Cinema Máquina Taps a Global Market with the Help of Media Shuttle

The challenges Cinema Máquina regularly faces — dispersed creative teams, massive amounts of content traveling great distances, and precious little time — are typical media obstacles. Throw in a pandemic, lockdowns, and a show that must go on; those obstacles are only exacerbated. Throughout it all, Cinema Máquina kept ongoing.

Based in Mexico City, Cinema Máquina is a film and television post-production facility specializing in everything from conforming and aligning to color grading, mastering shows, and VFX. Although their primary market has historically been Mexico and Latin America, the explosion of interest in international content has opened up additional opportunities.

One opportunity was “Selena,” a Netflix series exploring the life and legacy of Mexican-American pop superstar Selena Quintanilla. A landmark experience for Cinema Máquina, their team started working on “Selena” before the pandemic and continued through it because of preparation, forethought, and Signiant’s Media Shuttle.

Signiant sat down with Ariel Gordon, founder and CEO, to discuss Cinema Máquina’s use of Signiant’s Media Shuttle, their experience working through the pandemic, and Mexico’s impact on the global market.

Selena had some file movement challenges for you, even before the pandemic. How did you plan for that?

We were hired for “Selena” and did the post-production for the show in our facility [with] their editing teams. They decided to have a post-production house in Mexico City, even though they were shooting all over Mexico. This means we’re many kilometers away from where shooting is actually happening. So, the first question became: “how do we get the material to our facility?”

At first, a more traditional approach was considered: they would have a runner coming to us every few days with some hard drives, but that just didn’t seem efficient. I was saying, “We’re in a more modern world. We don’t need to go that route.”

That’s where Media Shuttle came in?

Not right away. When we first suggested implementing it, there was some skepticism. On top of that, some people were saying, “Why does the footage need to go directly to you? Maybe the teams can upload it to Netflix, and then you can download it.” But we were also doing the dailies in Mexico City, which is a massive, time-sensitive set of workflows. There was a lot of pressure, so I said, “No, you have to understand, we need everything right away if we’re going to stay on track.”

Once in place, what was your Media Shuttle workflow?

Signiant helped us figure out how to set it up, navigate any troubles, and teach our engineering team how to manage it all. It was so simple and so straightforward.

We set up Shuttle portals and an upload station. Every time camera cards were filled, they would start uploading them — normally two at a time. Over the course of the day, we’re getting the majority of that day’s material directly to us. Even though there was a ton of footage being sent, it never took more than a few hours for us to receive everything so that we could get right to work.

It was really something so simple. Even with just two Mac Minis, two upload stations, and a 200mb, regular connection, we were able to get everything. We could have the dailies ready by noon. And, even better, since they were two hours behind us, they would get everything by 10 that morning.

And this is how you did the whole project?

Absolutely. We were able to manage all of these workflows from miles away, thanks to Media Shuttle. We were able to do an entire series like we were on-site with the crew!

Was “Selena” the first time you used Media Shuttle?

We had used it before with some other companies [that] had it. I was always impressed how fast it was.

Now, if I’m being honest, one of the questions that arose before we adopted it revolved around the fact that some of the studios we worked with used Aspera. “Selena” made it clear Media Shuttle was the way we wanted to go, though. I knew it was much faster than the competition, incredibly secure, and if an upload stalls, it can immediately restart. These were all things I really valued.

Has your team seen an increase in usage since adoption?

Definitely. Before, we would accept materials in many ways. Now, we don’t accept material in any way but through Media Shuttle. We don’t allow something like Dropbox because it’s too slow, it’s too insecure, it doesn’t work.

Right now, we’re doing around 10 to 14 feature films a year plus around 10 or maybe more episodic series. So, it’s a lot of material; it’s a lot of work.

We [have] Media Shuttle portals for each project. That means, at any given time, we’re working with 10 to 15 individual portals. But we also have portals for themes within a project, such as VFX will have its own portal, color grading will have its own portal. As for users, we have 70-80 users total, 50 active users right now.

The pandemic had a big impact on your team. What was that like?

We were lucky in a lot of ways. It was really hard for a lot of organizations because many people thought that it wasn’t going to last all that long. Everyone thought it was going to close down for four, eight, maybe 12 weeks tops, so there wasn’t much preparation in many cases. Then, production just halted — right in the middle of projects for many businesses.

