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NEWS MANAGE & MONITOR “The media industry’s initial priority is to create UHD content,” so says Kevin Dunsheath, Leader’s director of eastern sales for the US and Canada. He believes that programme makers are becoming “increasingly keen” to invest in 4k cameras to “maximize the shelf life of their work.” He says this is being encouraged by competitive 4k camera prices and the rapidly falling cost of 4k consumer television displays. Clearly, he’s saying this with one eye on his company’s own T&M products (see below), which are used by cameramen who need confirmation that they are delivering the best possible signals directly from the frontline of the production process. But, is Dunsheath right to pinpoint consumer electronics (CE) trends as a catalyst? I’m not convinced. That seems like too big a leap. Yes, 4k TVs will reach roughly 23% market penetration globally by 2016, (according to research by market intelligence firm TrendForce). And yes, here in the UK we already have access to 4k streams of Netflix and BT Sport Ultra HD plus the new SkyQ set-top box is going to be UHD compatible. But people have been shooting content in 4k for years. Just because cameramen need to monitor these pictures is not an indication of, or a reaction to, a change at the consumer end. The extra resolution is useful in post, for capturing detail and for future proofing, as Dunsheath correctly points out. CE manufacturers certainly need content makers to maker content. But content makers don’t need the CE manufacturers to sell TVs. As such, I would be hugely surprised if production companies want to shoot in 4k because sales of UHD TVs might rise. Production value and putting value on screen is their main priority. And will continue to remain so, regardless of whether we are watching in SD or 8k. QC Bristol’s Big Bang Post Production has installed Vidcheck’s Vidchecker-post automated quality control software. Supplied by ATG Danmon UK, the application will be used to ensure that files leaving the facility are up to the technical standard specified by the DPP for file-based delivery of TV programmes. Tim Bolt, co- founder and managing director of Big Bang, said: “Vidchecker-post enables us to make certain that all content files produced for our customers conform fully to the signal and metadata parameters approved by the UK’s major broadcasters. It performs a thorough check of video and audio quality and our operators can choose between multiple levels of checking including fail- on-error.” Asset management Cinegy has agreed a distribution partnership with Berlin-based Media Logic. Media Logic chief technical officer Dirk Hellwig said of the partnership: “The rich feature set and attractive price range of Cinegy’s software-only products really stand out. There is a strong market demand for IP- based technology. In view of Cinegy’s clear leadership position, particularly with the recent introduction of Cinegy JET Pack, we very much look forward to applying our existing expertise to expand Cinegys reach with their highly compelling range.” Cinegy JET Pack is an all-in-one offering for: playout; CG and branding; ingest and encoding; monitoring; live production and mixing; and transcoding. It is available on an annual subscription basis. 22 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 108 DECEMBER 2015