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Little Mix put into virtual stadium setting thanks to precision camera tracking

London, UK, 25 November 2020: Mo-Sys Engineering, a world leader in precision camera tracking solutions for virtual studios and augmented reality, took a central role in the Covid-safe production of a live online entertainment awards show. Normally held in a stadium venue, this year production company and media technologists Bild Studios used virtual reality with the intent of keeping the same scope and excitement as any physical show in the past.

Under the lead of Creative Director Paul Caslin and Production Designer Julio Himede from Yellow Studio, Bild created an enormous 360 virtual stadium cladded with LED screens all around – a design that wouldn’t have been achievable in the real world but more than possible in a virtual environment. Bild’s unique content workflows allowed the show content applied to the virtual LED screens to be operated live, on a cue per cue basis – just like in a physical environment. Hosts Little Mix were shot in a large green screen studio, which thanks to Mo-Sys VP Pro virtual studio software combined with Unreal Engine graphics, became filled with cheering music fans. The links were shot with three Arri cameras: one on a crane, one on a rail and one on a tripod.

Each camera was fitted with a Mo-Sys StarTracker camera tracking system. These track and capture a camera’s precise position and orientation in six axes thanks to infrared cameras tracking reflective dots – stars – on the ceiling. By also tracking the lens focus, zoom, and distortion, the live talent can be perfectly and seamlessly combined with the virtual world, irrespective of the camera movement or lens adjustment. All composited camera outputs were created in real-time, ready for the for the director to live-cut to, making the camera work for the virtual production environment not too dissimilar for any other live broadcast show.

“Producing the real-time VFX content and suppling the technical engineering for this event was a very great pleasure,” said David Bajt, Co-Founder & Director at Bild Studios. “Special thanks go to Mo-Sys Engineering for the amazing camera tracking and virtual production technology.”

Mo-Sys CTO James Uren, who acted as technical consultant on the production, explained, “This was a very fast turnaround production – just five days for any post-production work required – so we needed to get all the virtual studio materials in camera. Because we capture all the component video elements (green screen, key, and graphics for each camera) plus all camera movement and lens data for each camera, for maximum flexibility we could offer Bild the option of three workflows.

“First, we had the combined real and virtual elements from the three cameras, with the option of cleaning up the greenscreen in post,” he explained. “Second, if there had been a problem with the graphics, we could keep the live shots and replace the virtual background. And third, the post team could just go crazy and change everything, whilst still keeping the same camera/lens movements around Little Mix.”

Mo-Sys VP Pro is powerful software that plugs directly into the Unreal Engine Editor. It receives the camera and lens tracking data from StarTracker, synchronises this with the camera video and the Unreal Engine virtual graphics, and frame accurately merges the two image streams together to provide a real-time high quality composite output. VP Pro’s uncompromised graphics power was designed with the specific needs of live virtual production in mind. For the event, each Arri camera had its own VP Pro and Unreal Engine instance. This gave the producers the output quality they demanded, with very low latency. “This is not pre-visualisation,” Uren explained. “This is premium production quality.”
 

Munich, Germany, 24 November 2020: Turkuvaz Media Group - the provider of channels including ATV, AHaber, Anews, A2, Aspor, Apara, MinikA and MinikA GO has completed the extension of its use of Cinegy technology to increase their playout and editing capabilities for selected channels. Cinegy software is used for every stage of the production workflow: ingest, archive, monitoring, editing and playout.

Turkuvaz Medya has built new offices and an operation centre to serve 9 TV channels and 4 Radio channels. There are now 17 studios with a combined floor space of 9,000m2. The studios are designed to be able to serve different usage purposes. Twelve of these are 12m tall and range in size between 200m2 and 1500m2. Five are 6m tall and have between 100m2 and 350m2 floorspace. These studios will be controlled by 6 Program Control Rooms with 4K infrastructure and 4 PCR with HD infrastructure. There are also 9 Master Control Rooms with 4K infrastructure and equipment. 

Cinegy has been instrumental in the digital production workflows within the Turkuvaz Media Group since 2011, with the first phase at that time including a transition from SD to HD for selected channels. Turkuvaz Media Group is one of the biggest distribution companies in Turkey and is a leading institution and brand within the television sector in Turkey, providing channels such as ATV, which is one of Turkey’s most prominent and acclaimed television networks along with ATV Europe, MinikA and AHaber .  

