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Grupo Mediapro helps take visitors on a multisensory journey into the world of Sorolla

Mediapro - Rez

Visyon, Videoreport, and Rez Estudio, part of the Mediapro Group, have participated in the development of the exhibition "Sorolla through light," which combines a multi-user virtual reality experience and sensory rooms, featuring more than 230 m² of LED screens.

Grupo Mediapro was responsible for the technological production and virtual reality experience of the exhibition "Sorolla through light," which will bring both the artist's work and his personality to the general public. This exhibition will be open to the public starting this Friday, February 17, at the Royal Palace in Madrid.

The hybrid exhibition combines Sorolla's original paintings (24 works selected by Blanca Pons-Sorolla and Consuelo Luca de Tena that have rarely been exhibited) with digital recreations and the latest technology.

Visitors will be able to immerse themselves in a sensory experience in two rooms covered by LED multi-screens (more than 230 m²) where hundreds of moving images will be displayed, consisting of paintings in different formats, photographs, and newspaper articles, accompanied by drawings and personal writings.

This way of displaying the painter's work highlights the light in his paintings, which is characteristic of Sorolla. Videoreport (a company belonging to Mediapro) was responsible for installing the screens and sound systems in these rooms.

In addition, the culmination of "Sorolla through light" is a multi-user virtual reality experience that will take visitors on a journey back to the artist's time. More than 30 visitors will be transported simultaneously, as if through a time tunnel, to the era of the Valencian painter.

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HIT Productions deploys Dante AV in its new facilities in the Philippines

The new HIT Productions studio now features Audinate's professional AV-over-IP video solution to provide flexible signal transport between its various rooms.

Located in the central business district of Makati, Philippines, HIT Productions is a post-production studio that has been working in advertising, music, film, and streaming localization for over thirty years.

HIT Productions Dante AV AudinateIn order to meet the needs of its customers, the company decided to relocate its headquarters, as the old facilities were based on point-to-point analog connections, designed in the era of specialized rooms with limited signal routing options, resulting in inefficient use of space and resources.

Dennis Cham, founding partner and chief technology officer of HIT Productions, decided to implement Dante AV — Audinate's professional AV-over-IP solution—as the basis for transporting all audio and video between rooms, so that the new facilities would have a flexible AV design that would allow the studios to be physically reconfigured according to production needs and seamlessly redirect audio and video streams, as well as offer hybrid workflows for company employees.

HIT Productions Dante AV AudinateDante AV gave us the flexibility to connect rooms in any number of combinations with cables. Standard Cat 6 Ethernet -explains Cham-. The audio and video quality is exceptional, and the flexibility to route it throughout the facility with just a few cables has been very liberating.

This is a complete integrated networked audio and video solution from Audinate, which brings to video all the advantages that have made Dante the most widely used audio over IP system on the market to date.

All products in the Dante AV family use a single application to manage audio and video, offering greater visibility and ease of use. They are also interoperable with the more than 3,500 Dante products already on the market.

Dante AV uses a single master clock for the entire system—regardless of the number of endpoints—enabling independent routing of audio and video streams while maintaining perfect synchronization.

At its new headquarters, HIT Productions uses high-performance FiberPlex FPX6000 backbones from to route video signals via Dante over the network to wherever they are needed. Audio I/O is routed through multiple portable RedNet X2 to route video signals via Dante over the network to wherever they are needed. Audio I/O is routed through multiple portable RedNet X2P Dante interfaces from Focusrite, controlled by RedNet R1 systems.

HIT Productions Dante AV AudinateIn addition, Dante also connects multiple Focusrite Red audio interfaces and Avid MTRX Studio that feed the largest production suites in the new facility.

HIT Productions currently has twelve production rooms running Dante AV, with plans to expand to all twenty-eight rooms in its facility. Dedicated Dante cabling has also been deployed in the twelve hot desk workstations and four conference and meeting spaces.

“Dante AV was the perfect solution for sending audio and video throughout the facility with minimal latency. It is cutting-edge technology that will allow us to be more productive and expand to meet the challenges of a changing industry,” concludes Cham.

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RAI upgrades its production center in Rome to IP with Lawo's VSM and V__matrix

In order to achieve greater flexibility and performance, Radiotelevisione Italiana (RAI) has modernized its Production and Broadcast Center in Rome with a new signal control and distribution network based on IP infrastructure solutions from Lawo.

