BroadcastPro ME May 2019

Issue 107 | MAy 2019

Publication licensed by Dubai Production City

game of drones Hatim Saleh on why drone filming is scaling new heights

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PROintRO

GROUP Managing Director Raz Islam raz.islam@cpitrademedia.com +971 (0) 4 375 5471 Editorial Director Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 4 375 5472 EDITORIAL Editor

Welcome

Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 55 105 3787 Assistant Editor Garima Rawat garima.rawat@cpitrademedia.com +971 (0) 4 375 5478 Sub Editor Aelred Doyle ADVERTISING Group Sales Director Sandip Virk sandip.virk@cpitrademedia.com +971 (0) 50 929 1845 +44 (0) 773 444 2526 DESIGN Art Director Simon Cobon Designer Percival Manalaysay MARKETING Marketing Manager Sheena Sapsford sheena.sapsford@cpitrademedia.com +971 (0)4 375 5498 CIRCULATION & PRODUCTION Production Manager Vipin V. Vijay vipin.vijay@cpitrademedia.com +971 (0)4 375 5713 Distribution Manager Phinson Mathew George phinson.george@cpitrademedia.com +971 (0)4 375 5476 DIGITAL SERVICES Mohammad Awais Sadiq Siddiqui FOUNDER

We do not live in a world of traditional TV viewing anymore nor cater to consumers who will lap up any content we send their way. It’s not enough to know this and talk about it extensively. It is really critical that our business models and strategies evolve to live this change if we are to make any dent at all in piracy.

BroadcastPro ME just concluded the second edition of the MENA AntiPiracy Conference and in response to feedback from delegates, we brought a raft of new voices and perspectives to the panel discussions. While the odd sceptic may complain that they have heard it all before, the truth is that most others haven’t and if we are still stuck at square one, perhaps it’s important to hear some of it again and again until we set the wheels of change in motion.

One of the key points that came out of that discussion was that pirates are not just smart and continuously evolving, they actually seem to have a much better understanding of viewer needs than traditional players. As a result, they have packaged their products better with greater SEO ranking and discoverability on search engines. They are user-friendly and affordable, and consumers like to view their entertainment on those

terms. What pirates can’t seem to guarantee is a reliable service. This is what legitimate services should pick on and in addition to offering packages at similar prices with flexible payment options, they should be able to ensure a consistent and reliable service.

While it's very tempting to dwell more on the discussions from the broadcasters, the tech experts and the lawyers while it's still fresh in my mind, I shall leave it for the June issue, which will cover the Anti-Piracy conference in more detail.

I'm sure all of you have already seen a great deal of press around new launches and acquisitions announced at NAB so I won't discuss that in further detail.

As we go to press, however, I have just discovered that Abu Dhabi Media is getting ready to launch its first virtual news anchor. With every new technological innovation, a number of jobs in the newsroom seem to be taking a hit. Will news anchors be the next or will humans now evolve differently to differentiate ourselves from the unique capabilities of AI?

Vijaya Cherian, Editorial Director

Dominic De Sousa (1959-2015) PRINTED BY

ISSUE 107 | MAY 2019

Publication licensed by Dubai Production City

Printwell Printing Press LLC, Dubai

On this month's cover…

Let’s create a vibrant online broadcast community! @BroadcastProME www.facebook.com/BroadcastProME BroadcastProME

Published by GAME OF DRONES Hatem Saleh on why drone filming is scaling new heights

Licensed by TECOM to registered company,

Hatim Saleh, founder of ChopperShoot.

CPI Trade Publishing FZ LLC whose registered office is 207 – 209, Building 3, Dubai Studio City, Dubai, UAE. www.cpitrademedia.com © Copyright 2019 CPI. All rights reserved.

Subscribe online at:

While the publishers have made every effort to ensure the accuracy of all information in this magazine, they will not be held responsible for any errors therein.

May 2019 | www.broadcastprome.com | 1

PROCONTENTS

Inside this issue 05 NEWS Sharjah Broadcasting Authority deploys Imagine solutions; Alamiya invests in GV, EVS, Canon and Vizrt; Arabsat 6A launches successfully; Viu and Netflix launch originals; UFC inks MENA rights deal with ADM; Sky News Arabia revamps; Twitter announces 16 MENA media partnerships; and more

20 GAME OF DRONES

May 2019 AlAMiyA hiKESFROM iNvEStMENt iN Kit NEWS AROuND MENA

19

05

Hatim Saleh on how ChopperShoot has upped the stakes with drone filming in the GCC

tWittER SiGNS uP MEDiA PARtNERS

COvER - DRONES RulE thE SKiES

SNAPChAt builDS ON AR

26 AuGMENtiNG bRANDS With SNAPChAt Mike Evans, Software Engineering Manager at Snap Inc. talks about how the platform is helping companies leverage AR to augment their brands