ATV has been a highly influential player in the shaping of Turkish television over the years due to its innovative and ground-breaking approach to program-making helped over the last few years by Cinegy’s advanced file-based technology supporting a completely digital end-to-end workflow with local integration, training and support supplied by local Cinegy partner, Orsatek Bilisim. 

Cinegy software is used for every stage in the production workflow; Capture, Archive, Monitoring and Editing, including Playout. Footage arrives in various formats and is the transferred to the digital archive where teams can access content and collaborate on multiple tasks from different locations. All rights are managed within the Cinegy system to ensure the content is secure. Dependent on access levels, users can then access the clips and metadata in the digital archive allowing material to be used over and over again without any reduction in quality. Changes to material can be made directly from the users’ desks, no need for expensive editing suites, saving time and expense. The digital archive allows collaboration between ATV’s offices in İstanbul and Ankara, removing the time lags, costs and inconvenience caused by the physical distance when using tape-based workflows.  

ATV has been broadcasting in HD since 25th April 2011 and undertook several major Cinegy expansions in that time. The transition to HD broadcast for ATV and Haber (News) was a significant step forward for the Turkuvaz Media Group. Cinegy enabled an easy and smooth transition to add the ability to broadcast in HD. Without requiring any extra equipment or hardware, it was now possible to broadcast in SD and HD simultaneously. The groundwork laid with Turkuvaz’s earlier investments has certainly paid off, the Cinegy software has been continually maintained and offers all of the benefits of today's advances and development, especially in the transition to IP, 4K and beyond. Turkuvaz currently own Cinegy Archive with redundancy, 55 Cinegy Air PRO bundles, several Cinegy Converts with 24 agents in total, 45 Cinegy Captures, and 380 Cinegy Desktops for editing. 

 

 

Broadcast Solutions creates live fan engagement programme; model for low cost, high impact future production

Basingstoke, UK, 11 November 2020: Systems integrator Broadcast Solutions planned and executed almost two hours of pre-match excitement for AFC Wimbledon – with a crew of just three people. The occasion was the opening match at the football club’s new home, just metres away from its original stadium in Plough Lane. 

This first game marked the climax of almost two decades of fund-raising for the club which rose like a phoenix from the old Wimbledon, making its way through the tiers of English football to now play in League One. For the loyal fans, of course, Covid-19 regulations meant that no one could see their triumphant return to Plough Lane. 

“We had to make it a great occasion for the fans,” said Malcolm Robinson, Business Development, Broadcast Solutions. “And we had to achieve it with very little footprint.” 

Wimbledon director and events producer Charlie Talbot of Talbot Productions pulled together contributions from fans, former managers and ex-players. On the night, the team added live interviews and behind the scenes looks, while fans continued to contribute video comments via social media. 

“We used Dream Chip cameras feeding into a Dream Chip Barracuda HEVC encoder,” Robinson explained. “That gave us four good quality HD streams, plus associated audio, plus comms over SRT [secure reliable transport, an open delivery format] in a 30Mb/s public internet link. For roving reports, we also had a Sony ENG camera feeding into a Mobile Viewpoint bonded cellular link.” 

With Robinson and Talbot on site, the third member of the team, Adam Leah, creative director of live production technology specialists nxtedition, was 1000km away in Sweden. The Barracuda decoder and internet feeds from fans and the Mobile Viewpoint link also fed into the nxtedition cloud. Leah directed a seamless 105-minute show, cutting live multi-camera video with pre-packaged items and new content from social media. 

“The technology worked perfectly,” Robinson said. “SRT allowed us to maintain really great quality on the live video which sat well alongside the crowdsourced content. We were also able to get reverse feeds over the internet, including a multiviewer as well as the rundown, so Charlie as producer had a complete overview and control. From end-to-end it was a very professional production.” 

As in any broadcast operation, comms was absolutely vital to a seamless production. The Trilogy communications platform allowed the team to put virtual panels wherever they were needed, as well as earpieces for presenters. There was no latency in comms, allowing slick live links. Programme sound used Sennheiser wireless microphones. 

“We set out to make a night to remember for the fans of AFC Wimbledon, but we achieved much more,” Robinson concluded. “This is the groundwork for a whole new approach to remote production. I was blown away by this as a demonstration of what can be achieved in live, remote, collaborative production. 

