Lots of my students ask me to give them some examples of what kind of sound package they would need for their senior films (or for their equipment budgeting exercise). So I have gone ahead and put together what I would consider to be a good, general purpose, starting package.

Of course, your final package will vary, based on the complexity of the shoot along with your access to equipment (and the depth of your budget for sound).

Recorder/mixer

These days, the recorder of choice is the Sound Devices 688 paired with its CL-12 companion fader controller. There are still a lot of mixers who like the older 788, along with its CL-9 board – only because the 788 has 8 inputs for mic/line, compared to the 688 which only offers 6 mic/line along with 6 line only (assuming that your radio mics provide line output).

Make sure that you include all of the necessary input/output cables for your system. USB to connect recorder to fader controller; TA3-XLRf input cables; TA3-XLRm output cables; timecode out cable along with adapter cable to feed a Denecke TC slate.

An AC adapter to power your rig. Also, some sort of battery powering, in case there is no available AC power.

Headphones for the mixer and boom. On fancier shoots, some sort of wireless assistive listening system, such as Comteks, to send headphone feeds to Director, Script, 2^nd Boom, and possibly other people on the set. Make sure you have the proper connecting cables!

You will need a computer keyboard for inputting data. Make sure that you have the proper connections and/or adapter units to do this. Some Sound Devices recorders require an accessory module to accommodate keyboards!

Backup Recorder

Things break or get broken. If something were to make your main recording system inoperable, you will need a secondary system to get you through the day. Your backup system does not need to be the same quality as your main system, nor as many tracks. Four or more will suffice. Timecode is great, but to be honest, the post people could sync from clapsticks if they had to.

In addition to your backup recorder, you will need a backup mixing board to go with it. Mackie 1402’s or bigger; or comparable brands. Make sure that you have the necessary output cables to connect your mixer to the recorder, including one or two live mix feeds as well as some ISO feeds.

Soundcart

It needs to be portable and transportable. Good wheels for going over cables or rough terrain. A top shelf or hutch for radio mics. Hooks for cables. Someplace to secure boompoles.

Booms

At least one or two decent boompoles, not less than 12 feet extended and internally wired. You will also need a duplex cable in order to connect your boomperson to your gear. Make sure that you have necessary adapter cables on the soundcart end of the duplex cable in order to send a headphone feed back to the boom operator.

I have my duplex cables built with XLR male and female connectors at the soundcart end. This allows me to just use a couple XLR mic cables if I need to extend the length of the duplex. It also enables me to use an adapter cable if I require 1/8-inch, ¼-inch, or TA3 connections at my end.

Microphones

Have at least three high quality, condenser shotgun mics. A general purpose “short shotgun” such as the Audio Technica 4073 or Sennheiser MKH60; a “wide angle” condenser cardioid to eliminate echo in a tight room, such as an Audio Technica 4051 or a Senn MKH40; and a “long shotgun” encased in a furry zeppelin windscreen for exteriors, such as the Audio Technica 4071 or the Senn MKH70.

There are also other makes and models of mics that are comparable in quality and performance.

Bring some hardwired lavaliers for use either as bodyworn mics or planted mics. I like the Audio Technica AT899 and MT830R, or the Senn MKE-2. The Countryman B3 is nice if you want to isolate an actor from the background.

Your package should include not less than two wireless lavalier kits, but perhaps as many as six. Make sure that you have the necessary adapter cables to feed them into your mixer or recorder. If using the 688, check to see if the wireless can provide line level outputs (if you are going to use them on inputs 7-12).

It is always good to bring along a dynamic handheld mic for clean voice-overs or loud sound effects.

Make sure that you have foam windscreens for all of your boom mics, and suitable shockmounts.

Cables

In addition to the myriad adapter cables unique to your recording systems’ inputs/outputs, you will need a variety of XLRf-XLRm mic cables.

I would suggest not less than four 25 footers; along with four 50 footers.

If you are going to wire audio back to the camera, dedicate at least two 50 footers just for that purpose (and check what type of input connectors are on the camera). Very often, we use a wireless setup to send scratch audio to the (video) camera for on set playbacks.

