ISSUE 110 | AUGUST 2019
Licensed by Dubai Development Authority
CREATING A WINNING FORMULA 7 Production heads full-throttle to cover F1 races for MBC Action
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We have been hearing increasingly about how the Internet of Things (IoT) and data analytics are going to revolutionise the way different verticals operate and interestingly, these technologies are infiltrating our lives a lot more rapidly than we think. By 2021, industry investment in IoT is predicted to go up to $1.1tn. Of course, as the use cases increase, the rate of security breaches will also go up. In fact, the number of unfilled cybersecurity jobs is expected to hit 3.5m by 2020. Those numbers were shared in Montreux last month at NAGRA’s annual media briefing, which usually takes place against the backdrop of the Montreux Jazz Festival, which the Kudelski Group has supported since the event launched in 1967. The Swiss company’s role within security is fairly well documented, but its involvement in a cultural event that brings together music lovers from across the world, is perhaps less known. To digress a bit, we had the pleasure of listening to renowned American musician Joan Baez sing to a packed audience at Stravinski Auditorium and were also treated to the behind-the-scenes production of the festival. The Kudelski Group has, over the years, extended a great deal
of technical support to the festival and has played a seminal role in creating its high-resolution digital archive. But coming back to IoT, Susanne Emonet, VP IoT of Business Strategy Group at NAGRA, related an incident in the US to emphasise the need to secure every part of the IoT ecosystem. A casino in the US had a fish tank with sensors connected to a PC to regulate its temperature, food and cleanliness. A clever hacker used the tank to gain entry into the casino and steal client data. Securing the entire IoT value will become critical in the future. A media company’s capacity to deliver content to connected devices, and to gather and monetise data from them, will be hugely important in the IoT value chain – particularly in the consumer domain. NAGRA is already gearing up for an IoT world and has some interesting case studies around data analytics. I’m sure we will begin to hear more discussions around data analytics and IoT at IBC this year.
Vijaya Cherian, Editorial Director
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Licensed by Dubai Development Authority
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PROCONTENTS
August 2019 Inside this issue
RED ALERT AT DUBAI'S AM STUDIOS
05 NEWS Abu Dhabi Media launches UFC Arabia app; Globecast brings Total AFCON to viewers in 4K; Focusrite Pro RedNet bridges Al Aan TV studios; Broadpeak opens Dubai office; new appointments; and more
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14 COVER STORY – 7'S WINNING FORMULA 7 Production travels the globe to cover the F1 for MBC Action
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22 WHAT DRIVES
NETFLIX'S MENA CONTENT STRATEGY? In conversation with Kelly Luegenbiehl, VP International Originals
28 STUDIO TOUR
22
Zakir Hussain, CEO of Icon Art, gives us a tour of his revamped studio facility
BROADCASTPRO ME CELEBRATES 9 YEARS
32 ANNIVERSARY SPECIAL BroadcastPro ME marks ninth anniversary by spotlighting women in MENA TV and film
36 IBC2019 PREVIEW New launches from Calrec, EVS, TAG Video Systems, SSIMWAVE, Video Progetti, Anton/Bauer, Interra Systems and more
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36 August 2019 | www.broadcastprome.com | 3
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Abu Dhabi Media offers exclusive live streaming with UFC Arabia app Abu Dhabi Media has launched UFC Arabia, the first Arabic-language UFC app in the MENA region, following its partnership with the world’s premier mixed martial arts promotion. The app enables fans in the region’s 21 countries to exclusively live stream events as well as access a range of fight videos. It is downloadable through all major online stores and will be available on the web, smartphones and tablets. It will allow fans to track real-time updates of all UFC events and live-stream fights anytime, anywhere, enabling them to switch from English to Arabic with ease. Commenting on the launch, Abdulrahman Awadh Al Harthi, Executive Director of Television at Abu Dhabi Media, said: “We are very excited to welcome UFC back to Abu Dhabi through the launch of this first Arabic-language application, UFC Arabia. Abu Dhabi Media is
President, International and Content, added: “UFC Arabia will provide fans in the MENA region with one place to view all UFC live events as well as hundreds of hours of shoulder programming. We are committed to growing the sport across the region and the new app will help us achieve this common goal.” The digital subscription service will offer customers live online access to all UFC events, as well as a comprehensive content library available in English and Arabic. “Subscribers of the application will be able to enjoy a 30-day free trial period, which can be cancelled at any time, free of charge, before the expiration of the trial period,” added Al Harthi. UFC Arabia will be available in Afghanistan, Algeria, Bahrain, Chad, Djibouti, Egypt, Iraq, Jordan, Kuwait, Lebanon, Libya, Mauritania, Morocco, Oman, Palestine, Saudi Arabia, Somalia, Tunisia, the UAE and Yemen.
Abdulrahman Awadh Al Harthi, Executive Director of Television, Abu Dhabi Media.
keen to serve its audiences through diversified media channels, and online and digital platforms.” David Shaw, UFC Senior Vice
Image Nation film Scales to premiere at Venice International Film Festival Image Nation Abu Dhabi’s feature film Scales will premiere at the Venice International Film Festival (VIFF), as part of the Critics Week competition that will run from August 28 to September 7. An Arab arthouse film, Scales (Sayidat Al Bahr) explores the changing role of women in society through the lens of fantasy. Scales is the debut feature film from Saudi Arabian writer and director Shahad Ameen. Shot on location in Oman, Scales was
Scales is the debut feature film from director Shahad Ameen.
produced by Paul Miller and Stephen Strachan of Abu Dhabi-based, Film Solutions and Rula Nasser of Imaginarium Films and, with Executive Producers Mohamed Al-Daradji
and Majid Al-Ansari. Ameen said: “Scales tells a visceral story about growing up as a woman in a patriarchal society, offering an allegorical take on a universal theme that will resonate with audiences around the world.” Ben Ross, Chief Content Officer, Image Nation added: “Scales is part of Image Nation’s efforts to expand our slate to encompass more intriguing, specialty films alongside our more commercial projects.”
Mohamed Khalifa Al Mubarak appointed Chairman of newly created twofour54 board The Board of Directors of Abu Dhabi Developmental Holding Company, ADDHC, has issued a resolution to form a board of directors for twofour54. According to a statement, the new board will include HE Mohamed Khalifa Al Mubarak as Chairman and HE Maryam Eid AlMheiri as Deputy Chair. The new board will serve for a term of three years effective from the date of the resolution, and is renewable.
August 2019 | www.broadcastprome.com | 5
PRONEWS
Globecast brings Total AFCON to viewers in 4K
Globecast provided a range of services including contribution, distribution and VOD content preparation and storage to CAF.
Globecast extended its relationship with the organisers and rights holders of the Total Africa Cup of Nations (AFCON) in Egypt, bringing the 2019 tournament to the world. The tournament began on June 21 and ended on July 19. Globecast worked in partnership with the Egyptian Local Organising Committee (LOC), Lagardère Sports, managers and marketers
of sports rights across Europe and Africa, and the Confédération Africaine de Football (CAF). For additional on-theground logistics support, Globecast partnered with local specialist KAR Technology, which provided logistical expertise and liaison with the LOC. Globecast also collaborated closely with Iris Media, which provided SNGs and additional
Nat Geo offers environmental shows on MENA channels National Geographic has announced two environmental programmes for its channels. Nat Geo Kids Abu Dhabi has launched a highly interactive 16-episode environmental series, Green Thumb to educate children while igniting their creativity in developing their own environmentally friendly
and sustainable farms. Nat Geo Abu Dhabi has also partnered with Environment Agency Abu Dhabi for a fivepart documentary series titled Explore Your Environment that showcases the UAE’s diverse flora and fauna, and steps that can be taken to preserve this natural heritage in the UAE capital.
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technical support. Globecast provided a range of services to CAF, including contribution, distribution and VOD content preparation and storage. The opening match and the final were broadcast in 4K for the first time, using HEVC encoding. In total, there were 52 matches in four cities across Egypt. Philippe Bernard, Chairman and CEO of Globecast, said: “This year sees particular innovation with the use of both 4K and VOD content supply, with our Content Marketplace providing broadcast affiliates with new ways to extend viewer engagement. We have worked very closely with both KAR and Iris Media. The LOC has done a fantastic job to organise this event.”
Netflix to launch Arabiclanguage Original series Dollar Netflix has announced the release of Dollar, a new Arabic-language Original drama that will stream from August 8. Dollar, a 15-episode series starring Lebanese actor-comedian Adel Karam and Algerian actress Amal Bouchoucha, will be available with subtitles in 20 languages.