First off, we had a number of productions that had finished shooting already, so we could keep working on the post-production element of those projects uninterrupted. More so than that, though, we were more prepared, I think.

Later, there was a small reopening and they resumed shooting “Selena,” and we were able to send all the material to the editors’ houses through Signiant for the entirety of the season we were working on. And, it was a lot. We had, at the end, 35 VFX artists we were working with, and we were able to send all the raw material from our studio to all the artists. It was amazing because it was fast, it was secure.

Cinema Máquina’s file transfers increased during the pandemic and sustained healthy usage ever since

How did Signiant and Media Shuttle help with that?

Signiant was incredibly understanding. They said, “Hey, you can use it with as many users you want, no matter your current account.” We were able to establish accounts for everyone outside of the office to receive and send back material. That was key to working remotely so quickly because then the editors could send the material here, no problem.

Honestly, when we were talking about renewing our subscription, I said, “Of course!” Without Media Shuttle, we would just have broken down in the pandemic, and we were able to work through it. We were also lucky to have our centralized storage and maintain access to that. Once you try Media Shuttle, you won’t go back to not using it.

Do you think your Media Shuttle usage in remote workflows will continue to grow past the pandemic?

Yes. One lead editor called me after we set up remote editing in everyone’s houses, and she was so happy. At the end of our conversation, her comment was, “I don’t want to have to go back into the studio. I like the idea of editing remotely. When I have to meet with a client, I can go back in, but I really like this.” So, she was really, really happy with that, and Media Shuttle has played a big role in it.

I’m not saying the office will disappear. I think it’s a very important thing for people to mingle, get together, have a coffee, and have connections. But I think it’s going to be important, for the near future, to combine those inhouse and remote workflows; to let people work from home when they are more happy from their house. These hybrid workflows are looking like the future.

After experiencing the pandemic, where do you see technology moving?

To start, I think the industry as a whole has grown a lot. And I think Netflix, Amazon Studios, Disney, HBO Max, all the platforms are coming along. There’s a lot to see, and there’s a lot of content being produced worldwide, and OTT production is helping.

Cloud is becoming something big. For Mexico, though, the absorption has been a little bit slower, because of connectivity limitations. But, as soon as the pipelines become bigger, as soon as I can have everything in the cloud and not have to have local storage, then I think you’re going to see much more adoption. Still, what I see coming in the next few years are hybrid models — some things in the cloud, some on-prem. Even when bandwidth is perfect, I don’t think we’re going entirely into the cloud anytime soon.

What does the world market look like for Cinema Máquina?

In my opinion, Mexico is becoming a production hub for a lot of Latin American content, and that’s been great to see, but it’s not just us. Production is going to become more segmented. Globalization and streaming means that local productions can be consumed globally, so there’s less need to do everything in one place or in one type of way.

There are 500 million Spanish speakers in the world, and now, with new platforms, people around the globe are watching foreign-language films and TV. I don’t want to sound cheesy, but I think it’s an amazing shift. I’m really proud of the moment that Mexico is living as a production hub. I’m really proud of the moment that Latin content is having.

 

This interview has been edited and condensed for clarity.

A walk through farmerswife

farmerswife is a web and mobile Scheduling & Facility Management Software designed to control and manage the full life cycle of projects and resources in the application with a sophisticated set of tools providing an front-to-end solution for the media industry.

The leading media asset scheduling management software which will help you to keep track the daily to-dos of work, giving your employees a more productive place to follow the status of jobs.

Flexible for any company size and budget. We will be very happy to help you!

More info at www.farmerswife.com

farmerswife Case Study: & Co.

farmerswife has helped us create a better overview for the editors during their day and made it possible for a growing number of producers to plan the resources between them.

Location:
Copenhagen, Denmark

Type:
advertising agency, in-house production department.

Website

& Co. is an advertising agency with an in-house production department. Most films are produced by their great external production partners, but most often & Co. do cut-downs, supporting elements, language adaptations, export to different formats etc. in-house.

THE CHALLENGE

We’ve been around for more than 20 years, but in the last five years we have been growing and getting more International clients. This added to the number of current productions and the number of people working together, it’s becoming a more complex puzzle to solve on a daily basis. Before using farmerswife we had a white board with an hourly breakdown of our editors and edit-suites for that specific day. The white board got too complex because we couldn’t plan ahead, the editors did not have an overview of their day in their own suites and the different producers were not able to book editors while out of the office.