Throw in a handful of shorties (5 or 10 footers) and jumpers (2 footers). You may need them.

Don’t forget to bring some electrical extension cords (stingers). Since none of your sound stuff draws much current, you can use standard house/garden AC cords (50 or 100 foot).

Timecode Slate

Sometimes this falls under the Camera category, but more times than not it is the responsibility of the Sound Dept to bring it and set it up. Make sure that you have the necessary cabling to jam sync the slate from the recorder; as well as to be able to jam sync the camera from the slate.

Expendables

Media. Have at least three pair of media cards for your recorder. Brand new, same brand and capacity. Check them IN your recorder to insure that they are compatible (some manufacturers list approved cards on their websites, but card specs change all the time, so double check!)  You may need to purchase a card reader for your laptop if it cannot natively read your style cards.

The production company (Post Production) may want dailies on CD/DVD disks or flash drives. Ask.

Most of your toys require batteries. Mics, radio mics, slates, some recorders, Comteks, etc. Stock up.

Rigging accessories for your lavs and radio mics. Moleskin, safety pins, rubber bands, medical tape, alcohol wipes, furry bits, cheesecloth, 4×4 gauze pads, chopped glove fingers, cleaning swabs, colored tapes, colored markers, dry condoms, ACE bandages – just to name some of the junk in my kit.

Sound reports (you can design and print your own) along with a clipboard.

Power strips. First Aid Kit. Mints and mouthwash (for you, as well as for the actors). Flash lights. Simple tools. Toilet paper.

Large plastic trash bags for rain or dust protection.

Spare T-shirts.

Instruction Manuals

Be sure to download and store the PDF instruction manuals for all of your sound gear, as well as for the camera, onto your laptop in case you need to look something up. There may not be internet on the set.

By no means is this a full and complete list of gear and accessories. This is the minimum amount of gear that you should have at your disposal. But the final list will be dependent on the specifics of your shoot.

The post Basic sound package for student productions – by Fred Ginsburg appeared first on StudentFilmmakers.

Azden’s SMX-30 Video Microphone In Action
https://www.youtube.com/watch?v=NnbtNELfv0U

The post Azden, Central Hall C7306 at the NAB Show Las Vegas appeared first on StudentFilmmakers.

B&H PHOTO – VIDEO – PRO AUDIO
420 9th Avenue
New York, N.Y. 10001
877-588-7704
BandH.com

B&H the professional’s source for Photography, Videography, Pro Audio and filmmaking equipment for over 40 years, is known throughout the industry for its honesty, Integrity, and personalized service. B&H is the world’s largest photo and video supplier covering complete lines of most manufacturers and brands including all accessories and parts needed for most any project.

B&H’s 70,000-square-foot, two-story New York City Superstore features a full city block of over 400,000 products that includes a large dedicated staff with knowledgeable film and video experts and techniques ready to work with you to assure that your project has everything needed to get the job done right and on time. Also, be sure to browse our website for photo, video, pro audio, and lighting departments, with the latest technology to provide solutions on all your filmmaking needs in the film and motion picture industry.

With the proliferation of computers and software and their ever increasing power, B&H presents you with expanded opportunities to advance in creativity for the newest trends in filmmaking, lighting. Their highly skilled team of industry experts are always ready to assist you, by phone, online or chat. Your orders are handled carefully and reliably. Your satisfaction is guaranteed.

Whether you’re ready to sell your equipment to upgrade or to get a great deal on pre-owned gear, the B&H Used Department makes it easy to receive top prices plus free shipping for your used gear.

B&H has loyally served its customers for generations and our experts are always ready to listen and help you find the perfect solution for all your professional Video and Broadcast needs.

If you are in New York City be sure to make it to the Superstore for the ultimate experience and if you can’t make it shop online and receive the same quality service, integrity and support at BandH.com

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FLUOTEC. Leading manufacturer of LED & professional lighting fixtures for television studios, motion pictures, video and photography.
http://www.fluotec.net/

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Kandao announced the Qoocam back in May, and it immediately impressed with its innovative design. It was billed as the first changeable 4k 360 and VR180 camera. The simple but elegant hinge allows you to quickly switch from recording in 360 to 3D VR180.
The three lens configuration and feature set have earned not one but two international awards, the Red Dot Award and the Silver Edison Award for both cutting edge design and technology.

