In recent years, more and more companies have been leveraging logo detection in various ways for brand-related gains. So, what’s the technology behind this ‘visual listening’ tool that’s helping visionary companies turn auto-detection into auto-dollars? And how has it evolved over the years?

First things first, logo detection, otherwise known as logo recognition, refers to the identification of a company’s unique logo, or visual trademark of the brand. It’s also important to note that logo detection is closely linked to object detection, a form of Artificial Intelligence. These technologies allow for semantic object detection by identifying what data scientists call ‘instances’, in images and videos, for example.

It’s fair to say that this past year we’ve been up, down and all around. Literally overnight lives changed drastically and for the first time we were living through the kind of global pandemic that we’d only read about in history books. I think we can all agree that we’re living in unprecedented times.

That said, despite the extremely low lows of 2020 there were also some silver linings. With international lockdown and increasing work from home orders, many families were reunited, pollution rates steadily dwindled, digitization peaked, the season of innovation flourished.. and hey we were also graced with free balcony concerts from across the globe!

DAM, MAM, PAM…maybe you’ve heard these terms pop up in everyday business jargon. But have you ever stopped to think about what they stand for?

Many times, they are used interchangeably, causing confusion among even those who use these platforms on a daily basis. Whether you’re a Marketing or Media Asset Manager, CTO, Video Producer, Documentalist, etc. it’s hard to keep up with constantly evolving media asset management platforms and technologies.

The modern-day software to protect against fraud, track down criminals and confirm identities is among one of the 21st century’s most powerful tools, and it’s called face recognition.

In 2019, the face recognition market was estimated at over $3.6 billion. This number continues to grow, with a predicted $8.5 billion in revenue by 2025, with various governmental and commercial applications ranging from security and health to banking and retail, among thousands of others.

The Organization of American States is the world’s oldest regional organization, dating back to the First International Conference of American States, held in Washington, D.C., from October 1889 to April 1890. That meeting approved the establishment of the International Union of American Republics, and the stage was set for the weaving of a web of provisions and institutions that came to be known as the inter-American system, the oldest international institutional system.

Today, the OAS brings together all 35 independent states of the Americas and constitutes the main political, juridical, and social governmental forum in the Hemisphere. In addition, it has granted permanent observer status to 69 states, as well as to the European Union (EU). The Organization uses a four-pronged approach to effectively implement its essential purposes, based on its main pillars: democracy, human rights, security, and development.

University of Southern California’s Annenberg School for Communication & Journalism with The Julie Chen/Leslie Moonves and CBS Media Center

“The Master of Science program here at the University of Southern California’s Annenberg School for Communication and Journalism used to be a two-year program. 2014 marks the first year of a new nine-month program in a new building,” says Vince Gonzales, Coordinator, Master’s Programs, School of Journalism, USC Annenberg School for Communication & Journalism, who oversees the new Masters of Science and Arts program.

Miami Beach, Florida — At the New World Symphony, we had a problem. We had years of content, thousands of video recordings and images of the academy, faculty and guest artists in action, but there was no way for us to access it for either educational or marketing purposes.

From the beginning, our Fellows have been working with leaders in the classical world, and these interactions are invaluable. We’ve taken countless pictures and recorded a lot of audio and video, but we had no way to put these assets to use because they were difficult to catalog and locate as needed. A video clip of a master class with a visiting faculty member can be a powerful teaching tool for years to come.

Another challenge I kept hearing from our marketing team was their need to put together multimedia presentations for fundraisers or to share with patrons and media outlets, showing how the New World Symphony has helped our Fellows get to their next steps in life.

In this episode of the mini-interview series, we invited Mark from Axello to talk about the media streaming landscape in Europe, China, and Southeast Asia.

In the interview, Mark kicked off the conversation by sharing a short introduction about Axello and himself.

Accelerated by COVID-19, the online education industry is one of the fastest-growing industries in China, Southeast Asia, and India. In China, the online education industry’s user base in 2020 has increased by 46% to over 400 million users. In this region, the time spent on online education has increased 60% during the pandemic. This trend encourages more learners to take courses online and more people to become instructors for online classes, as physical distance is no longer a barrier.

