Broadcastpro – Page 37 – Virtual BroadcastPro Tech Summit | 14 – 15 Jun 2022 | Online
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Amazon has selected United Launch Alliance’s Atlas V rocket for nine missions from Cape Canaveral to deploy satellites for the Kuiper internet constellation, a fleet designed to eventually number more than 3,200 spacecraft.

The nine missions will lift off from ULA’s facilities at Cape Canaveral Space Force Station, but officials did not reveal when they will launch. Amazon and ULA — a 50-50 joint venture between Boeing and Lockheed Martin — also did not disclose how many satellites will fly on each Atlas V mission, or which Atlas V rocket configuration will launch the Kuiper spacecraft.

Speaking about the deal, Jeff Bezos, Amazon founder and CEO, said: “We’re determined to make affordable broadband a reality for customers and communities around the world. ULA is a fantastic partner that’s successfully launched dozens of missions for commercial and government customers, and we’re grateful for their support of Kuiper.”

Atlas V rockets have flown 86 times since 2002, all successfully, with payloads for the US military, the US government’s intelligence agencies, NASA, and commercial customers.

The Kuiper network will beam low-latency Ka-band broadband services to customers between 56 degrees north and 56 degrees south latitude, according to Amazon. Half of the Kuiper network’s 3,236 satellites must be launched by mid-2026 for Amazon to maintain network authorization from the Federal Communications Commission.

The nine Atlas 5 missions are just a start. Amazon says it plans to use multiple types of launch vehicles from multiple companies to deploy the entire fleet of Kuiper satellites.

The first phase of the Kuiper deployment sequence will launch 578 satellites into 391-mile-high orbits with an inclination of 51.9 degrees, according to Amazon’s FCC filings.

The FCC approved Amazon’s Kuiper network last July. Amazon says it is investing $10bn into the project, which is headquartered in Redmond, Washington, home to a Kuiper research, development, and manufacturing facility. 

Amazon has not revealed the size and mass of the Kuiper satellites.

Rajeev Badyal, Vice President of technology for Project Kuiper, added: “We’ve designed our satellites and dispenser system to accommodate multiple launch vehicles — this gives us the flexibility to use many different rockets and providers to launch our satellite system. Atlas V is a capable, reliable rocket, and we’re proud to be working with ULA to support these important first launches.”

Tory Bruno, President and CEO of ULA, stated: “Project Kuiper is an ambitious project with the potential to connect tens of millions of people around the planet. The scope and scale of the initiative will also provide an enormous boost to US leadership in space, helping create jobs and providing steady, reliable demand for the launch services industry. We’re honoured to have Amazon turn to ULA and Atlas V to support its deployment plans.”

ULA is developing a next-generation rocket named the Vulcan Centaur to replace the company’s current Atlas 5 and Delta 4 rocket families. The first Vulcan test launch is scheduled at the end of this year.

ULA is ending production of Delta 4 rockets, and only four Delta 4 flights remain on ULA’s schedule through late 2023, including a Delta 4-Heavy launch scheduled for April 26 from California.

The Atlas V will also be phased out, but ULA has said it plans to keep launching Atlas rockets in tandem with the early Vulcan launches for several years.

With the nine Kuiper missions now reserved with ULA, there are nearly 30 Atlas V missions in the company’s backlog.

Several companies are in the pool of commercial launch providers vying for Kuiper launches. Blue Origin, a space company also owned by Bezos, has said it will have to compete for Kuiper launch contracts, alongside ULA, Arianespace, and perhaps even SpaceX, which is deploying its own internet network in competition with Amazon’s Kuiper.

“We will continue to explore all options to launch the remainder of our satellite constellation, and we look forward to working with companies across the launch services industry to advance U.S. leadership in space and create jobs across the country,” Amazon said in a statement.

The Kuiper network will compete with SpaceX’s Starlink fleet, the OneWeb broadband system, Telesat’s planned Lightspeed network, and other future low Earth orbit constellations.

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British Academy of Film and Television Arts (BAFTA) has announced the illustrious list of jury members for its debut BAFTA Breakthrough India initiative, supported by Netflix. Distinguished professionals from across the film, games and television industries came together to select this year’s honourees. The jury was chaired by BAFTA Breakthrough India Ambassador, AR Rahman.

Jury members include actor Anupam Kher (New Amsterdam); former BAFTA Breakthrough and games producer Charu Desodt; BAFTA chair and TV producer Krishnendu Majumdar; filmmakers Mira Nair (A Suitable Boy) and Shonali Bose (The Sky is Pink); Monika Shergill, VP, content, Netflix India; and Siddharth Roy Kapur, producer at Roy Kapur Films (Yeh Ballet).

