worked for others.

First published in AIB's journal The Channel - August 2009

phpr-207

Mediator also improves the workflow right across the business when using the Pharos Playtime multi-channel playout or Pharos Pilot Studio and MCR control options.

NEW: Advanced user interface

Mediator 4 version 2 delivers an intuitive, award winning user interface with advanced search tools and browse with audio scrubbing at every desktop. Using Adobe Flash and MPEG4 Mediator provides the most productive user experience ever.

In conjunction with Mediator's proven workflows for every area of operations, the most complex tasks can now be streamlined meaning fewer button presses and providing accurate form based data entry.

NEW: Streamlined ingest and import workflows

Mediator efficiently manages ingest from tape, electronic file import and live record with easier metadata entry and retrieval. The widest range of file types and wrappers can now be handled side by side including any combination of MXF, Apple QuickTime and Avid DNxHD. Mediator's integrated processing for re-wrapping on the fly will also improve ingest throughput when working with multiple languages.

NEW: Resource sharing during ingest

Improve content throughput by over 20% by dynamically allocating encoder ports to expensive third party hardware such as Flexicarts or HD/SD VTRs thus underlining Pharos commitment to maximising utilisation of existing hardware.

NEW: Advanced metadata modelling and workflows

Pharos Mediator's advanced metadata system provides customisable metadata models for many applications. Mediator's metadata forms can be customised, for example, to allow data to be added for actor, genre, and director information. Trivia for VOD delivery can also be added and passed to the appropriate delivery platform. Metadata can pass through a workflow in the same way as the content to maintain standards and consistency.

NEW: Raw encode.

Raw footage and rushes can now be ingested by Mediator and transferred to editing platforms including Avid, Final Cut Pro and Quantel. Content without mark-up, unedited programmes and rushes are managed, transferred and archived as required. Mediator can now import metadata from third party editing systems, such as Avid Interplay, for storage and later use during editing.

NEW: Browse rough cut preview at the desktop

When using Mediator browse to select clips for compliance or promotions editing, Mediator quickly constructs a browse proxy copy to enable a rough cut preview in the browser. This allows initial shot selection and editing decisions to be made at the desktop before delivery to the editing platform.

NEW: Advanced browse audio scrubbing

Browse audio can be jogged and shuttled as if controlling a VTR, making marking up of content for compliance and promotions easier. Mediator fully supports jog/shuttle wheels providing faster and finer control of browse video.

NEW: Extend mediator browse to third party systems

Improvements to Mediator's remote browse capabilities now allow direct streaming of browse material to third-party post-production, subtitling and graphics facilities. This allows Mediator to distribute content and drive the workflow for the most complicated businesses.

NEW: A wider range of third-party QC integration to speed up content import and delivery

Support for Amberfin iCR, Interra Baton and Tektronix Cerify allows the delivery specification for material and metadata to be automatically enforced at any point in the workflow. Warning and advisory notices are passed to the QC operator to aid their decision making.

When publishing to multi-format platforms, Mediator has offered integral transcoding and re-wrapping for some time, and now it can also automatically QC material and metadata for delivery.

NEW: Pharos Event Templates simplify channel management and promotions

The creation and delivery of complex secondary events such as 'coming up next' graphics, credit squeezes and series promotions is now simplified using Pharos Event Templates. Frame-accurate markers can be added to content after QC and Compliance checking to assist graphics designers and to trigger promotions during playout when using the Pharos Playtime playout option.

Cross-channel promotions can also be managed using Event Templates to automatically update on-screen timings where schedules across multiple channels are changing.

NEW: Avid Interplay integration

Mediator 4 version 2 provides improved integration for multi-format ingest, production and post production workflow when using Avid Interplay. Mediator's new integration complements existing Avid Interplay tools by:

• Enabling multi-format HD DNxHD and SD content to be ingested and registered with Avid's AirSpeed.
• Synchronising key Avid metadata such as workspace, catalogue and tape name between the production system and Mediator asset management database and workflow.
• Metadata can be updated in either Interplay or Mediator at any stage of the workflow meaning users of both systems always have access to the latest versions of the material.
• Mediator ingest checks for confirmation that the file has been ingested correctly into Interplay. Mediator also provides the functionality to use file based QC tools such as Tektronix Cerify and Interra Baton with Interplay systems.
• Clips can also be previewed directly from the Avid Isis online store into a Mediator desktop browse player.

New: Apple Final Cut Pro and Final Cut Server Integration

Mediator can increase editing throughput and productivity when handling large volumes of complex content for compliance and promotions editing.
When previewing material for compliance and promotions editing, Mediator's desktop browse allows frame accurate shot selection at the desktop. New Mediator browse offline rough-cut assembly allows an easy preview before post production is finalised in Final Cut Pro. The marked up hi-res content is then automatically transferred to the Final Cut Pro / X SAN ready for immediate editing.
For compliance workflows comments can be added by title or territory using Mediator browse at the desktop.
Multi-language audio is managed between Mediator and Final Cut Pro. Languages are automatically tagged ensuring the correct audio language tracks are transmitted every time.