20

30 ClEARiNG thE ClOuD

26 EMPlOyiNG ClOuD SERviCES

PlC uP S thE GAME With AR AND POv

Brick Eksten of Imagine Communications looks at broadcast scenarios where cloud would serve the perfect role

32 PlC KiCKS it uP A NOtCh UAE'S Pro League Committee makes AG Cup finale more exciting with AR and Sponix player point of view technologies

32

30 NAb2019 WRAP-uP

MAKiNG thE RiGht PitCh

36 NAb WRAP-uP NAB President and CEO Gordon Smith talks up storytelling and we look at some new launches at the show

40 hOW tO PitCh A StORy Emmy-winning producer Nicole Hendrix tells us what makes a successful pitch

36

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PROnews

Sharjah Broadcasting Authority ties with Imagine Communications for DR centre Sharjah Broadcasting Authority (SBA) has worked with Imagine Communications to deploy a disaster recovery (DR) solution at its backup centre in Al Thaid, UAE, using software-defined technology in a primarily IP-connected environment. The hybrid DR site will provide full cover for SBA’s four television channels, delivered by a primary playout system also implemented by Imagine.

Ensuring business continuity and protection of the broadcaster’s archive, the new system supports the expansion of operations, including additional channels designed to reach fresh audiences within the Emirate and the region. This expansion will depend upon smart, new functionality, delivered by software-defined networks.

“This project is a really important step in our migration path towards IP networks and virtualisation,” commented

Anas Hantash is Head of MENA for Imagine Communications.

Aisha Alzareef, Broadcast Technology & Information Systems Director at SBA. “Collaborating with Imagine helps us ensure that our technical and operational teams understand the challenges of these new technologies.

We have worked in close partnership with Imagine Communications since the foundation of our company 10 years ago, and with IP, we will be in a great position to prepare plans for future developments and the complete migration of our main playout centre.”

The key benefit of the DR playout system is in maintaining perfect synchronisation with the main site, with full content mirroring to allow seamless switchover in the event of any problems. To achieve this, the system is built on Imagine Communications’ Versio virtualised integrated playout solution, which is designed for geo-dispersed operations. The Versio software application runs on HP hardware, providing full automation and playout functionality, along with servers and content management, graphics, storage, master control switching – and management of the synchronisation and mirroring.

As this is a major step in SBA’s migration towards IP connectivity, the system also needs to support legacy SDI content. To achieve this, the architecture includes a Platinum VX router and the Selenio MCP processing platform to provide SDI/IP

conversion. Also supporting both connectivity systems is the EPIC MV multiviewer, which allows SBA to comprehensively monitor its entire operation. The system at SBA is controlled

by Imagine’s Magellan SDN Orchestrator software control system, allowing it to easily manage and control its legacy infrastructure, while seamlessly incorporating next-gen technologies, switching and interworking between HD, Ultra HD and uncompressed real-time SMPTE ST 2110 streams.

“We are delighted to be continuing the journey with Sharjah Broadcasting Authority as they transition from their traditional playout facility towards the exploration of next-gen playout and networking technologies,” commented Anas Hantash, Head of Middle East and North Africa for Imagine Communications.

SBA’s DR centre went live in March 2019.

Second edition of MENA Anti-Piracy Conference concludes with repeated call for greater government regulation Details of the panel discussions at the MENA AntiPiracy conference will be carried in the June issue of BroadcastPro Middle East. For pictures from the event, visit broadcastprome.com or our Facebook page at http://www.fb.com/broadcastprome

May 2019 | www.broadcastprome.com | 5

PROnews

Alamiya upgrades OB fleet with Grass Valley solutions Alamiya recently invested heavily in Grass Valley kit to support a major upgrade of its entire fleet of 13 OB vans. The investment will enable Alamiya to future proof its end-to-end live production infrastructure so it can deliver 4K UHD productions of major sporting and live events.

Alamiya has deployed hundreds of LDX 86NSeries 4K/HD/3G cameras, including 24 LDX 86 High-Frame Rate HD/3G/4K UHD cameras, the K2 Dyno S3 replay system and four Karrera K-Frame Video Production Center switchers with 3 & 5 M/Es. Additionally, all of the related infrastructures, video routers and modular frames are based on

Sultan Al Muheisen, CEO of Alamiya flanked

by Antonie Aouad (l), Regional Sales Manager GV MEA and Paul Turner (r), Belden UK.

Densité solutions.

The LDX 86N Series camera support native 4K UHD (3840x2160) and native 3G/HD (1920x1080) image capture, using three 3840x2160p 4KXensiumHAWK CMOS imagers with DPMUltra (dynamic pixel

management) functionality, offering a great viewer experience for all of Alamiya’s live productions.