Ayrton appoints NMK Electronics as Middle East distributor
Darren Caithness, Lighting Business Manager, NMK Electronics.
Ayrton has appointed NMK Electronics as its new exclusive distributor for the GCC countries, effective immediately. Commenting on the announcement, Alek Kemane, CEO of NMK, said: “The lighting industry has changed rapidly over the last few years with the introduction and acceptance of LED fixtures as suitable replacements to conventional lamp-based fixtures. Ayrton is on the rise globally, taking a large portion of the market share of the entertainment lighting industry by consistently developing state-ofthe-art lighting fixtures which reduce operating costs while maintaining high lumen output.” He added: “Our team was very impressed with Ayrton’s current portfolio and future roadmap. Our appointment to work with Ayrton in the GCC will further cement NMK’s name in the live events industry as a distributor of premium brands.”
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Advanced Media announces availability of Angenieux Optimo Primes in Middle East The Optimo Prime series completes the Angenieux FF zoom lens offering, including the Optimo Ultra 12x, and will be available from UAE distributor Advanced Media Trading. The series of 12 lenses provides full-frame 46.5mm image circle coverage with a consistent 1.8 T-stop (except on extremes). Available as PL and LPL and designed as smart lenses, the Optimo Prime Series is compact
and lightweight. The lenses support both Cooke/I and Arri LDS, and offer a common gear size and position for all lenses in the 12-lens set. The Optimo Prime series has been
developed on the same business model settled for the EZ series, in partnership with two major sales stakeholders of the market: Band Pro in the US and Jebsen Cinecast in China.
Maite Venture appointed LaLiga's new MENA MD LaLiga, the Spanish football League has appointed Maite Ventura as the new Managing Director for MENA, based in Dubai. She will report to LaLiga’s International Director, Oscar Mayo. Ventura's appointment is another step towards LaLiga’s commitment to boosting female talent. Currently, over 30% of LaLiga's staff is made up of women. Ventura said: “We have a big opportunity to
strengthen our global presence as well as the engagement with our fans in MENA. I am excited to be part of this team as I believe we have a bright future ahead of us in this part of the world.”
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PRONEWS
Focusrite Pro RedNet system bridges studios at Dubai-based Al Aan TV Dubai-based Al Aan TV has upgraded its audio systems with Focusrite’s Pro RedNet system, which helps distribute different audio signals between its audio rooms on two separate floors with no audio latency. Focusrite Pro is distributed by MediaCast. Al Aan TV required access to analogue as well as digital channels in each of the rooms on both floors, without the need to change the entire infrastructure, which would have cost a significant amount to execute. Focusrite’s RedNet was able to resolve this problem by providing a cost-effective solution. The RedNet A16R and D16R provided access to 16 channels and through the DANTE network connecting
Al Aan TV upgraded its audio system with Focusrite's Pro RedNet system.
both audio rooms on both floors; additionally, the X2P was used as a portable monitoring/capturing unit on both floors as well. Each audio room had a unit of A16R and D16R installed to provide a connection between both floors, all through just a spare LAN in the organisation. Upon preliminary
testing, it was found that the audio channels being sent to and from each audio room were of superior quality and more than acceptable latency turnaround time, as reported by the TV station. Commenting on the technology employed, Nasr Hajji, Senior Audio Engineer at Al Aan TV, said: “When we
undertook the HD revamp, we had to shut down the PCR and audio room on the fourth floor. At this time, RedNet’s solutions rose to the challenge by helping us connect the fourth-floor studio mics and ear monitoring to the fifthfloor audio room through the DANTE network. This was a simple and cost-effective solution that also ensured we could retain high standards.” Khadija Khalid, Audio Sales & Marketing Manager at MediaCast, added: “When we learned about the requirements of Al Aan TV, we knew that Focusrite Pro’s RedNet products were ideal for their needs, with RedNet’s audio technology combined with its capability to harness the power of DANTE.”
SAWA teams up with Huawei to offer cloud-based video service UAE-based SAWA Rights Management, a TV channel aggregator and content service provider and the licensing arm of SAWA Media and SAWA Technologies, has partnered with Huawei to enhance consumers’ choice of video content available through regional telecom operators. The partnership will see SAWA and Huawei implement a new cloud-based convergent video service. SAWA will also extend its portfolio of TV channels and encrypted channels
to telecom operators in the MENA region. The service will give viewers access to pre-integrated SAWA entertainment channels as well as features which many satellite services do not offer, such as an electronic programme guide, catch-up services, a time shift function and a network personal video recorder (nPVR) function. It will also offer a big data analysis function which gives users individualised content recommendations. This will be achieved
8 | www.broadcastprome.com | August 2019
using Huawei’s Converged Video Cloud solution, a one-stop-shop for content consumers and telecom operators. The solution provides premium private-line services by reducing service provisioning time from weeks to days, allowing users to subscribe to services in just minutes on their own, as stated in a press statement by the two companies. The announcement comes close on the heels of SAWA’s Memorandum of Understanding (MoU)
with Huawei. As part of the MoU, the two companies have agreed to cooperate in the launch of a video cloud service and boost home business services from regional telecom operators, especially fibre to the home (FTTH) services. The new video service promises to tackle many of the challenges facing traditional players in the broadcast industry, particularly rising costs, sub-par user experiences and the growing demand for immediate highdefinition content.
PRONEWS
Broadpeak expands presence in Middle East with Dubai office launch Broadpeak has opened a new office in Dubai in order to address the growth in OTT video consumption and increased demand for its technologies. With local sales and support presence in the Middle East, Broadpeak will now be in a better
position to help content providers and pay-TV operators in the region take advantage of video streaming opportunities. Commenting on the announcement, Jacques Le Mancq, CEO at Broadpeak, said: “Content providers and operators in the
Middle East are looking for innovative ways to drive new business growth and capitalise on the video streaming market. Having a local team on-site in Dubai will give Broadpeak a better perspective on the day-to-day challenges facing our customers
Sky News Arabia renews internship programme for media graduates Sky News Arabia (SNA) will provide budding journalists, producers and directors with an opportunity to develop their
knowledge and skills, as part of its annual graduate internship programme. Aimed at Arabic-speaking graduates or students seeking to embark on a career in media, the programme has welcomed 15 applicants this year. It kicked off on July 21 and will last 11 weeks. This year, the programme will include a new focus on creating media content with an emphasis on digital skills. This coincides with the recent
Mahra Al Yaqoobi, Learning & Development Manager, Sky News Arabia.
announcement of the channel’s biggest enhancement since its 2012 launch. Upon completion of the programme, SNA will then offer internship placements to the best candidates. Mahra Al Yaqoobi, Learning & Development Manager, SNA, said: “Sky News Arabia is committed to supporting young journalists who want to take their first steps in this industry. With so many talented young people studying in this region, the SNA programme is an excellent platform to build their knowledge and skills and give them exposure to a real-life newsroom.”
and allow us to quickly respond to their needs with solutions that deliver better QoE across all screens in the most scalable and costeffective way possible.” Thibaud de Rohan Chabot, Sales Director at Broadpeak, will field all Middle East sales inquiries.
ZEE5 launches outreach programme in region ZEE5 has rolled out a slew of initiatives across multiple priority markets, with the Middle East the first, as part of its ‘Full-on Entertainment’ campaign. South Asian audiences in the Middle East will be treated to a set of on-the-ground experiences curated by ZEE5, including movie screenings every Thursday at different locations. Archana Anand, Chief Business Officer, ZEE5 Global, said: “Given the vast diaspora of South Asians in the Middle East as well as its appetite for desi content, this is the first of the three markets where ZEE5 kicks off a
Archana Anand, Chief Business Officer, ZEE5 Global.
range of consumer engagement activities. Our new campaign, ‘Full-on Entertainment’, invites people into a world of entertainment and keeps them on the edge of their seats. For this, we are rolling out a multitude of interactive initiatives where we have the chance to engage with our audiences across the Middle East and build deep conversations with them.”