THE SOLUTION

We have been using farmerswife for about a year now, we only make use of it for managing resources but there are a lot of possibilities moving forward. farmerswife has helped us create a better overview for the editors during their day and made it possible for a growing number of producers to plan the resources between them. farmerswife has made it possible for our employees to do their job properly.

THE SUPPORT

Everyone on the farmerswife support team has been really helpful and are always quick to get back with answers to our questions!

The State of 8K in 2021: The Vision Becomes a Reality

The stage was set for 8K long before COVID-19 changed our world in 2020. In fact, 8K televisions were unveiled in 2019 at the Consumer Electronics Show (CES). While the pandemic may have slowed the transition to 8K, it also has generated more interest and increased demand for high-definition resolution options. The pandemic has also altered how content is captured, leading to cloud-based and remote production that is already using 8K technology for background and exterior shots, as well as smart cropping. We expect to see the demand for 8K accelerate as we emerge from the long shadow of COVID-19.

What is 8K? 

8K is more than just a reference to a number of pixels, it also represents HDR (high-dynamic range) elements, such as more vivid color, for both quality of capture and display level. The definition of 8K video is incredibly sharp—so much so that it can look as if you are peering through an actual window, somewhat 3D-like (without 3D glasses of course).

Why 8K HDR?

There are many reasons that 8K is a rising star in the video production industry as it is the next step in the evolution from SD to HD to 4K. With 8K capture, the filmmaker gains immense flexibility with metadata capability and can improve the quality of even 2K and 4K deliverables.

From the consumer standpoint, 8K TVs allow bigger screens and bring much-wanted features for creating an in-home cinematic experience to replace going to a movie theater. Just add comfy chairs and popcorn while you stream both old and new content from one of the many services available.

The State of Lens-to-Living Room 8K 

As 8K content is quickly becoming a reality and more TV manufacturers are enabling their equipment, there is a healthy ecosystem in place—albeit with some pain points and technology gaps. In a recent MainConcept® webinar, Chris Chinook, Executive Director of the 8K Association (8KA), pointed out that:

  • 8K TVs from most major brands are available today
  • All required production equipment for live and file-based capture and production is available
  • NHK (Japan’s public media organization) has been broadcasting 8K to consumers since December 2018, with the 2021 Tokyo Summer Olympics expected to be the largest distribution of 8K content to date
  • YouTube and Vimeo have thousands of 8K clips
  • Major sporting events have and will feature 8K video
  • 8K subscription services already exist (e.g., The Explorers, YouTube and Vimeo)
  • Next-gen gaming consoles will support 8K
  • The ecosystem is developing much as the 4K ecosystem developed seven years ago

On the production side, 8K live and post-production and non-linear editing (NLE) workflows are here today (and they are quite similar to 4K/2K workflows). The pain points (e.g., processing power, memory and storage required as well as transport and bandwidth concerns) also mimic what the industry saw with 4K and we expect history to repeat itself and for these barriers to fall quickly.

Learn More About 8K

If you want to learn more about 8K, you can start by watching our webinar on preparing for 8K, which featured a number of speakers well-versed in 8K, including Chris Chinnock of the 8KA. The 8KA is dedicated to educating both consumers and professionals about 8K and encouraging the expansion of the 8K ecosystem, and has two terrific websites (www.8kassociation.com and www.discover8k.com) where you can also go for more information.

ShareBrowser Media Asset Manager’s DaVinci Resolve Plugin

Blackmagic Design’s DaVinci Resolve Studio is an enticing platform for media content creators, and it’s easy to see why. You can do it all—video editing, color correction, audio post, and even VFX—without leaving the Resolve workspace.

And now, video editors can do even more with the ShareBrowser workflow integration plugin for DaVinci Resolve Studio. This new plugin gives Resolve users the power of ShareBrowser’s search, tag, preview, comment, and media import functions directly inside of your favorite NLE, so you can stay in your creative space longer and finish your projects faster.

DaVinci Resolve Media Management

The ShareBrowser media asset management (MAM) system—included with every EVO video editing server—is a powerful and easy-to-use tool built for creative media workflows. In short, it helps you find the media you need for your creative projects.