“This can be scaled, and will transform the way we cover sport and events.” 

The Plough Lane opening night was on 3 November 2020 and the initial live-stream clocked up almost 20,000 views. 

Basingstoke, UK, 11 November 2020: Systems integrator Broadcast Solutions planned and executed almost two hours of pre-match excitement for AFC Wimbledon – with a crew of just three people. The occasion was the opening match at the football club’s new home, just metres away from its original stadium in Plough Lane. 

This first game marked the climax of almost two decades of fund-raising for the club which rose like a phoenix from the old Wimbledon, making its way through the tiers of English football to now play in League One. For the loyal fans, of course, Covid-19 regulations meant that no one could see their triumphant return to Plough Lane. 

“We had to make it a great occasion for the fans,” said Malcolm Robinson, Business Development, Broadcast Solutions. “And we had to achieve it with very little footprint.” 

Wimbledon director and events producer Charlie Talbot of Talbot Productions pulled together contributions from fans, former managers and ex-players. On the night, the team added live interviews and behind the scenes looks, while fans continued to contribute video comments via social media. 

“We used Dream Chip cameras feeding into a Dream Chip Barracuda HEVC encoder,” Robinson explained. “That gave us four good quality HD streams, plus associated audio, plus comms over SRT [secure reliable transport, an open delivery format] in a 30Mb/s public internet link. For roving reports, we also had a Sony ENG camera feeding into a Mobile Viewpoint bonded cellular link.” 

With Robinson and Talbot on site, the third member of the team, Adam Leah, creative director of live production technology specialists nxtedition, was 1000km away in Sweden. The Barracuda decoder and internet feeds from fans and the Mobile Viewpoint link also fed into the nxtedition cloud. Leah directed a seamless 105-minute show, cutting live multi-camera video with pre-packaged items and new content from social media. 

“The technology worked perfectly,” Robinson said. “SRT allowed us to maintain really great quality on the live video which sat well alongside the crowdsourced content. We were also able to get reverse feeds over the internet, including a multiviewer as well as the rundown, so Charlie as producer had a complete overview and control. From end-to-end it was a very professional production.” 

As in any broadcast operation, comms was absolutely vital to a seamless production. The Trilogy communications platform allowed the team to put virtual panels wherever they were needed, as well as earpieces for presenters. There was no latency in comms, allowing slick live links. Programme sound used Sennheiser wireless microphones. 

“We set out to make a night to remember for the fans of AFC Wimbledon, but we achieved much more,” Robinson concluded. “This is the groundwork for a whole new approach to remote production. I was blown away by this as a demonstration of what can be achieved in live, remote, collaborative production. 

“This can be scaled, and will transform the way we cover sport and events.” 

The Plough Lane opening night was on 3 November 2020 and the initial live-stream clocked up almost 20,000 views. The programme is available on YouTube at https://youtu.be/__Sn1TlX1J8 

 

 

 

 

Valencia, CA, USA, October 29, 2020 - GB Labs will be both exhibiting and presenting on the GDS Communications booth at the virtual Western Association of Broadcast Engineers (WABE) convention, 4 – 5 November 2020. Given the need for broadcasters and postproduction facilities to embrace remote and home working at the moment, GB Labs will major on Unify Hub, the new intelligent content management software.

Unify Hub is the storage management solution launched in September 2020 for today’s changed world. By managing all storage as a single entity – whether it is on site or in the cloud; whether it comes from GB Labs or other vendors – it gives users fast, simple access to content, wherever they are working.

Gary Shumyla, owner of GDS Communications, GB Labs’ partners in Canada, said, “You may be working from home, but if you are a producer or editor, you just need to access the media – you don’t care where it is. That is what Unify Hub does: wherever the material is physically, it appears to you as a single, secure and coherent source.

“You might be rough cutting on location, or in collaborative post, or simply working from home,” he continued. “With Unify Hub, you are just looking at one virtual location for all the media you need. No worries about where content is and where it can be moved – you just get on with the job.”

Each individual user has a virtual workspace, providing access to just the data they need, while also ensuring that there is only one work in progress file, eliminating workflow errors. A single sign-in connects the user to storage on-premise and in the cloud, and intelligent content management, including GB Labs’ smart SSD storage Flash Cache, speeds workflows by providing local access to content, which also minimizes costly egress charges from the public cloud.