August 2019 | www.broadcastprome.com | 9
PRONEWS
Art Format Lab announces first Saudi film to be shot in KSA, Egypt and Italy UAE production house Art Format Lab has announced that it is in the process of producing Mukhtar, the first Saudi movie to be shot in KSA, Egypt and Italy. The plot revolves around a Saudi explorer who runs a travel channel on YouTube, narrating a story about one country in each episode. The YouTuber completes 99 stories, with only one story remaining in his 100 Stories with Gharib series. Speaking about the film, Dr Mustafa Alaidaroos, CEO of Art Format Lab, said: “The film celebrates the dialogue and coexistence with
Telecom Egypt, Ericsson demo 5G capabilities Telecom Egypt and Ericsson partnered to showcase two demos based on augmented reality (AR), virtual reality (VR) and mixed reality (MR), as well as AI object and face recognition, at Alexandria Stadium. Eng Adel Hamed, Telecom Egypt Managing Director and CEO, said: “Consumers are always seeking new ways to experience their favourite sports content. Through the evolution of technology, we have the potential to push boundaries and take the consumer to the heart of the game itself. Alexandria Stadium is a great venue to demonstrate how far we have come technologically, and why it will matter to fans.” Telecom Egypt and Ericsson went live with a full-stack telco cloud infrastructure with the deployment of AI as proof of concept, focusing on transforming the wireless network and providing a 5G-ready core.
From left: Khulud Abu Homos, Chairperson and Mustafa Alaidaroos, CEO of Art Format Lab.
Robe appoints NRG crew member
Nathan Wan and Jordan Tinniswood.
Robe has appointed Jordan Tinniswood to its International Exhibition team. Tinniswood’s appointment is a result of the Next Robe Generation (NRG) initiative, in which he has been actively engaged throughout his academic career. Tinniswood takes on the role of Lighting & Media Technician, working alongside Nathan Wan, Andy Webb and Tomáš Kohout.
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different religions, and aims to convey the right image of the Saudi modern young gentlemen who call for moderation and tolerance with others. It is a Saudi film in terms of production, idea, script, music and acting. We are optimistic that in the coming period we will see opportunities to develop young talents in Saudi Arabia, as this industry has shown great potential in enriching local content. We aim to guide those energetic talents on the path to a Saudi cinema that has great global outreach in the near future.”
Sennheiser hires new Middle East Marketing Manager Sennheiser has an experienced announced the marketing manager. appointment of Shraddha brings Shraddha Mukul with her a unique as its new Regional 360-degree insight Marketing Manager in into the region’s the Middle East. In this commercial and newly created role, consumer Mukul will take charge electronics of Sennheiser’s brand segments.” and trade marketing activities across sales channels. She will report directly to Mig Cardamone, Director of Sales and Marketing at Sennheiser Middle East. Cardamone said: “We have been steadily growing our footprint in the Middle East and believe it’s now the Shraddha Mukul, Regional right time to onboard Marketing Manager, Sennheiser.
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Advanced Media brings industry together for REDucation Workshop
Dubai distributor Advanced Media hosted a three-day workshop on RED cameras at its studio in Al Quoz. The course was conducted by Futurist Digital CEO Steve Johnson, who has been involved with US firm RED Digital Cinema’s REDucation programme since 2009 and regularly conducts courses around the world in cities such as Berlin, Brisbane, Oslo, Moscow, Los Angeles and Singapore. This particular workshop focused on offering a fully immersive, hands-on, practical training course on the RED DSMC2 cameras, including the MONSTRO 8K VV, HELIUM 8K S35, GEMINI 5K S35 and Dragon X 5K S35 systems, for both on-set and post-production practices. “We look at various aspects of getting the best out of a RED camera, from how to operate it and how to expose correctly using
a RED camera, to postproduction. It is a three-day intensive course. Most of our attendees own a RED camera, which makes the dynamics a bit different because we’re not trying to get them to buy,” explains Johnson. Noting that digital transitions and upgrading formats can determine the success of camera production brands across the world, he adds: “During RED’s initial days we were in 4K, and then we moved up to 5K and then 6K. Now we’re looking at MONSTRO, which is a VistaVision sensor which is 8K, large-format. This is great for cinematic films, so films like Guardians of the Galaxy II were shot in 8K VistaVision. “Then we've got the RED Weapon 8K S35 and the 5K Dragon. The GEMINI is an interesting camera because of its dual ISO sensitivity. The GEMINI was built specifically for NASA and the
12 | www.broadcastprome.com | August 2019
“The aim of the workshop is not to push any sales of the RED cameras.
Rather, we focus on providing attendees with an in-depth knowledge of how to use their tools” Ardalan Khosravi, Sales Executive & RED Brand Manager, Advanced Media
International Space Station, so it works well in low light. Because of its success in space, RED offered it to a select number of operators. Having been able to move that ISO to 3000 and get a clean image is a big move for RED.” Johnson notes that with more big players looking at filming in 8K, RED’s new cameras give end users an edge. “I think with this camera range, RED is at the cutting edge of what can be done, especially with 8K cameras. Next year, the Olympics in Tokyo is being broadcast in 8K. Netflix, which is the gold standard of deliverables, uses many RED cameras. I wouldn’t be surprised if within the next two years, we see Netflix looking at 8K deliverables. In the UK, you can go buy an 8K TV now, but with all these cameras if you’re shooting in 8K and you’re delivering 4K – you’ve
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future-proofed your project for the next few years for when 8K becomes mainstream.” Ardalan Khosravi, Sales Executive & RED Brand Manager at Advanced Media, comments that the distributor hosts these workshops on a regular basis, to familiarise end users in the region with the brands it represents. “Most people attending the workshop already own a RED camera, so the aim of the workshop is not to push any sales of the RED cameras. Rather, we focus on providing attendees with an in-depth knowledge of how to use their tools.” In attendance at the workshop was Emirati director and cinematographer Ahmed Abdulqader. Having worked for more than 17 years in the media sector and created commercials for clients such as Bentley, Pepsi, the Abu Dhabi government and the Dubai government,
Abdulqader says he was on the look-out for a camera that would meet his budget while ensuring that his footage was at the highest resolution. He adds: “In Dubai, we don’t get the chance to grade a lot of the footage for the commercial jobs we undertake. So I was looking for a camera system that would give me a great picture coming out of the box, and one that wasn’t too expensive. I went with the RED GEMINI 5K S35 because it was not just an affordable camera, but it gave me more flexibility in grading my shots.” Another attendee, Jordan Bostock, founder and creative director of Ravenscar, says: “I set up Ravenscar Film, a small and independent film and production company in Dubai, last year with a small team. We use the RED Digital Cinema Cameras for music videos, creative productions, commercials and other
“With all these cameras if you’re shooting in 8K and you’re delivering 4K – you’ve future-
proofed your project for the next few years for when 8K becomes mainstream” Steve Johnson, CEO, Futurist Digital
projects in Dubai. We’re going to be teaching up-and-coming filmmakers in Dubai more about the cameras and how we shoot, in partnership with our Instagram and YouTube channel. We look forward to creating content for that.” Bostock adds: “The workshop is a great advantage for filmmakers. We own two RED cameras, the 8K HELIUM and the Scarlet-W 5K. We’ve come with some advanced technical questions for Steve, and he’s helping us out with a few more technical questions. “I honestly think RED – even though it is not an old brand like ARRI – has great technology, quality and offers ease of use to professionals all the way down to independent filmmakers – and is the best type of camera to use. You can build it how you want; you can customise it. I think slowly we’ll start to see RED take over. It’s already employed for 80% of Netflix shows.”
Jordan Bostock, founder and creative director of Ravenscar Film.
Ahmed Abdulqader, Emirati director and cinematographer.
August 2019 | www.broadcastprome.com | 13
PROCOVER
Snapshot Company: 7 Production Client: MBC Group Location: Multiple international and regional venues Objective: To undertake additional F1 coverage for MBC Action with highlights, interviews with the drivers from the pitlanes and the paddocks as well as additional creative film & broadcast coverage Key Technologies: Sony cameras and vision mixer, EVS for replay, Midas audio mixer; Vislink wireless system and Motorola for radio
14 | www.broadcastprome.com | August 2019
PROCOVER
E C A R A P O T E H T TO
is house onship n o i t c i produ orld Champi st. a b u D er, a le Ea ne W v d O e d i e a l M u m i the orm u all rst t n i F o fi y s A e I s n h F g a t f n For ith the o dedicated ME bri w o e r b P o t l t s the g ntent oadca trotting exclusive co oduction, Br es action r g to brin tables of 7 P ind-the-scen he s the beh From t August 2019 | www.broadcastprome.com | 15
PROCOVER Hadi Ghanem, CEO of 7 Production, says the success of this project has already attracted other new international projects to the UAE company.