BAFTA invited candidates from across the country to apply for their flagship talent initiative ‘BAFTA Breakthrough India’. Due to an overwhelming number of quality applications from the films, games and television industries nationwide, the initiative will recognise not five but ten emerging Indian talents across the three industries.

The ten chosen BAFTA Breakthrough India honourees will receive one-to-one mentoring and career guidance, full voting BAFTA membership and access to BAFTA events and networking opportunities, both in the UK and internationally.

Due to the ongoing Covid-19 pandemic, the jury met virtually, bringing together a diverse mix of national and international knowledge across the film, games and television industries.

BAFTA Breakthrough India Ambassador and Jury Chair, AR Rahman, said: “BAFTA is a platform where artists from around the world, including the best from India, are represented and celebrated, and it’s my honour to be a part of its Breakthrough India jury. There are many creatives in India who are looking to bring their art to the world, to showcase India’s vibrant and diverse culture, but unfortunately, they face traps both mental and external. The opportunity to discuss these blocks, to engage on issues of creativity, to make the right connections, to network and grow, would greatly benefit the plethora of talent we have in our country. Through Breakthrough, we offer artists our knowledge and connectivity, as well as opportunities that’ll hopefully nurture their craft and help them leave their mark on the world. India is home to incredible artists and I’m proud of us. It’s time we make our names known, it’s time we all shine.”

Amanda Berry OBE, Chief Executive at BAFTA, added: “India has one of the most fascinating creative industries and is home to so many talented films, games and television practitioners. The BAFTA Breakthrough initiative will facilitate meaningful collaborations between creative communities globally and that is one of the most exciting, extraordinary parts of the initiative. We are so excited to be supporting the next generation of talent in India and look forward to working with them and offering unique career development, networking and promotion on a global stage.”

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UAE-based Emaar Entertainment, a subsidiary of Dubai-listed developer Emaar Properties, has entered into a partnership with Saudi Arabia’s Gosi Investment Ventures to expand its Reel Cinemas chain into the Kingdom.

“The partnership plans an expansion into the Kingdom’s entertainment market, which means reaching cinema fans no matter where they are in Saudi Arabia. Within the next five years, audiences can look forward to twenty new venues which will include both cinemas and family entertainment centres across the Kingdom. The ambitious plan will chart the future of entertainment and diversity in KSA which will undoubtedly create career opportunities through the SAR1bn ($266m) investment,” the companies said in a statement.

Commenting on the partnership, Gosi Investment Ventures spokesperson, Mazen H Qandeel, said: “We are thrilled to partner with Emaar Entertainment Saudi to bring the first Reel Cinemas venue to the Kingdom of Saudi Arabia. Audiences can look forward to enjoying an incomparable movie-watching experience – incorporating not just the latest movie content, but also delectable dining options, superior customer service and cutting-edge technology.”

Ahmad Matrooshi, Executive Board Member – Emaar Properties, said: “We are proud to bring a world-class entertainment experience to Riyadh with our first Reel Cinemas location which will open in 2021. We are confident that our partnership with GOSI Investment Ventures will provide our guests with innovative cinema formats tailored for every taste, a testament to Reel Cinemas’ brand ethos. Riyadh is internationally recognised for its strong heritage in art and culture and the new Reel Cinemas in Riyadh will bring another aspect of entertainment to residents and visitors alike.”

It will be the first time the UAE firm enters the Saudi retail entertainment market since the kingdom lifted its 35-year ban on cinemas in 2018. 

The announcement comes just days after the third anniversary of the reopening of cinemas in the Kingdom.

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A new partnership between Shahid VIP, MBC Group’s premium SVOD service, and Samsung Electronics will ensure an exclusive Shahid VIP branded button is available on all new Samsung Smart TVs that are launched this year.

While Samsung was also the first TV provider to launch Shahid VIP’s smart TV app, this marks the first time a MENA-based streaming service will have its own branded button on a Samsung Smart TV remote control, allowing subscribers to access Shahid VIP’s content at any time.

Sam Barnett, CEO of MBC Group, commented: “Two of the biggest brands in entertainment are coming together to provide a game-changing experience for at-home viewers. This is the first time Samsung has integrated a MENA-based streaming service on its TV remote. And this makes Shahid VIP easier to watch for an even bigger audience this year. Our latest partnership with Samsung Electronics helps us in achieving our goal to increase the reach of Shahid regionally and globally.”