This week’s episode focuses on all things SFX as Neil speaks to Keith Harding – SFX Supervisor at Bloody Stuff Ltd. Bloody Stuff are one of the UK’s leading prop and special effects providers. Keith tells all about his start in the broadcasting and film industries, how the prop and special effects industry is coping with COVID-19 and what he predicts for the future of broadcasting.

In this IABM TV interview, we caught up with Daniel Kubitza (Director of Sales at LYNX Technik) to discuss their greenMachine HDR suite of solutions and how customers can use this.

This week, Neil speaks to Petra Oblak – life coach, mentor and co-ceo of Vision247. Petra has been at the forefront of the broadcasting industry since 1988. In this episode, Petra takes us back to her start in the industry, telling all about success, change and what we can expect for the future.

Apple recently announced their shift to the M1 chip, part of an ongoing trend to replace the long-standing x86 CPU with customized ARM processors. Microsoft and other OEMs have also been releasing an increasing number of devices powered by ARM chips, such as the Surface. While this change might not necessitate concern in consumer circles, software providers are certainly taking notice.

Primestream Infrastructure Drives Long-Term Remote Production Workflows for Cisco Global Television

A pioneering leader in information technology, Cisco Global Television is well-known for its technologies and product lines enabling collaboration and remote workflows. Two examples are the Webex video conferencing platform and the TelePresence SX80 product line, which works almost like a very low-latency “satellite in a box” for video collaboration. The company’s corporate video production arm, Cisco Television, produces about 1,500 broadcasts a year including around 250 external productions for audiences around the world. Cisco TV productions range from the Cisco Live tradeshow, Cisco Partner Summit, and Impact national sales meeting to product launches, webinars, and events such as those for the Cisco STEM program.

For several years, Cisco TV has relied on a comprehensive infrastructure of Primestream solutions to manage and automate all corporate media operations from capture and ingest through to delivery. Primestream’s Workflow Server manages ingest and automated master control playout, working in concert with the Primestream Xchange™ media asset management (MAM) platform.

The evolution from baseband to IP turned into a revolution in 2020, as the effects of the COVID-19 pandemic forced the streaming and broadcast industries to double down on remote production workflows and technologies. With studios shuttered, broadcast operations centers empty, and OBS trucks parked, video technology companies and producers have turned to IP-based production like never before, embracing its efficiency, flexibility, and ability to cost-effectively meet rapidly changing requirements.

Based in Florianópolis in Brazil’s Santa Catarina state, NDTV is a commercial TV network that operates seven affiliate stations under the RecordTV brand. NDTV and Primestream boast a long and successful partnership, and the network has leveraged Primestream solutions for more than 10 years. Today the Primestream Workflow Server drives virtually all of NDTV’s media workflows and ensures a highly efficient broadcast operation from ingest through to production and playout.

Primestream, a leading provider of asset management and automation software solutions for media production announced that Brazilian broadcaster NDTV has migrated its media asset management (MAM) operations to the award-winning Xchange™ platform. With remote content workflows driven by Xchange in the cloud, NDTV has been able to double its content output while enabling production teams to collaborate and contribute from any location.

RSI Turns to Primestream to Power Media Assets and Editing

When Swiss Italian language broadcaster RSI (Radiotelelevisione svizzera di lingua italiana) needed to overhaul its approach to media assets and editing, it found a unique challenge The public service broadcaster – based in Lugano, Ticino – operates three radio stations, two TV channels and a wide range of multimedia services and is part of SRG SSR.

RSI wanted to overhaul its asset management, but at the same time needed a tool for post-production, that would help it import, acquire and organize all the material needed for editing video in Apple Final Cut Pro® Xand audio in Avid® Pro Tools®.

Like multinational organizations everywhere, Cisco Television started the year with one set of goals and expectations in mind – and then woke up to a harsh new reality when the global Coronavirus pandemic hit. Almost overnight, we had to transition from a producer of major, high-profile, in-person events to an almost completely remote operation. Here’s the rundown on how we’ve accomplished that and the enabling technologies that have come into play.