In its history spanning decades, the FIA Formula One World Championship has enjoyed a steady and devoted fan base both globally and in the Middle East. Like every edition, the Championship will tour the world before culminating in the Abu Dhabi Grand Prix, which has been running since 2009 and is testimony to the popularity of the premiere motor sport in the region. The sport’s popularity can in large measure be credited to its TV viewership over the years. Free-to-air broadcast network MBC Group secured exclusive MENA broadcasting rights to the championship for the first time this year. The rights previously lay with beIN Media Group, which did not bid for 2019. MBC wanted to elevate the level of the race coverage for viewers by bringing an additional slice of the action through highlights, pit lane and paddock interviews with drivers, as well as other bits of information. This was not done by beIN when it had the same rights. To achieve this, MBC partnered with UAE-based 7 Production in what is considered a first for a production house in the Arab world. 7 Production was contracted to undertake all the additional coverage being broadcast on MBC Action alongside the race
“Our team has gained the confidence to go ahead and undertake such projects, and now we have proved our ability to take on projects of such large scale not just regionally but also globally” Hadi Ghanem, CEO, 7 Production footage. For 7 Production, this landmark partnership does not just mark a prestigious undertaking but also serves to test its production prowess beyond regional shores. Sharing the pride 7 Production takes in this partnership and what it means for both the company and the region, Pierre Tabet, Managing Director at 7 Production, says: “What makes this year’s broadcast special is that for the
first time in the Arab world, an Arab company is travelling the world to undertake these productions on a par with other international broadcasters, who have their own film production units there. For us to be selected for such a production is testimony to our work and our reputation.” Although Formula One retains the exclusive rights to produce the races, broadcasters traditionally carry out their own independent coverage as part of their efforts to offer additional news from the races. 7 does this for MBC, giving viewers a look at other aspects of the Championship in a way it has never been done in the past. “Previously beIN had the broadcast rights, but they didn’t have presenters, reporters and commentators on the ground, as we have for this project,” explains Tabet. “We have worked with MBC on other projects, and they know the quality of the work we produce. They recognise the quality of the equipment and the service delivered by 7 Production and thus got us along not just for the Middle East, but globally this time. Previously, companies that provided similar services were selected country-wise; the fact that we are accompanying MBC for the entire season across locations is truly prestigious.” 7 Production has gained a
7 Production was contracted to undertake all the additional F1 coverage for MBC Action.
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PROCOVER
“It is the first time we have undertaken such a massive global production. We have around 20 people at each location following the schedule for F1, including the cameramen and the operations team” Tony Jabbour, Head of Engineering, 7 Production reputation in the market for its coverage of live events in the region, across different genres. It was sought out to cover the National Day celebrations in several GCC countries; more recently, it produced Cirque du Soleil for MBC, live in Saudi Arabia. It has covered several sports, including the 2019 King Abdul Aziz Camel Festival in Saudi Arabia, the AFC Asian Cup, Al Gaffal Dhow Race in the UAE and the FIA World Rally Cross Championship. 7 also covered the Porsche GT 2018, which is of a similar magnitude to the F1 championship. These successes, however, were considered regional accomplishments. What has truly catapulted the production house into a new league of international production houses is its ability to cover F1 live across the globe at short notice. 7’s infrastructure and technical expertise have had a big role to play in this undertaking and its ability to take up a number of big projects simultaneously. The company has 12 OB vans and five flight cases. Only one large flight case was required for the F1, which gives a good idea of the vast inventory the production house has. “All equipment used is privately owned by the company. When we purchase equipment, we keep in mind the different kinds of events
7’s infrastructure and technical expertise have helped the company undertake the F1 coverage alongside other big projects.
7 used Sony cameras to shoot the additional footage.
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PROCOVER
Interviews conducted by MBC in the pit lane and paddock were filmed by 7 as part of F1 coverage shown on MBC Action.
we need to film. So we have systems designed for fast-paced sports events where our cameras can capture every detail, even at the highest speeds. Our crew have shot in so many different environments and as a result have been exposed to so many different challenging situations, and this has made them skilled at what they do,” says Tabet. “For this series of productions, we had an all-European crew. We are a team on the ground, filming all the footage required. We take the feed and provide it to MBC, who then broadcasts it for the Middle East. Eurovision was enlisted to provide 7 Production with the satellite link to send the feed.” The team includes camera operators, EVS operators for the EVS XT3 and graphics operators. During the F1 championship, cameras were strategically placed across the pit lane, paddock and starting grid. “We had a total of five cameramen covering one GP. Two cameras were used to capture the paddock, two covered the pit lane and one camera was dedicated to filming the starting grid and action around it, including the commentaries,” explains Tabet. Wireless Vislink cameras with 16db antennas were deployed for long-distance filming. “The distance between the
“When we purchase equipment, we keep in mind the different kinds of events we need to film. So we have systems designed for fast-paced sports events where our cameras can capture every detail, even at the highest speeds” 7 Production went live at each F1 location without any glitches.
Pierre Tabet, Managing Director, 7 Production August 2019 | www.broadcastprome.com | 19
PROCOVER Pierre Tabet, MD of 7 Production, highlights the many challenges of shooting at different F1 locations, including laying out the fibre and having to dismantle, reassemble, pack and ship gear to each location within a tight time frame.
paddock and TC compound could be kilometres at a time, so we only use specialist cameras that can cover such distances without compromising quality. We also used a range of wireless Sony PMW 500s to cover the action,” explains Tabet. What has made this project especially challenging for 7 is the sheer scale and geographical spread, and the celerity with which the team has to unpack its gear in each location, go to its allocated place in a TV compound, lay out all the fibre, shoot the interviews across the paddock, pit lane and so on, pack up, ship the equipment to the next location, leave and repeat the cycle. “This is a huge undertaking and we have had big distances to cover in each location. Our wireless installations have helped our reporters to move freely between the paddock and grid. And everything we are shooting is live,” shares Tabet. Underscoring the challenges in some more detail and explaining some of the logistics is Tony Jabbour, Head of Engineering at 7 Production. “We have around 20 people at each location following the schedule for F1, including the cameramen, the operations team and so on. The team has had to have the presence of mind to come up with instant solutions at each location, which is new to them. For one, the team has had to pack everything and ship the equipment to each country. Time frames available to unpack and assemble gear for each shoot are between five and eight hours. Once the Grand Prix is over, the team has a few hours to disassemble everything and repack for shipping to the next country. Besides, securing the right spot and transmitting feeds in a timely manner are other areas that require attention to detail and precision. We just can’t afford to have any glitches.” Each country has its own set of functional challenges as each comes with its own rules, regulations and unique landscape, adds Jabbour.
“What makes this year’s broadcast special is that for the first time in the Arab world, an Arab company is travelling the world to undertake these productions on a par with other international broadcasters” Pierre Tabet, Managing Director, 7 Production “We have never been to some of these countries before, and the time frame was too short for us to do a site visit. In each place, the team is assigned a new space for a gallery within the TV compound. Installing a big flight case, wireless systems and connecting the fibre optics with varying measurements at different locations that have different rules, has not been easy. “In the UAE, we are pretty familiar with the rules. In this case, our team needed to gauge the situation quickly and work within the parameters set in each country. All this is in addition to what we are doing, in terms of filming the interviews in different areas of the race.” Tabet adds that the challenge is to “make sure we are not one second over the scheduled time frame”. “We are moving from one country to the next. We have three production days plus one set-up day for us to use our wireless cameras to film live. Being mindful of time has been critical to this operation. Our equipment is all shipped by DHL, and we have had to
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ensure timing is calculated to the dot so no outside factors cause delays. The equipment needs to be packaged in top condition to make sure nothing is damaged. Once the set-up day and three production days are complete, the team packs up and moves on to the next country to follow the same drill again.” So far, Jabbour claims 7 has “not had a single drop”, having just completed the Austrian Grand Prix as we go to press. Tabet says this is no mean feat. “I would like to emphasise the skill set required to cover the F1. Wireless cameras can go wrong very quickly if used incorrectly. Time frames can go horribly wrong if one small detail is overlooked – especially when all this is being telecast live on air. So we have ensured that only the best talent is filming the F1.” For 7 Production, this project has been prestigious for several reasons. CEO Hadi Ghanem explains why. “This project is testimony to our capabilities and the skill we are able to bring to the table. On a micro level, our team has gained the confidence to go ahead and undertake such projects, and now we have proved our ability to take on projects of large scale not just regionally but also globally. On the back of this, we have had some international media houses approach us to undertake projects. “So on a more macro level, what we do also helps put the region on the map in terms of production. There are films and drama series that are travelling from the UAE and the Arab world to the rest of the globe. Now we have also proved that we, as a regional production house, can compete with international players, and this attracts more projects to the region.” Having said that, only nine Grand Prix races are done and dusted. 7 Production must keep the tempo up for the remaining races, with everyone waiting in anticipation for the grand finale in Abu Dhabi this November.
