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Introduction
The evolution of the media landscape is fascinating and leads to new requirements for content providers. The number of platforms offering high quality VOD and TV-anywhere-experiences are growing. Fast, accurate and high-quality deliveries of media assets are the keystone for thus platforms to keep up the competition. Pixlo takes complete care of your media assets during the whole process from acquisition to delivery. Hereby you will maximize the profits from your content.
Pixlo
is the leading data and media asset conforming company in the Nordics with a customer database including HBO, Com Hem, SF Anytime, C More, Cirkus and Warner. As all our clients got specific needs for their content, Pixlo’s tailor made asset structure was developed to handle all type of workflows including Pre-Air Handling, Secure Content Delivery, Rights Window Management, Metadata and Delivery Management, Asset Library Management.
ABOUT US
SERVICES
Pixlo Managed
Transcoding
Services
Less headache and lower costs
Buy transcoding infrastructure as a service from Pixlo instead of building and managing it yourself. This ensures a wide range of transcoding tools that will cover all technical delivery requests, including 4K UHD, HDR, DCP and IMF packages.
Our system can:
• Order source files from studios on requests of rightsholders
• Order complementary assets such as artwork,
trailers, dub or sub-files
• Receive, ingest, quality check incoming files
• Edit material if necessary, e.g., conforming audio, video
editing like removing bars and tones, commercial breaks
frame rate conversion, adding bumpers and graphical
elements
• Handle subtitles all the way from creating proxy files to
subtitle company, conform subtitles and convert to most
formats or re-sync if necessary
• Transcode according to the receiver’s requirements
• Manage distribution based on a delivery scheme.
Administrating what and when a title its metadata and
complementary assets are to be distributed and in what
format
Transcoding
• All relevant OTT and IPTV profiles
• 4K UHD
• High Dynamic Range (HDR) with correct metadata
• Quality Control in several levels:
Light/Partial, Full, Manual, Automated
• Multiple transcoding tools from all relevant vendors
• Conformance of subtitles and dubs
• Lab environment for evaluation of new codecs
packages, software and hardware
Connected Platforms
Distribution
• Hundreds of clients around the world onboarded, including
all Nordic TV and streaming platforms
• Approved by international streaming giants like Netflix
Amazon, Google, Xbox and PlayStation
• Agile approach. Proven track record of large-scale delivery
projects and acknowledged as the universal problem solver
• Modular workflow tools tailored after customers’ needs.
Suitable for complex deliveries to multiple platforms
Security
• Handles EST, TVOD, SVOD
• Certified for Pre-Release handling by HBO
Stars, Fox, CBS, Showtime
• Qualified by all major studios for home
entertainment
• Aspera Cargo, High-Speed Transfer
Endpoint, Faspex Server
Archive
• Spinning Disk for fast access
• Cold Storage (Tape)
• Redundancy
Post Production
• Editing
• Graphic Design
• Animation/VFX
• Mastring DCP, IMF
SOME OF OUR CLIENTS
NEWS
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4K
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GPU vs CPU encoding - Part 1
By Kennet Eriksson, Björn Isakson and Kojo Mihic
There is no secret that GPU outperforms CPU processors when it comes to mathematical calculations. This means GPU processors would be ideal for complex video encoders like HEVC. They are, but there are drawbacks. Here are some views from Pixlos Lab in the subject. In this article we will focus on Nvidias HEVC NVENC.
Is it fast?
The short answer is yes. Comparing HEVC NVENC to x265 shows significant increase in speed, of course depending on what graphic card you have installed. But as mentioned, there are some drawbacks where the loss of B-frames and...
4K UHD - Challenging standard
By Kennet Eriksson, Björn Isakson and Kojo Mihic
Abstract
Nowadays, when buying a TV set, it is hard to find something else than sets with a 4K UHD resolution. Many sets also have some kind of support for HDR. In the TV history so far, we have had specific dates for larger changes in the broadcast chain, like when color TV or the HD resolution was presented to the audience. A big difference with 4K UHD and HDR is that there won’t be a specific date for the change. Even if the TV sets are ready for 4K UHD, the content distribution side is adapting a bit slower. It’s an ongoing process led by international VOD services, like Amazon Prime, Netflix and iTunes, who already started to deliver titles in 4K UHD and HDR. This article will explain some of the reasons why the change to 4K is taking time.
HDR - The bright future is here
By Kennet Eriksson, Björn Isakson and Kojo Mihic
HDR - what does it give us?
If you are shopping for a new TV set you will discover that a lot TV sets today support 4K UHD resolution and many of them also support some level of high dynamic range (HDR). This means that many new sets from now on will be compatible to show HDR films if available. HDR is not another 3D hype that will be gone in some years. HDR is here to stay and evolve! Technically, it is actually a paradigm shift, switching from the gamma correction transfer function to perceptual quantization (PQ).
Far from all scenes needs the high dynamic range possible in HDR, so don’t be disappointed if you don’t see the wow-factor at once...
Video encoding using GPU – Part 2
By Kennet Eriksson, Björn Isakson and Kojo Mihic
GPU hardware codecs
AMD, Intel and Nvidia all have dedicated hardware video decoders and encoders on their graphics cards able to handle some of the most popular codecs.
Both AMD, Intel and Nvidia hardware encoders can be called from within the FFMPEG media frame work and also from within some encoding applications like Adobe Media encoder. Before you start experimenting with hardware encoders, make sure you know what chip-set you got and also make sure to have the correct SDKs installed. Be aware of that the technical feature set is not as complete as it is with more mature codecs like x264 and x265.
IMF – Interoperable Mastering Format, for local markets
By Kennet Eriksson, Björn Isakson and Kojo Mihic
Abstract
In this article we address the implementation of IMF in smaller markets where supplementary assets often are produced and owned by parties other than the original production studio. There is a risk that the original IMF package becomes obsolete when several versions of an IMF might emerge on local markets. We start with the background to the birth of the IMF format and some of the characteristics and discussions around it.
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