Lenses Three 220-degree fisheye lenses
Aperture f/2.2
Shutter speed 60 secs to 1/4000
ISO 100 to 3200
Video resolution (VR view) 3840 x 1920 @ 30fps
3840 x 1920 @ 60 fps
2160 x 1080 @ 120fps
Video resolution (3D 180) 3840 x 1920 30fps
3840 x 1920 60fps
Video codec H.264 and H.265
Photo resolution (VR view mode) 4320 x 2160
Live streaming 3D video
180 3D video
360 + 180 3D video
Storage Removable micro SD up to 256GB
Battery 2600 mAh
180 mins continuous recording
Other features depth mapping
refocusing
background editor
HDR

But there is more. The Kandao Qoocam is one well-built camera. Rather than being plastic Kandao went with a metal body. The hinge is strong, but sometimes when I am pressing the power button, the top of the camera will turn. I have found that I need to hold the top half, keeping my fingers off the lenses while pressing the power on.

Turning on the wifi is accomplished by pressing the power button again.

While it does have indicator lights, it is definitely a camera that is easier to use when using the smartphone app or with the optional Bluetooth remote controller.

The cover for the MicroSD card and the Micro USB connector are stiff, and at first, you may need to use your fingernail to pry them open, but I liked how secure they remain after extended use.

I especially love the Kandao Selfie Stick the screw on tripod base, and the height of the stick when extended make it perfect for shooting. The wire style tripod feet are so small that you may not feel the need to paint them out of the image.

Let’s talk about what this camera does so well.

The Qoocam is the first consumer camera to record depth maps. A depth map is a black and white image that uses a gradient to represent the depth information in the image.

This feature allows the camera to do several things that no other camera offers.

First, it is used for creating accurate 3D stereoscopic images and video.

Second, the depth maps enables you to adjust the back focus of the image. So you can blur the background in order to enhance your subject. This is something that is common in DSLRs but not in other small consumer cameras.

Third, ever since Apple came out with its 3D Photos, people have loved them. Now you can create the same and even better quality 3D Photos of Facebook.

The next feature that I love is DNG8 Raw+.

Image stacking eight exposures is something that you used to be able to do manually with your DSLR camera. It is a mostly manual process where you take multiple images and sandwich them together to create HDR or High Dynamic Range image.

The Qoocam does this for you all automatically. Once you shoot the image, you do have to do a little extra work in post. Kandao supplies a free app called Kandao Raw+. You load the eight images from the camera before stitching them into the Kandao Raw+ app, and it merges the images together into one HDR image.

Next, you import the images into Adobe Lightroom or Photoshop to adjust the image to bring out the stunning range of color and light. Finally, after rendering them, you import the dual images into the Qoocam Studio to stitch them together.

The results are spectacular. Landscapes and room interiors are especially stunning. With room interiors in 360, it is always difficult if not impossible to get the exposure right for the interior of the room and the bright sunshine outside. The outside areas are usually blown out and clipping badly. But as you can see with this image that I shot at an upscale condo, you can see all the details both inside and out.

If for no other reason, this feature alone is worth the cost of the camera!

I’m sure that you’ve seen the 3D Photos on Facebook. As you move your phone up and down the image moves giving you a 3D perspective. This was originally a feature that you could only do with your iPhone.

But now Qoocam has come up with a way to do it. You do need to set up the shot just the right way; otherwise, the 3D doesn’t work.

Twist your camera into the VR 180 3D profile and get your subject in place.

You want to keep the camera about 2 to 3 feet away from your subject, and you want your subject to be isolated without anything too close to him or her or it. Your color contrast and your background textures and lighting will affect how well your 3D photo will look.

Once you’ve taken your shot open up the phone app and download the image. Next press the refocus button on your subject in the app. You can adjust the strength of the background blur with the slider at the bottom of the app.