PROINTERVIEW
NETFLIX JINN XED WITH MENA DEBUT? Streaming platforms are devising new ways to capture a slice of the global audience, with Netflix banking on local productions. But this can spark a backlash – as it has in the case of Jinn, its first Arabic-language Original. Rachel Dawson talks to Kelly Luegenbiehl about the making of Jinn and the rest of its MENA line-up
Jinn, the first Arabic-language Netflix Original, premiered in Amman, Jordan at a red-carpet event on June 13. The series, shot over 55 days in Petra and parts of modern Amman, stirred controversy among Jordanians following its global debut, on grounds of being too modern and unrepresentative of Jordanian culture. In response to critics, Netflix MENA issued a statement: “Jinn seeks to portray the issues young Arabs face as they come of age, including love, bullying and more. We understand that some viewers may find it provocative, but we believe that it will resonate with teens across the Middle East and around the world. We’ve invested heavily in creative communities around the world – supporting local storytellers and production in many different countries. Jinn shows the beauty of Jordan and the wonders of Petra. And we’re excited to bring both familiar and new perspectives to international
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audiences that may not know much about the Arab world.” Kelly Luegenbiehl, VP International Originals, Netflix, tells us about the streaming platform’s content choices for the Middle East and its vision for local productions. What were some of the guiding decisions behind Netflix launching with Jinn as the first Arabic-language Original? How is Netflix positioned within the region, with shows such as Al Rawabi School for Girls and Paranormal lined up for the coming months? Honestly, that was the sequence in which they came to us, in terms of the production timeline. We love each of those stories for different reasons and we think that they are going to speak to different audiences, not just in the region but also globally. So for us it’s about having a little bit of something for everyone through these different
PROINTERVIEW
series, and hopefully through the ones we will do in the future. Tell us a little bit about the incubation process of this series. I was involved in the process, but we also had a team in LA and a team in Amsterdam – everyone was working together to sort of help bring the story to life. I think for us it’s really exciting to work with people like Elan and Rajeev Dassani, the writers of the series, and directors Mir-Jean Bou Chaaya and Amin Mataqla, and to support them through that process of getting the ideas that are in their head ultimately onto the screen. What kind of market research did Netflix conduct before entering the Middle Eastern market? We’re always doing studies and consumer insight testing, but it’s not necessarily facts and figuresbased; it’s just listening to people and learning about them, their culture and the kind of stories that they want to hear. In the case of Jinn, we did hear from young adults and teens that they hadn’t seen themselves necessarily reflected on screen, speaking their language in their country, in this way before. So for us, it was a great opportunity to give them that mirror moment to see themselves on screen in a unique and new way.
“I think production is just a crazy wild beast and you can
never completely tame it – and that’s also the fun of it”
Kelly Luegenbiehl, VP International Originals, Netflix have a ton of experience but who were instrumental in giving their characters that voice, that specificity. I think these kids sound like real kids, and I think that’s something the world is going to respond to. Just having them be such active participants in the creation of their characters was a really fun and exciting experience for us.
What were the challenges of working in the region? The only challenges we faced were typical production challenges. I think production is just a crazy wild beast and you can never completely tame it – and that’s also the fun of it. I think that’s the magic of what you see on screen. In that way, Jinn isn’t different from any other production we do anywhere else in the world. What was really great was the crews and the teams here and how amazing they were to work with. That makes it more exciting to do more in the region. What kind of audience does Jinn seek to cater to? Well, definitely when we make a local language series, we want members from that country or region to love that show. But what’s so exciting for us is to see how that local language series can travel globally. We just saw that recently with The Protector from Turkey; it was well loved in Turkey but then we saw that the show also appealed to people in Latin America, Europe, the Middle East and Asia. That’s really our hope for a show like Jinn; and so, the idea of Arabic-language programming
Kelly Luegenbiehl (left), VP International Originals, Netflix, at the premiere screening of Jinn in Amman.
Since filming began last August, how has the experience been collaborating with the Dassani brothers and Mir-Jean Bou Chaaya? The Dassani brothers brought us the idea originally, and they’ve been working a lot in Jordan. They had this idea about young adults with a sort of sci-fi element to it, and then when we connected with Mir-Jean Bou Chaaya, he sort of brought to life the stylistic vision and tone, and was really able to pull out something special with these actors – a lot of whom didn’t
August 2019 | www.broadcastprome.com | 23
PROINTERVIEW
The cast and crew of Jinn at the premiere screening in June at the Bisharat Golf Club in Amman.
can transcend our 190 countries and 27 different languages. How has your experience been with giving fresh talent a platform? What I love about series and my whole career in television is that you can make stars in television, in a way that you can’t in almost any other medium. We’ve seen that happen globally – the kids from Elite, our first young adult series from Spain, they’ve become global household names just like the cast in La Casa de Papel, Quicksand, The Rain. I think the kids from Jinn are really going to find that global audience. We don’t have to have stars to make that happen; we just have to have super talented people. Can you tell us about scoring for the series? I believe you worked with Mashrou’ Leila, a famous band in the region, for a couple of songs? Music is something that can help bring a story to life. When we can, we work with local bands and artists to add that extra layer of authenticity. Lynn Fainchtein, our music supervisor, has helped us all over the world to tap into the up-and-coming from that region or from that country, and I
think she did that in Jinn as well. I’m hopeful everyone will be clicking on Spotify and listening to the playlist. Is it true that Netflix searches for the most authentic story of a region? Tell us about that in the context of Jinn. We really do believe that the authenticity and specificity of a story is what makes something universal. In the case of this story, it’s a very specific group of kids in a very specific place in Jordan itself. And through that specificity, we hope that teens and people who love young adult shows all around the world will respond and find a little bit of that relatability with the struggles of kids in terms of love, friendship, school and
“In the case of Jinn, we did hear from young adults and teens that they hadn’t seen themselves necessarily reflected on screen. So for us,
it was a great opportunity to give them that mirror moment to see themselves on screen in a unique and new way”
Kelly Luegenbiehl, VP International Originals, Netflix
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parents. There is something very relatable in the show that doesn’t just speak to people from Jordan, Italy or Korea – there are these universal elements within that which sort of make human connection possible. What kind of investment in MENA is Netflix looking forward to in the coming months? Is it planning to open an office in the Middle East? We don’t currently have plans to open an office in the Middle East. We’ve just opened an office in Madrid and will be opening one in Paris and Berlin. So I think we’re quite excited to see how our office expansion works in terms of our business and working with our creative talent on the ground. But even without an office, we have plans to continue to invest in stories from this region. The history and tradition of storytelling from the Middle East is so strong that just very few of them have been seen globally before. For us, this offers a real opportunity to filmmakers to tell local stories on a global scale in a way that they haven’t, and it’s something we’re passionate about as a company and something we’re working toward. So we have Jinn, Al Rawabi School for Girls and Paranormal
PROINTERVIEW
(L-R) The lead actors of Jinn include Hamzeh Okab (Keras), Salma Malhas (Mira), Sultan Al Khail (Yassin) and Aysha Shahaltough (Vera).
as the first three series, but we definitely plan to do more. With the entry of Amazon Prime and Disney+, what is Netflix’s strategy to counter competition? For Netflix, we just need to stay focused on what we’ve done in the past and what we want to continue to do well in the future, which is tell stories our audiences are going to love. I think for us, staying focused on that will be the most important thing. Personally, I’m curious to see the shows that are made by these different companies. I used to work at Disney; it’s a great company and I think just as a viewer it’s exciting to have stories coming from all these different places and all these different creators. How can storytellers pitch a story to Netflix? There are different ways that we connect with storytellers. First, we’re just fans of some people’s work and we reach out to them. Then there are those who know us and will reach out to us. We spend a lot of time going to film festivals, film schools and book fairs. We were chatting with the Royal Film Commission (RFC) on the film festival they’re planning in Jordan. That seems to be an exciting
“We really do believe that the authenticity and specificity
of a story is what makes something universal”
Kelly Luegenbiehl, VP International Originals, Netflix way to connect with storytellers. So for us, we’re always looking for new ways to connect. We’re also all on LinkedIn. People generally figure out how to reach us if they have a great idea. How instrumental has the RFC been in the making of Jinn? RFC has been a fantastic partner, and the series wouldn’t have been possible without their support. As we look forward to our next series in Jordan
A snapshot of some of the young actors of Jinn at the launch party in Amman.
