At IBC 2019, we will be showcasing our latest solutions for the filmmaking, post production, broadcast and live production markets, including our brand new Blackmagic Pocket Cinema Camera 6K, UltraStudio 4K Mini capture and playback device, DaVinci Resolve 16.1 editing, grading, VFX and audio post production application, and more. Our recently announced Blackmagic Pocket Cinema Camera 6K builds on the popularity of the Blackmagic Pocket Cinema Camera 4K but has a larger Super 35 sensor size with 6K resolution, allowing higher image quality. It is equipped with an EF lens mount and includes Blackmagic Generation 4 Color Science, which uses a complex dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, so users get better images, and comes with DaVinci Resolve Studio. Also on display, we’ll have the UltraStudio 4K Mini, a new capture and playback solution for Thunderbolt 3 computers with 12G-SDI, HDMI, analog video and audio connections that let customers build solutions for editing, color grading, live broadcast graphics, archiving from traditional broadcast decks and live internet streaming. We’re excited to showcase DaVinci Resolve 16.1 that includes major updates to the new cut page to help create the world’s fastest editor. New features include an improved sorting of media, a Smart Editor that adds UI feedback for intelligent edit features, a new cut clip tool for instant cutting of clips in the timeline, a Boring Detector that shows areas of the timeline that lack interest, and a Sync Bin that organizes and displays sync media for easy shot selection. We’ll also be highlighting several exciting 8K products announced at NAB earlier this year, including the ATEM Constellation 8K live production switcher, HyperDeck Extreme 8K HDR recorder and Teranex Mini SDI to HDMI 8K converter. The ATEM Constellation 8K is an Ultra HD live production switcher with so many features, customers can combine them all to make an incredibly powerful 8K switcher. Customers get four M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, four DVEs, 16 Keyers, four media players, four multi viewers, two SuperSource and standards conversion on every SDI input. Then when switched to 8K, all these features combine to make a powerful 8K switcher. HyperDeck Extreme 8K HDR features the trusted reliability of HyperDeck combined with new innovations, such as space-saving H.265 files, optional internal cache, 3D LUTs, native 8K and HDR support. Teranex Mini SDI to HDMI 8K HDR is a new advanced 8K HDMI monitoring solution with dual on-screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration for professional, color accurate SDI monitoring on HDMI 8K screens. We’ll also have the URSA Mini Pro G2 camera on display. Announced earlier this year, the URSA Mini Pro G2 features a new Super 35mm 4.6K image sensor with 15 stops of dynamic range that combine to support high frame rate shooting at up to 300 frames per second. The next generation camera supports Blackmagic RAW and features a new USB-C expansion port for direct recording to external disks, ND filters, an interchangeable lens mount, dual CFast and USH-II SD card recorders, and more.

Artificial intelligence and machine learning will continue to be a game changer in video production. The acceleration of content production and consumption means that video editors are under tremendous pressure to construct and deliver quality content under strict time constraints. They need tools that keep them in creative control while stripping away time-intensive tasks that distract and delay. For example, features powered by Adobe Sensei, the company's artificial intelligence (AI) and machine learning technology, such as Content Aware Fill for Video in After Effects, Lumetri Color Match and Auto Ducking, and the upcoming Auto Reframe tool in Premiere Pro (see more below!), help video pros save time on tedious tasks so they can maximize their output, reach more audiences, and enhance their creativity. In the age of social media, news and sports companies need to deliver new content as soon as possible to keep their communities engaged. With the ability to shoot, edit and upload on the go, Adobe Premiere Rush helps production crews create polished videos that enable viewers to be part of the action around timely, can’t miss events in short timeframes. And with social media and digital video becoming an even bigger part of how we communicate with each other every year, we can’t wait to see what the future holds for content creators in every corner of the globe. Faced with an increasingly competitive landscape, news and sports organizations are moving away from sending huge armies of reporters, editors, and camera operators to live events to save time and budgets. They are able to do this through the use of virtualized workflows, which are critical to connecting globally distributed production teams. At Adobe, we are committed to delivering the best cloud-based workflows in the industry, including support for virtualized editing environments. We’re looking forward to discussing these trends and more with our fellow IBC attendees.

Sony Professional Solutions Europe aims to help media companies to develop their brands and audiences through a combination of our state-of-the-art products and customer-led services. At IBC 2019 we will be showcasing these very products and solutions. Expect to see a broad range from content acquisition, management and distribution, from IP Live solutions, the CineAlta range that supports content creation workflow, a variety of IP, 4K/HD and HDR capable products, new partnership announcements, as well showcasing our Intelligent Media Services, the newly created division within Sony Professional Solutions Europe. And of course, some exciting announcements… keep your eyes peeled!

From working with our customers on ST-2110 POCs, greenfield sites and new IP-based OB trucks, it is clear that the move to IP is asking as many questions for our customers as it is answering. The focus is shifting to the new control paradigm and the challenges this presents, particularly around interoperability. The industry will come to rely on new standards that allow for device discovery and registration, device connection and management, as well as event and tally management. In response to this, we have been working with many others as part of the AMWA NMOS initiative, using our in-depth knowledge of IP and system control to conduct research on how we could provide a user-focused experience within our own products, and also through interoperability with third party kits.

At IBC 2019, we will be showcasing our audio post-production tools for Netflix compliance and surround sound workflows. Included among these are the latest updates to our VisLM loudness meter, which were just announced. Long considered the industry standard for loudness metering, VisLM now includes an updated Netflix preset that reflects the streaming service’s new maximum loudness range (18 LU) and continues to stay ahead of the curve for forward-thinking productions supplying content to the SVOD platform. Using this solution, editors can have access to detailed historical information that enables them to hit the target every time. Additional loudness logging and time-code functions allow for analysis and proof of compliance. We have also rolled out new navigable/visual alerts for the tool that will further simplify operation and enables users to quickly and easily navigate through an audio clip to find any loudness errors that might be present. VisLM is one of many solutions in our Loudness Toolkit (LTK) 2.8, which is also being highlighted at the show. LTK includes preset support of Netflix’s Audio Mix Specifications and Best Practices document, allowing users to easily create Netflix-ready mixes. LTK also includes the ISL limiter and LM-Correct quick-fix tool and supports native 7.1.2 audio processing and loudness parameters for advanced loudness control and dialogue consistency. We will also showcase our Halo Upmix plug-in, which now includes an optional 3D immersive extension for Dolby Atmos and Auro-3D (7.1.4) compatibility that facilitates production across cinematic, VR and gaming applications.