The final step involves you uploading it To the Qoocam 3 D photo page on Facebook. Qoocam Will do the rest and post your 3 D photo on the page. You can then share it to any place else that you’d like.

Another fantastic application for this feature of being able to adjust the background focus Of any of your images. This can give you very professional results with this amazing small camera. Qoocam calls this shoot first focus later.

The Qoocam App has some very handy features built in as well. Reframing or overcapture gives you the ability to shoot 360 but render like an action cam. The app reinforces this with editing giving you control of Key Points, Roll mode, and zoom mode. The ever-popular Tiny planet is also included in the app.

Qoocam encourages the user to think outside the box and be creative with things like the Dolly Zoom. Instead of needing a professional dolly or slide and a zoom lens, you can use the Qoocam to do it all.

Smart Track coupled with excellent stabilization lets you run alongside your subject and keep them centered in your frame.

Another handy edit feature is the speed control. Using this with tiny planet conversions can give you some really cool effects.

Lastly, with a little bit of planning Timelapse and Hyperlapse can be accomplished easily with the Qoocam.

Even though the Qoocam is only 4K in a field where the resolution keeps jumping higher and higher, the numbers aren’t everything. The quality of the image at 4k can often exceed what is seen on other cameras of higher resolution.

My judgment is that the Qoocam is an excellent camera, priced right with some really stellar features that propel it to the top of its class. My absolute favorite is the DNG 8 Raw+. I use it for both 360 and VR180 to get some amazing results that I would never have expected from a small camera like this.

The post The Definitive Review of the Kandao Qoocam appeared first on StudentFilmmakers.

Kandao announced the Qoocam back in May, and it immediately impressed with its innovative design. It was billed as the first changeable 4k 360 and VR180 camera. The simple but elegant hinge allows you to quickly switch from recording in 360 to 3D VR180.

The three lens configuration and feature set have earned not one but two international awards, the Red Dot Award and the Silver Edison Award for both cutting edge design and technology.

Here are the specs:

Lenses   Three 220-degree fisheye lenses

Aperture              f/2.2

Shutter speed    60 secs to 1/4000

ISO         100 to 3200

Video resolution (VR view)           3840 x 1920 @ 30fps

3840 x 1920 @ 60 fps

2160 x 1080 @ 120fps

Video resolution (3D 180)             3840 x 1920 30fps

3840 x 1920 60fps

Video codec       H.264 and H.265

Photo resolution (VR view mode)              4320 x 2160

Live streaming   3D video

180 3D video

360 + 180 3D video

Storage Removable micro SD up to 256GB

Battery  2600 mAh

180 mins continuous recording

Other features   depth mapping

refocusing

background editor

HDR

But there is more. The Kandao Qoocam is one well-built camera. Rather than being plastic Kandao went with a metal body. The hinge is strong, but sometimes when I am pressing the power button, the top of the camera will turn. I have found that I need to hold the top half, keeping my fingers off the lenses while pressing the power on.

Turning on the wifi is accomplished by pressing the power button again.

While it does have indicator lights, it is definitely a camera that is easier to use when using the smartphone app or with the optional Bluetooth remote controller.

The cover for the MicroSD card and the Micro USB connector are stiff, and at first, you may need to use your fingernail to pry them open, but I liked how secure they remain after extended use.

I especially love the Kandao Selfie Stick the screw on tripod base and the height of the stick when extended make it perfect for shooting. The wire style tripod feet are so small that you may not feel the need to paint them out of the image.

Let’s talk about what this camera does so well.

The Qoocam is the first consumer camera to record depth maps. A depth map is a black and white image that uses a gradient to represent the depth information in the image.

This feature allows the camera to do several things that no other camera offers.

First, it is used for creating accurate 3D stereoscopic images and video.

Second, the depth mapenablees you to adjust the back focus of the image. So you can blur the background in order to enhance your subject. This is something that is common in DSLRs but not in other small consumer cameras.

Third, ever since Apple came out with its 3D Photos, people have loved them. Now you can create the same and even better quality 3D Photos of Facebook.