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with Al Rawabi School for Girls, we’re continuing to have conversations with them and partner with them. We’ve spoken to Princess Rym al-Ali, Managing Director-Interim of the RFC, about how we can continue to grow the great ecosystem and infrastructure here in Jordan, but also across the region. I think it’s an exciting time to be a content creator in the Middle East right now. How do you hope this series adds to Arabic-language drama overall? The legend and the history and tradition of Jinn was something that was really fun for our creators to get to play with in a way that was unique to this story. So I think, for them, it was important that it be brought to life through the lens of these young characters. For me, Mira is my favourite; she’s just such a strong, young, empowered woman and it’s an opportunity for her to save her friends and be a hero. To have a girl that you can root for and who’s doing all that in the midst of everything else that is going on in the world – I think people are really going to respond to a character like that. Can we expect more Netflix releases in the region in 2019? Yes, we’re working on them right now. We’ve just been doing a tour around the region, meeting with filmmakers, hearing their ideas, and then we’re going to figure out which ones make the most sense for our next few series.
BroadcastProMEAwards.com
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Raz Islam +971 50 451 8213 raz.islam@cpitrademedia.com
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PROPRODUCTION
BRACING FOR AN ICONIC FUTURE
In keeping with the rising demand for filming projects in the UAE, Icon Art has revamped its kit and studio facilities as part of a $4m investment. CEO Zakir Hussain takes us on a tour of the facility and shares his plans Dubai production and rental house Icon Art Production recently announced a $4m investment in studio upgrade and broadcast equipment, to cater to the growing demand for international and local projects in the UAE. When driving into Icon Art’s facility at Al Quoz in Dubai, nothing prepares a visitor for what lies behind the doors of the production house. The dust and heat on the outside are a complete contrast to Icon’s plush interiors with posters of Hollywood and Bollywood films artfully displayed on the walls. A lounge with a snooker table, a basketball facility and a bookshelf immediately puts visitors at ease. The new look is part of a $1m upgrade to Icon Art’s 10,000sqft studio facility, which includes refurbished post-production facilities, an infinity wall, a director’s lounge, a makeup room, private meeting rooms, a gaming area, sound and video editing suites as well as a state-ofthe-art screening room with Dolby Surround Sound. The facility is designed to handle indoor shoots for TVCs, TV programmes and feature films, with the capacity for everything from conception all the way to screening, says Zakir Hussain, CEO of Icon Art. “This is one of the most stylish studios in Dubai,” he claims. “With this upgrade, we have tried to meet the needs of the kind of clients that work with us. This involves ensuring they can edit, record and screen their movies here as well as hold private discussions with their customers or relax between shoots.” The upgrade includes one of Hussain’s passion projects – a sound studio. “My new sound studio has an S6 console with Pro Tools, which I bought from local distributor MediaCast.” The additional equipment required to kit out the studio will entail another big investment, says Hussain. “The console is just the basic unit. To record on multiple
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channels, I need four or five musicians. Each module that I want to add to this includes colour grading, soft animation, missions, renders and more. That will involve another round of investment to the tune of $1m,” explains Hussain, adding that it is important to consistently invest in technology and have resources that will attract producers to the region. Next on his agenda is an animation studio and VFX production. Hussain had very humble beginnings in production. Although an IT professional by qualification, he always dreamed of playing a bigger role in Bollywood. That started in 2008 with a $1m investment in an SIK2 camera from Silicon Imaging. What began with one camera has now become a fullfledged facility in Al Quoz, not far from this studio, with a vast array of equipment that can easily support a feature film in terms of cameras, lighting, grips and support, rigs and mounts, aerial equipment, special Efx, sound equipment, mixers, recording devices, communication equipment and more. However, Hussain felt it was time to invest in more equipment to cater to a new opportunity, the details of which he is keeping under wraps for now. What we do know is that a big chunk of his current investment will go into lenses. Icon Art will have a whole range of ARRI Master Primes, ARRI Ultra Primes, RED anamorphic lenses and more. “We are very focused on what we want to do as a production house. As a rental house, our vision is to continue expanding our inventory based on market requirements. When we hear the nature of a project that is coming to Dubai, we try to ensure that we have all the equipment to meet those demands, and that includes keeping up to date with technology,” Hussain explains. Icon Art has supported more than 50 Bollywood feature films and has helped bring several international productions to the country, undertaking a raft of production requirements
PROPRODUCTION
Zakir Hussain, CEO of Icon Art Production.
August 2019 | www.broadcastprome.com | 29
PROPRODUCTION
The 10,000sqft facility features an infinity wall, a sound and video editing suite, and a screening room, as well as other areas to facilitate complete indoor filming.
such as script approvals, location scouting and government approvals, filming permits, design, props sourcing and set building, as well as film set services such as script breakdown and shoot scheduling, cost reporting and budget management, negative processing, transfer, editing and grading, sound mixing, postproduction and animation. Attracting foreign film projects was a big driver for Hussain in setting up Icon Art Productions in 2008. He observed that many overseas clients were hesitant to shoot films in the UAE and saw
an opportunity. Icon Art has now supported approximately a thousand international production shoots – TVCs, corporate films, videos, TV programmes, feature films, documentaries and events.
“When we hear the nature of a project that is coming to Dubai, we try to ensure that we have all the equipment to meet those demands, and that includes keeping up to date with technology” Zakir Hussain, CEO, Icon Art Production
The facility is designed to handle indoor shoots for TVCs, TV programmes and feature films, with the capacity to support projects from conception all the way to screening.
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Although he initially supported independent projects, he soon learned that it was more beneficial to support actual filmmakers, making both commercial and non-commercial movies. The first film he lent his kit to was Heartless in 2013. He explains that the project taught him everything required to build his inventory. It also inspired his career. Although he didn’t have an exhaustive inventory list back then, the support he offered with his cinema camera, lenses and accessories helped him win the client over. Over the course of his career, Hussain has learned every aspect of
PROPRODUCTION
Icon Art boasts a wide range of equipment for rental purposes and intends to invest in a range of ARRI Master Primes, ARRI Ultra Primes and RED anamorphic lenses in the near future.
the filmmaking process, including budgeting and budget control. “I’ve worked as a cameraman, DP, director, producer, assistant and anything that came my way. I ensured I had strong technical knowledge. Whenever a technical requirement came our way, I’d spend hours doing the budgeting for it. This is because I noticed that many projects didn’t come to Dubai because the budget set by local vendors and suppliers was too high. I tried to address that challenge.” With his 15-odd years of production experience, including reading and vetting scripts,
“With this upgrade, we have tried to meet the needs of clients that work with us.
This involves ensuring clients can edit, record and even screen their movies here”
Zakir Hussain, CEO, Icon Art Production budgeting for productions and participating in different parts of the filmmaking process, Hussain is gearing up for his biggest job yet. “I want to produce a film and want to start with Bollywood. We
have four scripts ready, two of which have been approved by the Dubai Film Commission. One is a family drama and one fiction. “We are still in the initial stages of getting one of these film projects into production.” The CEO of Icon Art also has his eyes firmly set on a new aspect of the filmmaking business, one he believes will see growing demand in Dubai. Although we get a glimpse of an area of the facility that is still a work in progress, and it’s clear that the place is being kitted out for something big, the details remain secret for now.
Some other features of Icon Art's upgraded studio include a gaming area and a director's lounge.
August 2019 | www.broadcastprome.com | 31
PROANNIVERSARY
women in media
BROADCASTPRO ME CELEBRATES WOMEN AT NINTH ANNIVERSARY More than 120 guests commemorate the milestone
BroadcastPro ME and its sister title used the occasion of its ninth anniversary to celebrate women in MENA TV, production, film and satellite. More than 120 guests attended the event at the Plantation Lounge, Sofitel JBR, Dubai, for a scintillating evening of fun conversation and giveaways. Themed around ‘women in media’, the party sought to bring more women to attend the annual event, with the aim of showcasing the diversity we have in the sector. BroadcastPro ME and its sister title welcomed industry professionals and guests from the UAE, Saudi Arabia, Bahrain and Europe. The guest list included notable
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names in the MENA broadcast and satellite industry, among them TV professionals, satellite industry and telco professionals, filmmakers and content owners. A special thanks to Sennheiser, Lawo and Newtec, who have supported our events, and to new sponsors RCS, Shure and Art Format Lab. The highlights of the exclusive evening were the special giveaways for guests. A special thanks to Advanced Media, BS Broadcast and Sennheiser, as well as consumer brands like CAHO Chocolates, CRYO and Bright White Dental Centre, for supporting the event with impressive gifts.