In addition, the LDX 86N provides the GV-eLicense upgrade path for the next level of functionality when production needs require it.

Alamiya inks deals with EVS, Canon and Vizrt at NAB Sultan Al Muheisen, CEO of Alamiya, also signed three deals at NAB with EVS, Canon and Vizrt at each of the manufacturers' booths.

Alamiya will invest in EVS’ 4K/ UHD replay servers for their expandable functionality and high resolution. A second deal with Canon through local distributor Glocom will ensure that Alamiya brings the first of the manufacturer’s advanced 4K UHD portable zoom lenses to MENA. Alamiya will also use Vizrt to provide a host of digital solutions including Viz AR/ VR 4K cameras, Viz Arena, Viz Libero and Viz Multiplay.

The solutions will enable Alamiya to create mixed reality environments for its TV programmes as well as move into the AR/VR space.

MasterChef, the TV Experience restaurant launches in Dubai deal between Dubai property developer The First Group and Endemol Shine Group, producer and distributor of the MasterChef reality TV series.

From left: Duncan FraserMasterChef Smith and Frances Adams. achieved a Guinness World The world’s first Record last year as MasterChef, the TV the most successful Experience restaurant film format. was launched in Elaborating, Frances Dubai last month.

Adams, Endemol The restaurant is the Shine Group Director, result of a landmark Brand Strategy, said:

6 | www.broadcastprome.com | May 2019

“We have reached 60 territories and we are on air in 250 different markets.

Basically, you can watch MasterChef on TV everywhere in the world except two countries – North Korea and Papua New Guinea.”

The two teams worked with 30 winners across three countries to create the initial menu for the restaurant. Diners wanting a slice of

the TV experience can take part in the Mystery Box Challenge with a small twist, Duncan Fraser-Smith, VP of Food & Beverage for The First Group, revealed.

“We will bring the mystery boxes to our diners with 10 ingredients in them and the diner may choose five. The chef will then have to cook a dish within 35 minutes, and there

will be a clock ticking there for all to see.

I believe this will genuinely create new memories for diners and help personalise their experience while also challenging our chefs to be creative.”

The two teams are in talks with Fox to bring winning chefs from the global MasterChef series to the restaurant, including champions from MasterChef Australia.

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PROnews

Arabsat 6A successfully placed in 30.5 degrees East Arabsat 6A, the last of the company’s sixthgeneration satellites, was successfully launched on Space X’s Falcon Heavy launch vehicle last month. The Arabsat 6A satellite, manufactured

by Lockheed Martin, will be placed in the exclusive orbit of Arabsat 30.5 degrees East.

Khaled bin Ahmed Balkheyour, President & CEO of Arabsat, said: “We are thankful for the successful launch of the 6A satellite, as it was challenging for us and SpaceX because it is the largest and heaviest satellite lifted

by SpaceX on the most powerful rocket in operation today. Falcon Heavy was designed specifically to launch such a load commercially.

That is why this launch is considered a momentous leap in the field of commercial satellite manufacturing

Arabsat 6A is the largest commercial satellite Lockheed Martin has produced to date.

and launching.”

Arabsat 6A is a high-capacity telecommunications satellite that will deliver TV, radio, internet and mobile communications to customers in the Middle East, Africa and Europe, and is the largest and most powerful commercial satellite

Lockheed Martin has ever produced. Built on Lockheed Martin’s enhanced LM 2100 platform, it provides advanced Ka-spot beam communications services and Ku- and Ka-band coverage, in addition to other frequency bands.

“Arabsat’s success during the past two months – the launch of HS4 satellite at 39 degrees East for Hellas Sat, Arabsat’s subsidiary, last February and this success today – could not have been possible without the help of the young Arab engineers from Arabsat’s HQ and its two ground stations in Riyadh and Tunisia, from where these satellites are operated and controlled.

We are thankful to those young engineers, who were fully involved in the design of these satellites and the supervision of the manufacturing stages,” added Balkheyour.

Arabsat 6A launch enables Sudatel Telecom to ensure efficient connectivity in Sudan Arabsat 6A will provide digital broadcasting, telecommunications and internet services to customers in Sudan.

The satellite ground station service is hosted

by Sudatel Telecom Group via Abu Haraz

satellite station.

Eng Tarig Hamza Zain Elabdein, President & CEO of Sudatel Group and Chairman of Sudasat, said: “This move marks a milestone in the company’s history and confirms its strategic

8 | www.broadcastprome.com | May 2019

plan to move the company to an integrated telecommunications operator to deliver unprecedented services through partnerships, upgrading it from the local and regional level to a much higher level.”