The next feature that I love is DNG8 Raw+.

Image stacking eight exposures is something that you used to be able to do manually with your DSLR camera. It is a mostly manual process where you take multiple images and sandwich them together to create HDR or High Dynamic Range image.

The Qoocam does this for you all automatically. Once you shoot the image, you do have to do a little extra work in post. Kandao supplies a free app called Kandao Raw+. You load the eight images from the camera before stitching them into the Kandao Raw+ app, and it merges the images together into one HDR image.

Next, you import the images into Adobe Lightroom or Photoshop to adjust the image to bring out the stunning range of color and light. Finally, after rendering them, you import the dual images into the Qoocam Studio to stitch them together.

The results are spectacular. Landscapes and room interiors are especially stunning. With room interiors in 360, it is always difficult if not impossible to get the exposure right for the interior of the room and the bright sunshine outside. The outside areas are usually blown out and clipping badly. But as you can see with this image that I shot at an upscale condo, you can see all the details both inside and out.

If for no other reason, this feature alone is worth the cost of the camera!

I’m sure that you’ve seen the 3D Photos on Facebook. As you move your phone up and down the image moves giving you a 3D perspective. This was originally a feature that you could only do with your iPhone.

But now Qoocam has come up with a way to do it. You do need to set up the shot just the right way; otherwise, the 3D doesn’t work.

Twist your camera into the VR 180 3D profile and get your subject in place.

You want to keep the camera about 2 to 3 feet away from your subject, and you want your subject to be isolated without anything too close to him or her or it. Your color contrast and your background textures and lighting will affect how well your 3D photo will look.

Once you’ve taken your shot open up the phone app and download the image. Next press the refocus button on your subject in the app. You can adjust the strength of the background blur with the slider at the bottom of the app.

The final step involves you uploading it To the Qoocam 3 D photo page on Facebook. Qoocam Will do the rest and post your 3 D photo on the page. You can then share it to any place else that you’d like.

Another fantastic application for this feature of being able to adjust the background focus Of any of your images. This can give you very professional results with this amazing small camera. Qoocam calls this shoot first focus later.

The Qoocam App has some very handy features built in as well. Reframing or overcapture gives you the ability to shoot 360 but render like an action cam. The app reinforces this with editing giving you control of Key Points, Roll mode, and zoom mode. The ever-popular Tiny planet is also included in the app.

Qoocam encourages the user to think outside the box and be creative with things like the Dolly Zoom. Instead of needing a professional dolly or slide and a zoom lens, you can use the Qoocam to do it all.

Smart Track coupled with excellent stabilization lets you run alongside your subject and keep them centered in your frame.

Another handy edit feature is the speed control. Using this with tiny planet conversions can give you some really cool effects.

Lastly, with a little bit of planning Timelapse and Hyperlapse can be accomplished easily with the Qoocam.

Even though the Qoocam is only 4K in a field where the resolution keeps jumping higher and higher, the numbers aren’t everything. The quality of the image at 4k can often exceed what is seen on other cameras of higher resolution.

My judgment is that the Qoocam is an excellent camera, priced right with some really stellar features that propel it to the top of its class. My absolute favorite is the DNG 8 Raw+. I use it for both 360 and VR180 to get some amazing results that I would never have expected from a small camera like this.

The post Kandao Qoocam Definitive Review appeared first on StudentFilmmakers.

Adam Dusenberry, operations manager for WCTV, said the new install allowed a general “decluttering” of extra gear from the control room, including playback decks and an external CG. “Having one console to do graphics and video roll-ins makes it a whole lot more streamlined and easier to do in our environment,” he said.

All roll-ins and opens are stored in the BPswitch using its Watch-Folders media management system. Dusenberry said all shows have a dedicated folder; producers upload their assets from an NLE using the integrated BPNet cloud-based video workflow service. “The goal is to make it as easy and streamlined for our producers as possible,” he added.