For its different production areas, RAI has opted for a V__matrix solution to guarantee performance in a distributed production environment. The installation, in five production control rooms and six studios, consists of V__matrix clusters and a VSM system for controlling studio-related and general systems, as well as managing signal distribution.

Aret, Lawo's Milan-based partner and systems integrator in Italy, was appointed to revamp the entire production complex, which involved Lawo's IP infrastructure to realize RAI's vision of distributed routing and processing resources that can be pooled and assigned to the desired studios.

This installation not only makes production workflows more flexible and efficient, but also offers a high level of redundancy. Thanks to the fully IP-based infrastructure, V__matrix units can be located next to the stages where production teams produce programs with presenters and guests.

This technical upgrade of the Broadcast Production Center, dedicated to the late and popular presenter Fabrizio Frizzi, is RAI's first step on the road to a fully IP environment and therefore also leverages IP transport for existing baseband equipment.

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Sony provides tips for creating engaging, viral videos for social media

Sony Networks

Sony NetworksAfter analyzing the most popular Twitter video content of 2022, Sony has identified which audiovisual elements drive audience engagement and, therefore, help spread the message that the audience wants to convey on social media.

Among the news items analyzed by the Sony team, whose tweets with audiovisual content have garnered more than 201 million views and 8.6 million interactions, are topics such as the war in Ukraine, the defamation trial between Amber Heard and Johnny Depp, and various European elections. The conclusions are clear. According to the technology company, users are clearly looking for quick access to "credible" video content, with a significant proportion coming from "user-generated content (UGC), far exceeding official news sources."

Based on these findings, Sony has drawn up three strategic recommendations that could help broadcasters and production companies readjust their content to meet changing market demand. First, the firm notes that companies "must critically evaluate the value they bring to the content ecosystem, "whether it be access, the ability to deliver quality live or archived images, or the ability to add human interest stories from different sources. Second, Sony recommends that companies invest in a workflow that streamlines "the acquisition and reimbursement of CGU and news sources in the field," enabling stories to be told from "multiple perspectives with maximum agility."

Finally, the third recommendation emphasizes the need to "maximize the life cycle of content once published." According to Sony, broadcasters and production companies must ensure that they allow audiences to "easily reuse and repurpose material" as long as it relates to a popular topic of journalistic interest.

Olivier Bovis, director of multimedia solutions at Sony Europe, aligns his vision for the future of audiovisual content on platforms such as Twitter with the company's conclusions: "The past, present, and probably future of Twitter is surrounded by controversy, but it remains the go-to platform for news and broadcasting, and the major media outlets continue to play a key role as credible, high-quality gatekeepers of content. The most important thing is that all of this is obtained and distributed in a flexible, agile, and seamless way to give the public the variety and depth they are looking for, without losing sight of efficiency and commercial viability."

Study findings by category

Sony's research, beyond drawing general conclusions based on the analysis of video performance and interactions, allows us to identify key factors in four categories: creators, followers, production, and completion.

As for creators, Sony concludes that user-generated content (UGC) accounted for a larger share of results than content produced by traditional media (39% versus 30%, respectively), demonstrating that UGC is a "fundamental driver of engagement that companies cannot ignore." Furthermore, in terms of content shared from "official" sources, "traditional" media, such as news and broadcast, accounted for half (48%), suggesting that the public continues to turn to these sources for quick access to credible, high-quality content, but the media must share the spotlight with other sources, such as governments, to which consumers have more direct access thanks to social media.

Regarding the second category, followers, the Japanese company notes that the number of followers who shared highly engaging news ranged from 95 to 51.4 million, demonstrating that engagement can come from "unexpected places"once a video gains popularity. Therefore, broadcasters "should not be afraid" to share content from Twitter accounts with relatively few followers, using, for example, cloud-based technology to enable multi-platform distribution.

Production is another interesting aspect of Sony's findings. In 37% of cases, the videos were "unmodified, " meaning that the video or audio sequences were not edited before being shared. Another popular genre was "non-original" content in the form of old videos that resurfaced because they captured the mood of the moment. Finally, in terms of purpose, almost half (47%) of the videos with high engagement shared one or more of the following criteria: they allowed viewers to relive moving moments, they took a more critical look at a specific event in terms of what was said and who said it, or they provided an explanation of events through unique or relatable points of view.

In this regard, Sony emphasizes that cloud production and multi-format distribution enable broadcasters to add value to content in the same way, with enhanced touchpoints and innovative video experiences to capture new audiences.