Sungwan Myung, President of Samsung Electronics Middle East and North Africa, noted: “It’s extremely exciting for us to be partnering with the region’s number one broadcaster and the world’s leading Arabic streaming platform. After leading the global TV market for 15 consecutive years, our innovations at Samsung continue to put users first by providing localised, exclusive experiences. Our partnership with Shahid VIP provides our users an extensive library of premium content that caters to a variety of tastes.”

Those investing in a new Samsung smart TV during the launch phase of this branded button, might also receive an extra perk in the form of a subscription to Shahid VIP — at no additional cost. 

Complimentary subscriptions range from a three-month to one-year duration, depending on the TV model purchased as well as location of purchase. Subscriptions are subject to availability at time of purchase.

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Abu Dhabi Media has extended its strategic agreement with SVOD platform StarzPlay, to broadcast six new Arabic and GCC drama series during the holy month of Ramadan.

Earlier this year, Abu Dhabi Media and StarzPlay had collaborated to live-stream UFC events across the Middle East and North Africa region.

As part of the latest partnership, StarzPlay subscribers will have access to a range of GCC and Arabic programming by Abu Dhabi media, anytime, anywhere and on any device, throughout Ramadan.

Speaking about the partnership, Abdul Raheem Al-Bateeh Al-Nuaimi, Acting General Manager of Abu Dhabi Media, said: “This ongoing agreement with StarzPlay is in line with Abu Dhabi Media’s commitment to strengthening the reach of our digital and entertainment content through strategic partnerships.”

He added: “This collaboration will also enable us to ensure increased digital engagement for Abu Dhabi Media’s comprehensive Ramadan campaign Hatha Waqtaha, launched across all ADM media channels. The campaign features an exciting line-up of programs and productions with Emirati, Gulf, and Arab stars.”

Khaled Benchouche, SVP Strategy & Original Content StarzPlay, commented: “We have recorded a growing demand for original Arabic programming and have steadily built our content library. With our new partnership with Abu Dhabi Media, we will have a wider breadth of some of the most popular Arabic programming and are delighted to bring this additional choice of quality programming during Ramadan. We are truly excited to take our association with Abu Dhabi Media to the next level and continue to expand our offering to deliver content that is relevant and sought-after by our subscribers.”

The Abu Dhabi media titles streaming on StarzPlay include A’liqoun, Bayn Anf w ShafatynBukhour Al-qasa’ed, Nabd Mu’aqatAladine and Heen Ra’at.

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With the onset of the pandemic and the subsequent lockdown, studios, on-demand services and TV networks have had to quickly come up with ways to meet the increasing demand for new content. This has been made all the more difficult given that the industry creating the content is rapidly having to adapt its own business practices.

Studios that are able to quickly adjust infrastructure, keep up with productivity and meet content demands are able to stay competitive. A hyper-converged solution is an approach that creative media businesses can take to stay agile and keep infrastructure costs low.

When it comes to media data storage, studios and broadcasters have historically depended on on-premises hardware supplied by the major data appliance vendors. Aside from a few exceptions, the majority of these vendors have not yet included cloud-based solutions in their offerings.

For these vendors, that makes good sense. Any data moved off their on-premises systems and over to cloud instances is lost business. To guarantee long-lasting profitability, many vendors lock clients into contracts for a number of years, charging extra for maintenance or to move data when the contract period ends.

This limits the flexibility of a media creation company as it grows as a business. Once locked into one of these contracts, the only available solution for upscaling storage needs is to add more capacity to the existing appliances. This in turn can be very limiting if different business requirements arise, such as workloads delivered from the cloud, which is precisely the scenario that many studios are working in today.

This is where hyper-converged infrastructures that leverage software-defined technology come into play. Having a software-defined solution built into the storage layer removes the limitations associated with hardware appliances. It gives studios the ability to choose which vendors to work with, when and if needed. This subsequently brings down prices for companies and empowers them with ultimate control over their data.

Paul Cameron is Managing Director at Pixit Media.

Integrated remote workflows for better user experience

Many studios today work with remote teams, running virtual workstations that need connectivity to the studio. Operating within one integrated system guarantees workflows like this can be automated and therefore more efficient. Software with an open API or written in a common coding language such as Python makes it a lot easier for studios and broadcasters to integrate the solution within their existing system. And this level of operation is only truly made possible by having in place a software-defined solution within the storage layer.

Cost-cutting solution

If the only way studios can grow storage capacity is by buying another tray, blade or disk from their appliance vendor, naturally the people in control of the price of that solution won’t be studios themselves. A hyper-converged infrastructure gives studios the freedom to choose where to grow their capabilities, whether onpremise or in the cloud. They can spend on whatever is the biggest, fastest, best solution in the market.