Graphics are produced with the built-in NewBlueNTX multi-layer 3D motion graphics CG, which has improved the on-air look and saves at least one producer from adding specialized closing credits in post. WCTV also uses the integrated BPview customizable multi-view, which feeds four monitors in the control room, including two main monitors on the wall and two smaller monitors in the production console dedicated to graphics and the technical director.

The new BPswitch replaced a Blackmagic Design ATEM switcher. “We’d been pushing the envelope on production quality and outgrowing the capabilities of the ATEM,” Dusenberry explained. “We wanted to add more, but we also wanted it to be user friendly. The BPswitch fit what we were looking for – there’s an improvement both in usability and how our programs look to our viewers.”

WCTV offers hyperlocal coverage of events, government meetings, and education programs. The station operates three cable channels that are distributed through Comcast and Verizon, well as a website with live streaming and video-on-demand. WCTV maintains an active production schedule in its three-camera HD studio, with a handful of series as well instructional workshops for its active youth program, promotional videos for local organizations, and other shows.

“I will push a piece of gear to its limits,” Dusenberry said. “I always want to try and push for the production values that will make our programs look similar to the major networks. The BPswitch really makes that easy to do.”

About Broadcast Pix
With a tightly coupled switcher and 3D motion graphics CG, Broadcast Pix provides the most fully integrated live video production systems with patented control and automation technology. From compact units to large-scale, multi-system solutions, every Broadcast Pix features an extensive toolset that makes it easy to optimize and customize your workflows locally and over IP. Plus, its BPNet ecosystem provides secure cloud services and asset management. Founded in 2002, Broadcast Pix has customers in more than 100 countries and is the leader in fully integrated production switchers for government, broadcast, streaming, live event, and visual radio applications. Learn more at www.broadcastpix.com.

Broadcast Pix, BPNet, BPswitch, and BPview are trademarks of Broadcast Pix, Inc. Patented. Switchers are made in USA.

The post Wilmington Community TV Streamlines Productions with BPswitch GX Integrated Production Switcher appeared first on StudentFilmmakers.

The 9914DA-4×16-XPT-12G reclocking DA offers four input channels that can be crosspoint-routed to 16 DA outputs, plus a fiber option that allows significantly longer runs. The crosspoint allows quad 1×4, dual 1×8, single 1×16, and manual configurations. Any of the four inputs can be distributed or duplicated across four groups of 1×4 DAs, and the quad-input capacity supports 8K quad-link content over 12G-SDI interfaces. Up to 10 9914DA-4×16-XPT-12G cards can be installed in one openGear frame to provide 40 channels of input and distribution to up to 160 outputs.

“As 4K adoption continues to increase, broadcasters and other production facilities need to be able to distribute 12G-SDI signals throughout master control or an OB truck,” explained Chris Shaw, executive vice president of sales and marketing, Cobalt Digital. “Our 9914DA-4×16-XPT-12G provides the extra advantage of its flexible crosspoint routing for 4K and even 8K signals.”

There are four models in the series, each with 16 DA outputs. The other models include the 9914DA-QUAD-1×4-12G with four inputs that can be distributed to four DA outputs, 9914DA-DUAL-1×8-12G with two input channels that can be distributed to eight outputs, and the 9914DA-1×16-12G with one input distributed to 16 DA outputs. All 9914DA Series distribution amplifiers are controlled locally with Cobalt’s remote control panels or across a standard Ethernet network with DashBoard software.

About Cobalt Digital
Cobalt Digital Inc. designs and manufactures award-winning edge devices that help live video production and master control clients transition to IP, 4K, HDR, the cloud, and beyond. As a founding partner in the openGear® initiative and proud member of SMPTE, Cobalt also offers a best-of-breed interoperability platform that simplifies technological adoption. Distributed through a worldwide network of dealers, system integrators, and other partners, Cobalt Digital products are backed with a five-year warranty. Learn more at www.cobaltdigital.com.

The post NAB 2019: Cobalt Digital Demonstrates New 4K DA Series appeared first on StudentFilmmakers.