Imagine you’re in the middle of a project, but realize you imported the wrong footage. What’s worse, neither you nor your collaborators remember where the correct footage is located in your storage infrastructure, or what those files are named. Without a media asset manager to organize your footage, you could be stuck scrolling through various folders for hours trying to find the clips you need.

Now imagine a better scenario. You’ve imported the wrong footage, but you have the ShareBrowser plugin for Resolve. Simply open the ShareBrowser workflow integration from the Workspace menu in Resolve, search for a couple keywords, preview clips to find what you need, and import the media directly into your project. What would have taken hours is now done in seconds, and you never had to leave your creative application.

ShareBrowser is transforming the way creative teams organize, find, and share their media. From the comfort of your DaVinci Resolve video editing software, you can add tags and comments, search through your entire media library, preview your audio and video clips, share files with bins, and import your media into your project with the in-app ShareBrowser integration.

Importing Media and Metadata into Resolve

Importing your media into DaVinci Resolve is simple with the ShareBrowser plugin. Simply select the files you want to import, right click, and select Import. With this right-click selection, your media and its attached metadata will be brought directly into Resolve without leaving your creative workspace.

Your files will be imported into the media pool for the bin you had selected at the time of import. Your ShareBrowser tags and comments appear in Resolve as keywords and comments—both of which become instantly searchable in your project. Keywords are also automatically categorized into Smart Bins in Resolve so editors can easily see what tags are available across all of your imported media.

More of a drag-and-dropper? Users can also import media into a Resolve project by dragging and dropping media files from the ShareBrowser plugin to either the media pool or directly into your project timeline.

The ShareBrowser plugin is a major upgrade for any team’s DaVinci Resolve workflow. Just like Resolve’s self-contained solutions, ShareBrowser helps users stay creative without opening multiple programs so you access your media exactly when and where you need it.

More than a MAM

EVO enhances creative workflow in Resolve far beyond the new ShareBrowser plugin as well. For example, editing teams can host their DaVinci Resolve shared database on EVO, giving your entire team the ability to simultaneously contribute to a project without conflict. EVO also includes a network recycle bin to prevent overwriting or accidentally deleting important digital assets.

Every EVO video editing server comes with the EVO suite—an integrated set of workflow tools built exclusively for media production teams. The EVO suite includes the ShareBrowser media asset manager, Slingshot automations engine and API, and Nomad remote editing utility for an optimal creative workflow anywhere in the world.

File Automations for DaVinci Resolve

Slingshot, EVO’s built-in automations engine and API, is an important feature for any production team that wants to save time on those pesky—yet essential—non-creative tasks (so, everyone). Slingshot gives users the ability to schedule automatic media backups, transcodes, file transfers, and a variety of other recurring tasks in a few simple clicks.

Without tying up a workstation, Slingshot can automatically backup a folder to cloud storage, transcode proxies of newly imported footage, and so much more.

Remote Video Editing in Resolve

Both EVO and Resolve offer fantastic remote workflow features to help you view, access, and edit your team’s media from any workstation on-premise, at home, or elsewhere.

EVO can be configured to automatically generate proxy media on a recurring schedule. Nomad, EVO’s included remote editing utility, retrieves these proxy files for remote editing or review, all while maintaining the original folder structure for easy relinking. Simply send the media back and relink it to the high-resolution source media, then export the project like normal.

In DaVinci Resolve, users can link to the proxies downloaded through Nomad and easily choose between viewing their project with proxy media or the high-resolution source media.

There are many great remote editing features in the latest versions of EVO, ShareBrowser, and DaVinci Resolve. From easy access to proxy media to integrated cloud storage workflows to a secure and convenient VPN solution, SNS enables flexible remote workflows for your entire production team. Learn more about remote editing in our post on 8 Practical Tips for Remote Video Editing.

Cross-Platform Collaboration

While DaVinci Resolve can do it all, some users prefer a cross-platform workflow where editors collaborate across multiple NLEs and creative software. If your team uses Resolve alongside other video editing platforms, you can still use all of the integrated functionality with the ShareBrowser workflow integration plugin.

In fact, ShareBrower’s metadata can be imported into other popular NLEs and creative applications, like Adobe Premiere Pro, After Effects, and Final Cut Pro.

And if you’re editing in Premiere and color grading in Resolve, check out our blog about Premiere Pro and Resolve roundtrip workflows. Fun fact: both Adobe Premiere Pro and DaVinci Resolve have in-app ShareBrowser extensions included with your EVO server. (Final Cut Pro does, too.)