Naturally, a free market means competition among hardware manufacturers for market share, consequently reducing prices. If a company is tethered to a vendor, there is no competition, and therefore the vendor sets the price and the ongoing costs of managing that system.

That’s not to say that on-premises hardware has become obsolete – cloud isn’t the solution for all data challenges. There are still huge costs associated with cloud usage, costs not always accounted for beforehand, which can be especially difficult for planning project budgets and bidding for work. Studios need to take a considered approach to how they design their storage infrastructure, and hyper-convergence may be the answer.

Vendors that offer software-defined solutions to data management should have a consultative approach with clients, prescribing the attributes of the technology that needs to be purchased for the software that will sit on it, whether that’s hardware appliance or cloud. Ultimately, the customer can choose at any point which vendors it wants to buy from.

That might be based on new offerings with better performance or cost, or even new entrants in the marketplace. It could be a number of different things. Regardless, the software works as the technology linking all workflows and applications, moving data between premises and the cloud intelligently – and, more importantly, giving studios the flexibility to expand as and when they wish.

Take media agencies with large amounts of archive data, for example. If the storage solution in place is a legacy system such as Storage Area Network (SAN), it’s very likely that additional hardware will be required for the backup. To avoid having a complicated stack of on-premise assets to manage and pay for – only to move old data around to keep it safe – some companies deploy a hybrid storage model with different cloud instances built alongside SAN. Hyperconverged infrastructure removes the complexity and overhead of data movement by automatically tiering within the same namespace across cloud, file system, tape and on-premises devices into the ‘right cost’ resource, according to value and usage as work teams and business needs demand.

Hyper-convergence is here to stay

Anyone can tell you that technology moves quickly. Hyperconverged infrastructure offers studios scalability and agility, creating streamlined deployment workloads, optimised infrastructure performance and the option to move costs. It simply gives media enterprises a choice.

My advice is: Don’t get locked into platforms that don’t offer the flexibility to make your own choices in the future. Stay agile. One thing’s for certain, hyper-convergence is here to stay.

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The 93rd Academy Awards that will take place on April 25 will have the look and feel of a movie giving winners more time to prepare speeches, while coronavirus masks will play a major role, according to the show producer.

The coronavirus pandemic and a trio of new producers have led to a reinvention of the traditional show where the world’s highest movie honours are handed out before a seated theatre audience of more than 4,000 A-list stars and industry executives.

The ceremony will take place amid the “physical grandeur” of Los Angeles’s cavernous Union Station, with nominees mingling outdoors and then rotated in and out of the venue during the show.

“It’s not going to be like anything that’s been done before,” director Steven Soderbergh, who is producing the show with Stacey Sher and Jesse Collins, said in a news conference.

Soderbergh, who directed the 2011 movie Contagion, said the pandemic had “opened up an opportunity to try something that hasn’t been tried.”

“We want the show to have a voice,” he added.

Soderbergh said the ceremony would be shot like a movie, with presenters including Brad Pitt, Harrison Ford and Halle Berry “playing themselves, or at least a version of themselves.” Speeches by Oscar winners were previously limited to around 45 seconds. This year, Soderbergh said, “we’re giving them space. We’ve encouraged them to tell a story, and to say something personal.” The producers said strict testing and Covid-19 protocols would be in place, much of them following standards developed last year to get movie and TV production running again.

The traditional red carpet will be dramatically downsized, and the guest list will be so limited that even powerful Disney boss Bob Iger “won’t be there”, said Soderbergh.

Speaking from the venue’s courtyard – where only nominees, their plus-ones and a handful of presenters will chat and drink – Soderbergh said he hopes the Oscars will present the world “a glimpse of what’s going to be possible when most people are vaccinated, and rapid, accurate, cheap testing is the norm”.

Soderbergh and fellow producers are keeping many details under wraps, but said the unusual and “hopefully unique” nature of a pandemic-era Oscars “certainly opened up an opportunity to try some things that haven’t been tried before”.

The ceremony will have “the aesthetic of a film as opposed to a TV show,” including the use of movie-like “over-the-shoulder shots from within the audience” and high-resolution, widescreen formats, said Soderbergh.

Asked about masks at the ceremony, Soderbergh gave what he called a deliberately cryptic reply.

“Masks are going to play a very important role in the story,” he said. “That topic is very central to the narrative.” Nominees unable to travel to Los Angeles for the ceremony will be able to take part via satellite hookups from venues around the world but there will be no Zoom appearances.

The ceremony will be preceded by a 90-minute pre-show that will include performances of the five original song contenders that were recorded in advance on the roof of the new Academy Museum in Los Angeles, and in Iceland.

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