PROANNIVERSARY
women in media
“It’s really important that we celebrate women in media, and it’s great BroadcastPro ME creates these opportunities. We’re great friends of the magazine and the website. We’ve had a really great evening; it’s been nice to see our colleagues and friends and talk about the industry as a whole and celebrate women in media.” Tracey Grant, VP Content and Channels, Viacom (VIMN SWEMEA)
“It was lovely to meet so many people from the broadcast industry in the region, and especially to meet with women who work in the region from TV channels, production companies as well as suppliers. I think it’s important that women are represented within the industry, because that gives diversity to the conversation.” Ed Abis, Commercial Director, Never.no
“I have worked in the media for over 18 years and really appreciate such events, as I think we really need motivation for women’s empowerment in media. Over 40% of graduates from cinema and media schools are females, but we are less than 4% women in management roles and thus such events are necessary.” Khulud Abu Homos, Chairperson, Art Format Lab
August 2019 | www.broadcastprome.com | 33
PROANNIVERSARY
women in media
“You have created a great communications platform within the MENA broadcast community. BroadcastPro magazine is a main source of news, the Summit and Awards have become a highly anticipated event and the roundtables provide valuable insights. I wish you continued success in the years ahead…” Hasan R. Sayed Hasan, Managing Director, Master Media
“It’s nice to see that there is a lot of progress in terms of female empowerment within the industry. I want to thank the BroadcastPro ME team for bringing together the industry on an evening such as this, and for all the support we’ve received from them in the past.” Peter Van Dam, CTO, Alamiya
“I’m glad BroadcastPro ME is recognising women within the broadcast industry and writing more about them. If one were to attend an event like this five years ago, it was male-dominated, so it’s good to see more women. I hope this continues to grow and we see more equal opportunities within creative and technical fields.” Paul Wallis, International Sales Director, The Entertainer
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The world’s most influential media, entertainment and technology show 13- 17 September 2019 | RAI, Amsterdam
FROM TRADITIONAL BROADCASTING TO OTT, VR, AR AND ESPORTS Register before 16 August to get your free visitor pass or the early booking conference discount
See it differently.
show.ibc.org
PROIBC2019
Calrec to debut VP2 virtualised mixing system
Calrec will showcase its VP2 virtualised mixing system at IBC for the first time. VP2 has no physical control surface and uses Calrec’s Assist software for set-up and control. VP2’s 4U core comes in three DSP sizes and 128, 180 and 240 input channels, and incorporates Calrec’s Hydra2 networking solution. Calrec
Serial Control Protocol (CSCP) allows the audio console to be completely controlled by an automation system. VP2 provides the station with many benefits of using a Calrec console without a physical control surface. Calrec’s Assist software can be accessed from multiple locations via a web browser. Also on display at the show will be the company’s ImPulse core audio processing and routing engine.
Rascular at the helm with CastAway Software design company Rascular will debut its CastAway solution, a new Helm application which provides NDI master control switching in software. Rascular has continued its integration of Newtek’s NDI protocol, announcing the development of CastAway,
which allows users to find and view incoming sources, presented in a multiviewer. In addition, Castaway includes vision mixing/ presentation switching capabilities to handle transitions and so on. Stand 6.C19
Stand 8.C61
DON'T A new collaboration between IBC and TM Forum will see three MISS! Media-Telecom Catalyst projects highlighted at the show Black Box goes remote with Emerald Unified KVM
LiveU to take 5G to new heights at IBC2019
Black Box will showcase its MCX AV-over-IP system for the first time at IBC. It will also debut its Remote App for the Emerald Unified KVM platform for the first time in Europe. The software-based solution gives authorised users simultaneous remote access to one or more sources – PCs, servers or virtual machines – across an Emerald KVM network, promising cost savings as well as greater flexibility, ease of access and efficiency. Supporting multiple simultaneous connections and performance for full-HD video
LiveU will display its portfolio of 5G-enabled solutions for live newsgathering and sports coverage at IBC. The big focus will be on LiveU’s flagship LU600 4K HEVC portable transmission solution, which offers video with bandwidth efficiency. The 4K-SDI edition facilitates professional 4Kp50/60 streaming for production, supporting VR and 360 applications. Another solution in focus will be the LU300 HEVC unit for live streaming. Promising high
up to 45fps, the new Emerald Remote App is suitable for tasks such as remote process and applications monitoring. With authentication against the Boxilla KVM network manager from Black Box, it offers users a list of connections and provides access, just like a standard hardware-based system. However, since the Remote App is not tethered to a fixed location, users can access the Emerald KVM network from anywhere using their own computers or laptops. Stand 8.B59
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flexibility, the LU300 can also serve as a stand-alone video encoder or be used as a LiveU DataBridge mobile hotspot for general connectivity in the field. LiveU will also demo the 1U 4K HEVC rackmount, LU610 4K HEVC, customised for vehicles and fixed locations. Stand 3.B62
PROIBC2019
Megahertz drives production with all-IP OB truck Systems integration partner Megahertz will showcase Spiritland Productions’ largeformat sound and video outside broadcast (OB) truck at IBC. Based on an 8.5m box-body Mercedes-Benz Antos chassis with coach building handled by Spectra Specialist Engineering Ltd, it contains an end-to-end IP infrastructure. The truck is Dolby Atmos-capable and designed in collaboration with Dolby, and audio runs entirely on a Dante Network. The Megahertz-built luxury mobile production vehicle, named Spiritland One,
was delivered to the broadcast audio specialist in early June, and went on the road following just one week of testing, covering a week of live television and radio broadcasts on BBC Four, BBC Radio 3 and BBC Radio Wales for the Cardiff Singer of the World Competition. Stand 12.F20
Cinegy heralds SRT for software-defined TV Cinegy will demonstrate the multiple advantages of the inclusion of secure reliable transport (SRT), as well as the 8K capabilities of its entire product range at IBC. Lewis Kirkaldie, Head of Product Management, Cinegy, said: “SRT breaks the restrictive chains of having to establish connectivity by plugging in a cable somewhere. Through SRT, the ability to ensure a signal gets to and from where it needs to be is now both feasible and widely available. What that means is that with SRT, you can locate content, tools and
services wherever your business needs them, be it in the cloud, on rented virtual machines, onprem or at remote data centres.” SRT is built into Cinegy software, including the licence. Cinegy has optimised its entire product line to be 8K-ready deployed in the cloud. Stand A01
DON'T The IBC Esports Showcase, supported by ESL, Lagardère and EVS, MISS! will feature a full esports tournament staged in the Auditorium EVS to launch multi-camera positioning and framing system at IBC EVS will launch a new automated multi-camera positioning and framing system for the first time at IBC2019. The new autonomous camera system analyses the images of robotic camera feeds in real time and guides cameras toward live action with the appropriate zoom. Designed and tested to precisely mimic the movements of human camera operators, the solution uses machine learning enabled by VIA Mind, the EVS AI-driven functionalities and assistance component that assists operators to focus
more creatively through the automation of certain tasks. The new solution integrates seamlessly with the EVS X-One unified production system for lean production. X-One ingests up to six camera feeds, no matter the source – humanly operated cameras, autonomous cameras or a mix of both – enabling low-
cost, broadcast-standard live productions of small and mid-size events. Also featured will be the latest version of EVS’ unified production system X-One, which offers new storytelling features that enable a single operator to produce highlights and dynamic live productions quickly and cost-effectively.
With X-One’s intuitive user interface, a single operator can do live switching, create replays, control audio, create and insert graphics, play back content and now create highlights. Ideal for niche sports and featuring new small form-factor hardware, X-One provides multi-angle clip creation and editing, automated highlights, new replay speed settings and picture-in-picture effects capability. Stand 8.B90
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PROIBC2019
More power with Anton/Bauer Titon batteries
TAG Video Systems to highlight IP at IBC
New for IBC2019 will be Anton/Bauer’s Titon, a series of V-mount or gold mount batteries designed for on-location productions that provides customers with a versatile solution to “power their story”. Offered in both 90Wh and 150Wh models, Titon powers the leading HD-DSLR, mirrorless, ENG and digital cine cameras, as well as LED panels, including Litepanels’ new Gemini 1x1 Soft RGBWW light. With P-TAP and highspeed smart USB ports, Titon can also power accessories
TAG Video Systems will demonstrate its flagship MCM-9000 at IBC, with an expanded feature set that will provide more IP workflow tools to better manage complex configurations. The TAG MCM-9000 platform combines monitoring of compressed and uncompressed signals all within the same system and on the same screen for all four primary video applications.
such as wireless transmitters, monitors and smart devices. Using the onboard LCD screen or the camera’s viewfinder display, Titon users will know, down to the minute, the exact runtime and remaining available power for the camera and accessories being powered.