Dominic Harland, CEO of GB Labs, will walk visitors through all the benefits and power of Unify Hub, in conjunction with partner GDS Communications during WABE 2020. Unify Hub, launched just a few months ago, has already won a Best of Show Award from Future Publishing, at IBC2020.
 

 

Munich, Germany, 28 October 2020: Cinegy today announced that Travelxp, one of the world’s leading travel channel brands based in Mumbai, India, implemented Cinegy Air PRO, a highly optimized playout automation solution.

Sold and installed by Cinegy’s regional partner, New Delhi-based Setron India, Cinegy Air PRO is a software-based system for HD and UHD 4K playout automation that uses standard IT server hardware and certified SDI video cards.

Cinegy Managing Director Daniella Weigner said, “Travelxp is a leader in technical advances, offering the best to its viewers in its latest venture. The advantage of Cinegy Air PRO is that it can easily run multiple HD and/or UHD 4K channels, which is precisely what they wanted. What’s more, multiple instances of Cinegy Air PRO can run on a single machine. Playout channels can also be configured to stream programs live with no need for additional hardware or software.”

Setron India Director Arjun Dhawan said, “Cinegy software is stable and easy to use, offering a simplified workflow and more modern technology than the existing system Travelxp had been using. What’s more, the use of Cinegy delivered uptime statistics that delighted the operations staff. The system has been up and running for more than six months without a single reboot.”

The ability of Cinegy and Setron to fulfill special requirements and successfully set up the workflow was a major factor in winning the business once the proof of concept period was completed.

“Local support is critical in India,” said Dhawan. “Cinegy appointed Setron as a Master Reseller, and that helped boost Travelxp’s confidence as they understood that we’re not only about making a sale, but also about providing solid Level 2 backup. Our full understanding of Cinegy software coupled with a local presence ensures that Travelxp is fully covered by on-site and remote support around the clock.” Travelxp’s plans to expand its UHD 4K services will also be well catered for by Setron as Cinegy Air PRO and other Cinegy software modules are a proven scalability solution.

 

Umeå, Sweden, 28 October 2020: Intinor, Sweden’s leading developer of products and solutions for high-quality video over the public internet, has launched a new generation of its RACK+ product series. For the first time, as many as 12 independent video feeds can be combined in a single device, to be delivered synchronously across multiple internet paths.

Intinor is widely recognised as a market leader in the delivery of high quality video over the public internet, using broadband (ethernet), cellular (3G, 4G LTE or 5G) and Ka-band satellite as required to achieve the necessary bandwidth and resilience. To achieve the quality and security goals, Intinor has developed its own transport protocol, Bifrost Reliable Transport, BRT™.

The solution is used worldwide, not least in esports content. With the constant demands for more cameras and feeds, along with higher image quality, Intinor has further developed its popular Direkt link 400 RACK+ to handle 12 inputs, which can be a mixture of SDI and NDI, and at resolutions up to 4k at 60p. The software encoders are hosted by dedicated hardware in a 2U appliance.

As well as the video feeds and associated audio, the Direkt series also supports a VPN for remote control of PTZ or for tally. The output can be streamed over a single internet connection or fed to the Intinor Heimdall which incorporates multiple cellular modems for bonded delivery and additional resilience.

With up to 30 IP or Netvideo inputs, 12x SDI/NDI in or out and multiple software encoders, this unit really lets you create your own workflow.

“We took the G30 out of the box, put it on our mount and turned it on,” said Charles Cole, technical operations manager at TRP. “The stabilization of our picture is significantly better than anything we had seen before – the results have been very, very good.”

“Our customers love that we make remote production simple, practical and powerful,” said Roland Axelsson, CEO and Founder at Intinor. “With up to 30 IP or Netvideo inputs, 12 SDI or NDI in or out and multiple software encoders, we now give them all the power they need. All this with the low latency and high quality for which we are known – our Swedish Army Knife of remote video connectivity just got even better!”

The new generation Direkt RACK+ and Direkt router are now available.

