In Broadcast - March 2014 - 30

I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 29 - MARCH 2014

N E W S

InFORM

Danish Chamber Of Commerce Broadcast
Business Agenda With Blackmagic Design
Denmark's Chamber of Commerce installs Blackmagic Design's ATEM 1 M/E Production Studio 4K...
ajor businesses now need the
capability to break or respond
to news through more immediate
media channels.
As well as responding to online
news stories, it is becoming
increasingly important to be able
to produce content for the broadcast
media; either when announcing
financial results, responding
to breaking news stories or to
comment on key economic trends.
D e n m a r k 's C h a m b e r o f
Commerce has installed Ultra HD
4K TV studio facilities to provide
170,000 businesses and 100 trade
associations, with futureproofed,
high quality video production and
live broadcast capabilities, together
with high speed optical fibre
connections to the world's leading
news organisations.
The TV studio, built around
Blackmagic Design's ATEM 1 M/E
Production Studio 4K, is located
in the treasure chamber at the
heart of Denmark's historic former
Stock Exchange. The studio has
been developed by Esse Media
Technology in conjunction with
optical ﬁbre network provider Global
Connect. Content will initially be

in HD format, but by installing the
ATEM 1 M/E Production Studio
4K, the studio's facilities are future
proofed as cameras are upgraded.
Four HD cameras are in place;
three robotic cameras are installed
alongside lighting in a Sky Track
ceiling, and one is locked off on
a tripod with a teleprompter. The
HD-SDI sources are taken into the
ATEM switcher, alongside additional
sources, with a HyperDeck Studio
Pro used to record content.
Companies can further customise
their productions with the ATEM's
stinger transitions for graphic
wipes, and four fully independent
upstream keyers.
The programme output can be
viewed on Blackmagic SmartView
HD monitors in the studio. It can then
either be encoded and streamed
online, or sent uncompressed using
peer to peer optical ﬁbre via Global
Connect's network.
The studio set up is customisable
for Commerce member companies,
with interchangeable backdrops
in various colours as well as
a 75" monitor for displaying
corporate logos.
The production kit is mounted on

The Chamber of Commerce facility centres around
Blackmagic Design's ATEM switcher

a wheeled rack, so it can be used
as a mobile production unit for
conferences and large scale events
hosted in the Stock Exchange's
historic banquet halls and its former
trading floor.
"The facilities that the Chamber
of Commerce offer give members
access to high quality video
production whenever they need,
which adds real value to Danish

companies wanting to reach a wider
audience," said Kim Gude, Esse
Media Technology. "The ATEM's
compact one rack unit size enabled
us to build the mobile set up, which
not only provides a highly ﬂexible
production solution for the Chamber
and its members, but also helped us
negotiate installing new facilities in a
historic building which has so much
importance to Danish history."

Why Post-Production Facilities Belong In The Cloud
T

he cloud is the next natural
step for IT solutions. Gone
are the days of ﬂoppy disks, nonnetworked computers, MS-DOS, or
the old green-and-black computer
monitors.
Production studios, postproduction houses or facilities that
edit video on a predominantly IT
based infrastructure have a lot to
gain by incorporating the cloud into
their workflows.
The cloud provides an inﬁnitely
extensible platform, which means

FORscene: Post Production In The Cloud

that facilities will never have to turn
down work because they don't have
enough equipment or space. Nor
will they need to lease extra space
or equipment "just in case." The
parts of a post-production business
that are limited by equipment and
space are generally high-volume,
lower-value tasks such as logging
or rough-cut and ofﬂine editing. The
cloud allows such work to be moved
off-site, leaving behind only the highvalue work that requires specialised
broadcast equipment and skilled

in-house personnel.
Tapeless media and realitybased programming have led to an
explosion in the volume of material.
This has spawned the need for new
workﬂows to accommodate high
volume work - a task ideally suited
to the cloud. Rather than each
facility creating its own content
management solution, it can use
cloud services to amortise the cost
over many customers and projects.
Similarly, in-house archiving is
expensive, and supporting this
hardware places a heavy burden
on IT departments. By contrast, a
cloud archive requires little to no IT
involvement and allows economies
of scale, making an important but
often unattainable archive service a
viable option for more clients.
Cloud services allow the latest
and greatest version to be available
to everyone at the moment it's
released. There is no down time
while the IT department installs new
software and no additional expense
for upgrades.
Many facilities rent expensive
ofﬁce space in fashionable areas,

and ﬁlling it with IT infrastructure
is not a good use of space. Cloudbased IT infrastructure is much more
affordable and frees costly physical
space for more proﬁtable aspects
of the business.
One of the best aspects of the
cloud is its ﬂexibility - a beneﬁt that
becomes more apparent as time
passes. Most people buy into the
cloud because it saves them money,
but later, when they expand their
services, move base, need access
from another location, or want to
integrate with other services, they
truly realise the benefits of the
cloud's flexibility.
Ultimately, facilities provide a
service to production companies
and therefore, the most important
reason for them to provide cloudbased services is because today's
productions demand the immediate
and global access to media that only
the cloud can deliver. Facilities that
use the cloud beneﬁt from savings
on overheads, improved workﬂows,
and unlimited access, so they can
focus on making the story and not
on managing IT.

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In Broadcast - March 2014

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