TAG’s advanced software skills also allow it to break the software/bandwidth/timing limitations of ST 2110 in COTS hardware, and bring a highdensity solution with multiple 100GE interfaces and support for ST-2022-7 network redundancy. TAG’s cross-application solution presently supports more than 40,000 channels in facilities around the globe. Stand 1.F94
Stand 12.E65
DON'T IBC will recognise social responsibility as part of its awards MISS! programme this year for the first time, with its Social Impact Award Monitoring with Interra Systems at IBC
Interra Systems will demonstrate its BATON ABR QC and ORION-OTT monitoring solutions at IBC. In a streaming media workflow, for large volumes of VOD files encoded at different bitrates, BATON’s QC, including ABR-specific checks, ensures that the prepared content meets service provider and end user quality expectations. ORION-OTT can be used to
proactively perform HTTP checks and monitor the quality of each stream. Interra Systems will also showcase its ORION real-time content monitoring and video analysis for linear channels. ORION provides operations groups with a monitoring platform that looks at each aspect of video streams such as QoS, QoE and so on. Stand 7.C09
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Leader to demo options for LV5600 and LV7600 Leader Electronics’ two new 25GbE options for the LV5600 portable broadcastquality waveform monitor and its LV7600 rasterising equivalent will make their European debut at IBC. Option LV5600-SER06/ LV7600-SER06 is a 25GbE single-mode video-over-IP/ multi-mode fibre IP interface which provides full conformance with the SMPTE 2110 standard for transmitting 4K content in a non-compressed format via Ethernet at up to 25GB per second. Option
LV5600-SER32/LV7600SER32 is an IP test pattern generator that can generate HD and 3840 × 2160 UHD test signals for delivery via SMPTE ST 2110-20/30/31/40 IP. IP channel stress testing can be performed by adding jitter and errors to IP packets. Stand 11.A33
PROIBC2019
Video Progetti to use IBC to expand international footprint Italian broadcast systems distributor and systems integrator Video Progetti will be at IBC2019 as the company prepares for rapid international expansion in 2020. A team will be spread throughout IBC’s halls on the stands of the companies it represents – from Barnfind to Wohler – discussing Video Progetti’s wideranging capabilities, its growing capacity and its desire to undertake new projects around the world. “So far in our 25-plusyear history, we have focused on the Italian market,” said Carlo Struzzi, CEO of Video
Progetti. “We’ve worked with a large number of highprofile companies – including Sky Italia, Telecom Italia and Rai, Italy’s national broadcaster – and we believe the experience and expertise we’ve built up will
be attractive to organisations in other geographies. We have already begun to put in place the resources that will support our plans.” Video Progetti projects have included the delivery of a completely new HD
broadcast infrastructure for a regional TV station; the design and construction of Ka-Sat SNGs; the creation of post-production collaborative workflows; the transcoding of thousands of hours of film to HEVC/H.265; the development of an OB van with two completely separate production control rooms, able to produce SD, HD, UHD, SDR and HDR video and capable of leveraging the latest technologies such as IP; and the building of a 60-channel playout centre for Italy’s largest independent television network operator. Stand Multiple
DON'T 400 speakers have been lined up for this year's IBC Conference, MISS! under the theme ‘Consumers First: A New Era in Media’ A new gateway with Embrionix
SSIMWAVE to debut SSIMPLUS VOD Monitor
Embrionix will showcase the company’s compact emFUSION-6 SDI-to/ from-IP and IP-to-HDMI gateway with support for HD, 3G and SMPTE ST 2110 UHD. The software-defined, stand-alone gateway is designed for remote broadcast production, interconnecting SDI signals to an IP infrastructure via a single 25GE aggregation link or via dual links for (SMPTE ST 2022-7) hitless redundancy. The emFUSION-6 supports up to three channels of encapsulation and three channels of deencapsulation. Black burst can be extracted from the PTP to synchronise cameras. The emVIEW IP-to-HDMI 2.0 gateway offers universal support
SSIMWAVE will show for the first time at IBC a tool that enables the media industry to optimise video processing and delivery using the human visual system. The SSIMPLUS VOD Monitor Inspector delivers frameby-frame and pixel-by-pixel analysis of video content, using SSIMPLUS’ ability to predict and score perceptual video quality of experience by accurately mimicking actual human vision. Armed with the only algorithm to achieve greater than 90% machine-tohuman (mean opinion scores) correlation
for all 4K/ UHD signal formats and resolutions up to 4K/UHD 60Hz/hitless redundancy, with support for any wide, linear and narrow sender. Making the most of a 25GE IP interface (hitless), this gateway guards the integrity of the 4K/UHD image on an HDMI display, regardless of signal type or format, whether from a quad ST 2110 1080p flow or a single SMPTE ST 2110 4K/UHD flow. Stand 8.B37
accuracy, the SSIMPLUS VOD Monitor Inspector is lightweight and fast, enabling use cases that include encoder evaluation, building profile ladders and configuring transcoders. It is designed to help video architects and engineering professionals create the most effective encoding and processing workflows for on-demand content. Stand 1.B13
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PROGUEST
“Working together to find a common, shared approach to data could have amazing benefits”
Five golden rules for pay-TV success in a datadriven world For digital disruptors such as Facebook, Apple, Amazon, Netflix and Google (FAANG for short), much of their success lies in the ability to gather data and use it effectively. FAANG’s businessmaking processes are built around data, and as a result, their users are glued to their apps on a daily basis. All well and good for the tech giants, but the pay-TV industry has hardly reaped the same rewards when it comes to data. In fact, it has been slow to adapt to this increasingly analytical and AI-driven world. With legacy systems, old ways of thinking, old organisational structures or indeed a combination of all three, few pay-TV operators have been able to collect, implement and use data to gain valuable insights. They have thus failed to improve their pay-TV service and day-to-day business operations. But why exactly has the pay-TV industry been slow to adapt to this digitally transformed world of data? There are a few factors at play. The first is old business practices: automation, improving customer service operations, reducing churn, delivering more targeted advertising, personalising content recommendations, helping to optimise the full value and cost of their content portfolio – these actions are all crucial for modern pay-TV operators. The second, perhaps ironically, isn’t down to a lack of data, but rather an excess of it. With hordes
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of data siloed away, fragmentation is inevitable – even though individual teams may be performing well. Data needs to be connected end to end and holistically if it is to be useful. The third sticking point is technology. Operators face a fragmented playing field with technologies and capabilities that are more advanced than ever before, not to mention evolving extremely fast. With this in mind, technological issues are bound to arise. But if we allow ourselves to dream big for a moment – what if the entire industry was to share its data? FAANG currently has access to data from the point of content creation to delivery, which is a strong competitive advantage. But what if the industry (studios included) ensured that all data from across the entire value chain merged? Naturally, you’d have to agree on clear standardisation on how content and ads are sold. But working together to find a common, shared approach to data could have amazing benefits, with greater flexibility in the business models of content, advertising and ultimately subscription. With this blue-sky thinking in mind, we should first establish five golden rules for pay-TV success in this data-driven world: First, for data, we should prefer quality over quantity. It’s better to have fewer quality data points than lots of rubbish. Overflowing
data lakes are the best enemy of business-minded data usage. Second is to adopt a standard that ensures your different systems can contribute to your overall data effort. Again, data needs to be connected end to end and holistically, if it is to be of any use to an industry interested in collaboration. Third is to start with the real questions, the tangible business issues that operators want to address. For example, what issue do we want to solve with data? Do we want to address churn? Can we implement predictions and recommendations to address it? What’s the best way to encourage the use of the service? Is it a marketing action? Or is it a recommendation action? Fourth is to bring the topic back to the top management table. To be successful, this needs to be a transversal endeavour. It cannot be driven by just one department. Fifth and finally, keep in mind that the output must be real business actions, not just graphs or data sets. Data is all well and good, but it’s what you do with it that counts. Now, sticking to these golden rules to the letter doesn’t guarantee success for every operator; after all, the goal posts are always moving in the pay-TV world. But with challenging times ahead, they might serve as a handy guide for those bold enough to adapt, grow and navigate the road to success. Jacques Edouard Guillemot is SVP Executive Affairs at NAGRA.