DaVinci Resolve Video Editing Servers

Serving as both a shared database and complete shared storage workflow solution, EVO is the ideal DaVinci Resolve server for creative teams looking to upgrade their post-production infrastructure.

Every EVO media server includes remote editing, automation, and media management tools for your entire team with no per-seat license fees. And now, with the new in-app ShareBrowser plugin, your media asset management software is as neatly integrated into the Resolve ecosystem as the NLE’s own workflow suite.

Enjoy a better editing workflow with the ShareBrowser workflow integration plugin, available for DaVinci Resolve 17 Studio and later.

To get the ShareBrowser workflow integration plugin for DaVinci Resolve, contact SNS today.

From Aachen to Austin: Digital Video Technology Decoded (And Encoded)

No matter where you are in the modern world, digital video is most likely in every one of your spaces (and if it is not, you are probably carrying it in your pocket by way of a smart phone). What does it take to record, encode, decode, edit and deliver digital video assets and virtual experiences—from live concerts to breaking news stories to sports events as well as surveillance footage and digital medical records? The short answer is a whole lot of talent and technology.

While I’m based in Austin, Texas, our global team is distributed around the world. Many of my colleagues are in Aachen, Germany—where MainConcept® was founded in 1993—while others can be found across the US as well as Japan and our engineering hub in Tomsk, Russia. With decades of experience in the field, our product management, engineering and support teams are extremely knowledgeable and, lucky for me, all quite willing to answer my questions. So, I wanted to take this opportunity to share a bit about what I’ve learned since joining MainConcept (and to spread the joy of a plethora of acronyms).

The beginning of video codec technology

Video used to be stored on magnetic tape as an analog signal. However, in the mid-1970s, DCT (discrete cosine transform) compression was introduced. About 15 years later, multiple companies started experimenting with DCT lossy compression, including heavy hitters such as Toshiba, Hitachi, NTT, and BT. DCT compression was at the heart of the H.261 standard ratified in 1988 (compliments of the ITU or International Telecommunications Union). This paved the way for the many video coding standards that have followed over the past four decades.

Some of these video coding standards have become popular and are still used, while others have faded into history as what we refer to as “legacy codecs.” (And, while those legacy codecs may not seem important, MainConcept maintains the largest codec library in the world to ensure that our customers still have access to them if they need them). In all of this, one thing is crystal clear: the field of codec technology is constantly evolving and will remain as ever-changing as the methods for creating and the devices that deliver the content.

Which codecs are most popular today?

Today, two of the most popular codecs are AVC/H.264 and HEVC/H.265.

AVC (Advanced Video Coding) is an ideal choice for compatibility with almost any video device or service and provides superior visual quality. It is often used for OTT (over-the-top) streaming and broadcast and AVC is the backbone of video production workflows with formats like XAVC from Sony, AVC Ultra from Panasonic and others.

HEVC (High-Efficiency Video Coding) is also known as MPEG-H Part 2. It provides better compression than AVC and is the next-generation video codec of choice. It is used by many top companies to power their software offerings and is widely deployed across streaming and broadcast use cases.

MPEG (Moving Picture Experts Group) is a joint venture between the ISO (International Organization for Standardization) and the IEC (International Electrotechnical Commission). Their mission is to set standards for various types of media coding, including audio, picture, multimedia and hypermedia information coding. The standards that have come out of the MPEG initiative have wielded significant influence over the past few decades, and they show no signs of slowing down.

What are the driving forces in the future of digital video technology?

There are a number of forces driving the future of codec technology, and high on the list you will find advancements like 8K video, reduced bitrates (over internet and mobile networks), high dynamic range (HDR), low latency and many more. There are also new codecs on the horizon, including AV1 and MPEG’s latest video codec releases: VVC (Versatile Video Coding), EVC (Essential Video Coding) and LC-EVC (Low-Complexity EVC).

8K adoption is sure to skyrocket according to Strategy Analytics, with a likelihood of having 8K TVs in 72 million households by 2025.1 The 8K Association (8KA) is dedicated to evangelizing the benefits of 8K and also helping to clear the path for the transition to it. 8K brings higher image quality to consumers and demands highly performant hardware. This was the topic of MainConcept’s Preparing for 8K Encoding realities for today and tomorrow webinar (featuring guest speakers from Samsung and the 8K Association).