 

G30 provides universal support with very high-performance stabilization and movement

London, UK, 15 October 2020: Mo-Sys, world leader in precision camera tracking solutions for virtual studios and augmented reality, today launched a new generation of gyro-stabilized remote head, the G30. Its radical new design, with a compact, 45-degree frame, allows it to support virtually any broadcast or digital cinematography camera rig for precise movement and stabilization.

“In our conversations with the production community, we know that there is a real need for excellent stabilization and precision camera positioning without the expense and limitations of device-specific and proprietary mounts,” said Michael Geissler, CEO of Mo-Sys. “Whether it is on a vehicle, a remote mount or a crane, producers and directors want to be unrestricted creatively, with a device that is quick to set up and balance, and will accept whatever camera and accessories they need.”

The G30’s 45˚ frame geometry provides easy access to all the camera connections and accessories, making it simple to install any type of camera quickly and securely. The short, stiff frame provides rigidity for rigs of up to 30kg, and high torque direct drive motors deliver crisp, precise camera movement alongside excellent stabilization. Open hubs for the three drive motors means cable routing is clear and tidy and avoids the need for sliprings and camera-specific cables.

The unique frame design eliminates a serious limitation with some existing gyro head designs: the issue of gimbal lock, where pan axis movement – including stabilization – are impossible when the camera is pointing directly down. The G30 has impressive pan and tilt movement ranges, along with ±45˚ roll, suitable for most creative productions. Axis encoders are built into each motor assembly for direct input into virtual production systems.

Launch customer for the G30 is Thoroughbred Racing Productions, based in Melbourne, Australia. It provides comprehensive coverage of more than 525 race meetings a year, including a camera car tracking each race. That car has used an earlier Mo-Sys stabilization gimbal, and TRP has now used the G30 for several months.

“We took the G30 out of the box, put it on our mount and turned it on,” said Charles Cole, technical operations manager at TRP. “The stabilization of our picture is significantly better than anything we had seen before – the results have been very, very good.”

Cole pointed to the excellent stabilization of shots from a fast-moving car, including the effective reduction of low frequency disturbances due to potholes on the course-side track. He also praised the simplicity of set-up, particularly as different courses require different zoom settings and therefore different rates of panning to track the action smoothly.

The controlling software of the G30 includes the ability to fine-tune the balance of the camera quickly and largely automatically, significantly reducing the set-up time. The rigid frame design and semi-automated balance system ensures that any camera rig up to 30kg can be installed without counterweights and be ready for use very quickly. Users can store pre-sets for frequently used camera combinations to speed set-up even more.

 

Aldermaston, UK, 29 September 2020 - GB Labs, innovators of powerful and intelligent storage solutions for the media and entertainment industries, has launched Unify Hub, a platform designed to meet all the challenges of today’s media production environment combining on premise and cloud content, empowering remote production while maintaining data integrity and security.

Unify Hub is a data management platform designed for today’s changed world. It manages storage – on site or in the cloud; from GB Labs or from other vendors – to provide a working environment which is simple and fast, providing the tools for maximum productivity from production and post production artists.

“For most of this year, collaborative production has been impacted,” said Dominic Harland, CEO and CTO at GB Labs. “Content is back to being stored in multiple locations, with all the problems of delays in moving material from place to place, the risk of creating multiple ‘master’ versions, and of course poor security.

“First and foremost, Unify Hub provides a unified approach to content and metadata,” Harland added. “Wherever your material is physically stored, the content you need appears as a single, secure and coherent source. That makes it ideal for high-efficiency collaborative and remote working.”

Unify Hub offers five key pillars of advances in productivity, connectivity and security:

Unify Hub Cloud Mounts: Align the local user permissions with cloud accounts to facilitate single sign-in and simplify the secure access of cloud accounts on-premise

Acceleration: Leverage GB Labs technology to speed up the user experience, as well as reducing costs and saving internet bandwidth
S3 Endpoint: Connect on-premise workspaces to cloud services or remote users

Remote Working: Provide remote workers with a seamless experience, regardless of your location

Virtual Workspaces: Simply select what is needed and securely make available everywhere, instantly

Through its management structure, Unify Hub allows users and groups to be established for each project. All appropriate cloud accounts can then be accessed through the single sign-on, with pre-authenticated cloud endpoints appearing as SMB storage shares. For system administrators Unify Hub File Manager provides a single pane of glass overview and control; for users their log-in brings all the material they need to their workstation, wherever they are working and the content is stored.