Speedcast Media Network provides secure point-to-point and point-to-multipoint live and linear digital video delivery anywhere in the world, with low latency and high availability. Speedcast has also added multiplatform processing and content management capabilities from Globecomm to Speedcast Media Network’s portfolio of cloud video processing services, enabling increased efficiency and agility for any size media organization.

The combined hybrid network backbone and cloud video processing services offering from Speedcast Media Network is ideal for transporting video and data content from any origination source to any destination — in any format for multiple platforms — and for everything from aggregation and contribution to integrated channel playout, OTT streaming, and distribution.

Speedcast Media Network’s cloud video processing services include Speedcast Vector℠, a virtualized integrated playout solution and digital headend that supports multiplatform processing for master control playout, encoding, and packaging, and takes advantage of the hybrid network for global distribution to multiple platforms. Speedcast Media Network also provides cloud-based content management for OTT streaming and video analytics.

With ubiquitous access to more than 80 satellites via the company’s 40 teleports, Speedcast Media Network provides the most extensive satellite capacity globally and connects to an integrated fiber, cellular, MPLS backbone spanning 50 points of presence (POPS), with links to the AWS cloud. Speedcast Media Network also offers Global IP Transport, a fully-managed IP transport service for secure delivery of low-latency broadcast-quality content. The IP transport service provides guaranteed bandwidth with no congestion and 99.99 percent availability backed by intelligent network management.

“As consumer demand for high-quality video content continues to grow, broadcasters and media companies need more efficient and cost-effective content delivery methods,” said Senior Vice President of Media Barrie Woolston at Speedcast. “The Speedcast Media Network combines years of experience transporting secure content over a highly available infrastructure at a global scale with deep-rooted expertise in broadcast and IT system-integration engineering. The result is a fully managed, robust, agile, and flexible solution, with a massive network footprint that allows media companies to unlock new business models and expand their current service offerings with the utmost efficiency and affordability.”

Services and technologies showcased at the 2019 NAB Show will include:

Managed Video and Global IP Transport services within Speedcast Media Network, which feature hybrid connectivity tailored for secure live, linear, and digital content delivery anywhere around the world, with low latency and high availability.

Speedcast Vector, a virtualized integrated playout and digital headend solution. Vector simplifies the processing, packaging, and customization of video content for multiplatform delivery, allowing media companies with an on-premises, hybrid, and cloud-based solution to scale up and deliver hundreds of channels to consumers.

Tempo℠ Enterprise Communications and Training Platform, a secure cloud system for managing and streaming live and VOD enterprise communications and interactive training content, with advanced multicast streaming technology to minimize bandwidth consumption on the enterprise network.

Speedcast will exhibit at the 2019 NAB Show April 8-11 in Las Vegas at Booth SU13310.

# # #

About Speedcast International Limited
Speedcast International Ltd (ASX: SDA) is the largest provider of remote communications and IT services in the world. Speedcast’s fully-managed service is delivered via a leading global, multi-access technology, multi-band and multi-orbit network of 70+ satellites and an interconnecting global terrestrial network, bolstered by extensive on-the-ground local support from 40+ countries. This global “network of networks” allows customers to fully rely on the most robust, integrated infrastructure available in the market for their mission critical applications. Speedcast is uniquely positioned as a strategic business partner, tailoring communications, IT, and digital solutions to meet unique customer needs and enable business transformation. Speedcast extends its managed services through differentiated technology offerings including cyber-security, crew welfare, content solutions, data and voice applications, and network systems integration services. With a passionate customer focus and a strong safety culture, Speedcast serves more than 2,000 customers in more than 140 countries in sectors such as Media, Maritime, Energy, Mining, Enterprise, Cruise, NGOs, and Government. Learn more at www.speedcast.com.

Speedcast® is a trademark and registered trademark of Speedcast International Limited. All other brand names, product names, or trademarks belong to their respective owners. © 2019 Speedcast International Limited. All rights reserved.

All trademarks appearing herein are the property of their respective owners.

Link to Word Doc: www.202comms.com/Speedcast/190327Speedcast.docx

Photo Links: www.202comms.com/Speedcast/Speedcast-SMNLogo.jpg
Photo Caption: Speedcast Media Network Logo

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