Officially standardized just last year, VVC is quickly gaining momentum in the codec race. It was established by the Joint Video Exploration Team (JVET), and it is the brainchild of the MPEG and VCEG (Video Coding Experts Group), a working group of the ITU Telecommunication Standardization Sector (ITU-T), which is also the parent organization of the aforementioned ITU). VVC is anticipated to become the dominant codec for use cases such as next-generation 4K/8K and beyond as we progress into this decade.

Want to learn more about digital video technology?

There are a lot of great resources (including Wikipedia.com) where you can learn more about codec technology, and we will continue to provide timely blog posts, videos on demand and product information on our newly relaunched Mainconcept.com website.

Our products use just one Application Programming Interface (API) to make integrating different formats simple and seamless. We also offer a Transcoding SDK to simplify video workflows with automated encoding presets. Most importantly, all that we do is backed by unparalleled Support and Professional Services, so you don’t have to go it alone.

If you have specific questions, email us at marketing@mainconcept.com. We will have one of our experienced codec experts get in touch with you. Who knows—your question might be the inspiration for our next blog post! You can also follow us on LinkedIn and Twitter.

Why Do Things Twice? MainConcept SABET Speeds Processing of Live and VOD Workflows

Encoding an OTT (over-the-top) ladder can be a demanding job. To satisfy the needs of viewers on a variety of screen sizes and resolutions, like 4K TVs and smartphones, you will inevitably end up with an encoding ladder that has many rungs. For every rung, or every step on the ladder, typical encoding scenarios will require an encoding instance.

Eliminating redundant steps in Adaptive Bitrate (ABR) encoding

So, the encoders are configured, set up and begin their work—but wait a minute, don’t they all do pretty much the same thing? Correct—each encoder goes through the same, basic steps of motion estimation, image analysis and then encoding, using the same input image. These are redundant and often unnecessary steps. At MainConcept®, we invented the solution for this: SABET™, Smart Adaptive Bitrate Encoding Technology.1 

Our engineering team quite carefully analyzed which of the encoding steps are redundant in Adaptive Bitrate (ABR) encoding. Then, we went heads down in algorithms and code to create SABET.

How does SABET work?

SABET uses a single encoder instance to generate all ABR rungs at once, eliminating redundant processes. The encoder instance is fed with a single input stream in full resolution. From there, up to 12 renditions are generated with different resolutions and bitrates.

From a user and API perspective, this approach simplifies setting up the encoder as it ensures that all renditions have the exact same IDR (Instantaneous Decoder Refresh) frame placement and the same frame structure. From an encoding perspective, SABET2 reduces processing requirements up to 30% for a typical HLS (HTTP Live Streaming) bitrate ladder, allowing your encoding jobs to be completed more quickly and cost effectively than a traditional single-instance encoding.

What are the benefits of using SABET?

SABET improves processing efficiency for both live and VOD (Video on Demand) workflows. In all scenarios it reduces the overall CPU power needed for encodings of the bitrate ladder, especially for VOD and distributed transcoding farms. SABET completely eliminates the decoding step for each transcode after the first decode, and it also doesn’t require the large source file being copied to all server nodes over the network.

This means less processing time and CPU load, reducing your overall content delivery costs.

Where can I get SABET? 

SABET is an optional feature in MainConcept’s HEVC/H.265 Video Encoder SDK as well as Transcoding SDK and can be tested at any time in the HEVC demo version. So why not take it for a spin today?

In Conversation with InSync Technology

We are joined by Paola Hobson, Managing Director at InSync Technology to discuss how good the current boom for streaming services is for the industry. We also hear how beyond the commercial barriers, from a technical standpoint, how feasible it is for streaming services to address international markets and what are these and how can they tackle them. Finally, we hear about advancements in conversion solutions.

Six advantages of direct-to-TV broadcast security

For decades, pay-TV content protection was based on conditional access systems (CAS). The major shortcoming is cost and lack of flexibility, especially as operators need to transition to hybrid service models that embrace both broadcasting and OTT streaming. Intertrust’s ExpressPlay XCA, built on the open-standard Marlin DRM, unites previously siloed CAS and DRM systems into a converged security solution. Read about the six advantages of direct-to-TV broadcasting that eliminates the need for STBs and reduces both CAPEX and OPEX.

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