Unify Hub is the winner of the Best of Show Award 2020 during IBC 2020 from TVBEurope magazine.

Aldermaston, UK, 29 Sept - 1 Oct 2020 - GB Labs, innovators of powerful and intelligent storage solutions for the media and entertainment industries, is proud to be part of the inaugural BroadcastAsia (29 September – 1 October) immersive virtual convention. As well as a fully staffed booth, GB Labs is making two presentations on key products: CloakDR and the award-winning Unify Hub, which will be launched at the event.

Unify Hub was designed for today’s changed world, a storage appliance which has support for remote production and distanced implementation baked in. Unify Hub is a powerful control layer, tuned to the challenging needs of broadcast, which manages storage – from GB Labs or other vendors – whether that storage is on premises or in the cloud; local or remote. So it can leverage existing storage as well as providing a sure foundation for future plans.

“The pandemic has forced changes on the way we work, bringing remote collaborative working to the fore,” said Ben Pearce, CBO Asia and Co-Founder at GB Labs. “The temptation is to go back to the bad old days of material stored in multiple locations, with all the problems of delays in moving material from place to place, the risk of creating multiple ‘master’ versions, and of course poor security.

“As the name suggests, Unify Hub provides a simple, unified approach to content and metadata, so that wherever it is physically stored, it appears as a single, secure and coherent source, ideal for high-efficiency collaborative and remote working,” Pearce explained.” Unify Hub is a winner of the Best of Show Award 2020 during IBC 2020 from TVBEurope magazine.

The other featured product at BroadcastAsia is CloakDR, a revolutionary approach to 'no single point of failure' content security from GB Labs. The intelligence in GB Labs servers uses CloakDR software to build redundant storage systems which are always synchronised from the moment of ingest. This allows CloakDR to dynamically allocate one appliance as primary, one as secondary, and to provide instant failover whatever the incident.

The inherent intelligence maintains a single IP address for storage, so the rest of the infrastructure can continue unaware of any issues. The result is perfect resilience: content is read from and written to the servers without interruption.

“We are excited to be involved in this year’s BroadcastAsia,” added Pearce “The organisers of the parent event, ConnecTechAsia, have gone to extraordinary lengths to create a virtual experience that is as real as possible, with staff on booths ready to answer questions and presentations on key new technologies. The technology they have brought together to make this a satisfying and engaging experience for ‘visitors’ looks excellent, and we are looking forward to taking part.”

Aldermaston, UK, 21 September 2020 - GB Labs, the leader in intelligent storage solutions, has provided its FastNAS storage system to Fancy Film, Los Angeles, enabling the facility to complete colour correction and other finishing services on a major new documentary TV series.

Tony Shek, Fancy Film CTO, said, “We were rapidly getting into 4K finishing and HDR Dolby Vision, which meant that we had to start looking for shared storage that was fast enough to run in real-time but was also cost effective. We researched a lot of companies, but in terms of cost effectiveness, the quotes we received were anything but.”

Fancy Film Online Editor Jacob Fisher added, “When high volumes of ultra-high resolution content starts pouring in, you need the ability to work on that content from multiple workstations at speed, which at the time was a capability we didn’t have.”

Rave reviews during NAB 2019 from existing GB Labs storage users convinced Shek that he may have located a solution. A subsequent referral from a user to GB Labs’ West Coast representative and installer, New Media Hollywood, meant that Fancy Film had found what it needed in FastNAS.

FastNAS shared storage combines the benefits of hard disk and solid state drives in a single device and has become the high performance storage system of choice worldwide, all at a highly affordable price point.

Shek said, “We took on a high-profile job, and even though we knew ahead of time that the majority of the footage was going to arrive in ultra-high resolution, it was a relief to discover soon into our trial with FastNAS - during which we pushed it to its limits for a solid week - that we didn’t have to worry. It just worked. The FastNAS system didn’t even break a sweat. All we had to do then was focus on the creative, and the results are marvellous.”

Adi Antariksa, GB Labs Chief Business Officer for the Americas said, “It’s deeply gratifying to have our storage systems deliver on what they promise, and then some, especially when it comes to household brand projects like this. We look forward to continuing to support Fancy Film in current and future projects as we get almost as much satisfaction from their success as they do.”

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