NMK launches dedicated fund for tech startups in AV

Alex Kemanes, COO of NMK Electronics will head the new initiative.

GCC-based AV distributor NMK Electronics has launched NMK Ventures, a new initiative aimed at funding technology start-ups in the music and AV industry. NMK COO Alex Kemanes will head the initiative.

Speaking about the eligibility criteria for funding, Kemanes explained: “We have a dedicated fund for start-up companies that are developing new technologies within the music and AV sector, and it’s not limited to the Middle East. It could be a company in the region developing a product with the aim of taking it out, or vice versa. We would make a cash investment in return for equity in the start-up, and the amount of funding provided would depend on the nature of the project. Companies across the world can approach us if they are developing either hardware, software or even technologies related to logistics, as long as it is intended for the music industry or the AV segment.”

Besides funding, NMK will also connect start-ups by leveraging its network and sharing industry insights, and by helping them with other parts of the chain, including distribution.

PROnews

Viu to launch new original thriller series Viu has announced its fifth Viu Original – Zodiac, a crime thriller series based on the novel Hazak El Youm by Egyptian author Dr Ahmed Khalid Tawfiq. It follows the lives of a group of students who encounter a curse that takes the lives of the individuals around them. The curse follows a pattern determined by the victim’s zodiac sign.

The three-season series is written and conceptualised by Egyptian screenwriter Mohamed Al-Motasem, alongside his team – Menna Ekram, Mohamed Hisham

Zodiac will be produced by Film Clinic in collaboration with El-Masa Media Production.

UFC inks MENA rights deal with Abu Dhabi Media Abu Dhabi Media has secured exclusive Ultimate Fighting Championship (UFC) media rights in MENA, with the state broadcaster to roll out a localised OTT service and mobile app in the area. The multi-year deal comprises all live events, preand post-event programming, and all original UFC programming.

Live UFC events will be broadcast

by Abu Dhabi Sports 4. The online platform will be a digital subscription service, which offers customers online access to all live UFC events and a library with hundreds of hours of content that will be available in the

Abiya, Omar Khaled and Rawiah Abdulla.

It is directed by Mahmoud Kamel and produced by Film Clinic in collaboration with El-Masa Media Production.

Wesam Kattan, Vice President Content, Viu MENA, said: “We aim to deliver compelling local entertainment with worldclass production quality. Adapting a novel series by the late Dr Ahmed Khalid Tawfiq with Zodiac gives us the opportunity to invest in the local creative ecosystem with a story that matters and resonates locally, while putting it on a global stage.”

Arabic language.

"UFC has a very passionate fan base across the UAE and the whole MENA region," said Noura bint Mohammed Al Kaabi, Minister of Culture and Knowledge Development and Chair of Abu Dhabi Media.

David Shaw, UFC Senior VP, International and Content, added: "The MENA region is extremely important to UFC, and we are thrilled to begin this partnership with Abu Dhabi Media to bring our fans new and localised content.

We look forward to working closely with Abu Dhabi Media on localised media initiatives for the region."

Nat Geo to document UAE's space journey National Geographic has announced a fouryear partnership with the Mohammed Bin Rashid Space Centre (MBRSC) to document the UAE’s journey into space.

In a four-part documentary series, National Geographic will present to the world the UAE’s rising space ambitions

and achievements. The National Geographic series will capture the development and historic launch of KhalifaSat, the first Emirati-developed satellite, travelling to Mars, and building the first city on Mars. The series will combine multiple story threads covering all aspects of MBRSC’s work.

IndiaCast launches two channels on Etisalat’s eLife TV

Apple announces AppleTV+ streaming service

IndiaCast has launched News18 Kerala and Colors Tamil on Etisalat, and has converted the Colors SD feed to a HD feed on its platform. Etisalat subscribers can tune in to Channel 849 for Colors Tamil, Channel 836 for News18 Kerala and Channel 250 for Colors HD.

Apple is entering the streaming market with a new service called AppleTV+, which will feature the Hollywood elite across a lineup of new original TV shows.

The streaming service will be launched in the UAE and will add to the fierce competition in the streaming segment.

Disney+ to launch at $6.99 per month Disney will launch its streaming service, Disney+, in the US on November 12, at a price point of $6.99 per month, well below Netflix’s $12.99. This is Disney’s first serious foray into the OTT space.

May 2019 | www.broadcastprome.com | 9

PROnews

ConnecTechAsia gears up for innovation and networking in Singapore

ConnecTechAsia will be held June 18-20, 2019 in Singapore.

With transformation at the top of their agenda, business leaders will meet at ConnecTechAsia in Singapore from 18-20 June 2019, to showcase and discover the latest technologies that promise to ready businesses for the future.

Among a congregation of 1,800 exhibitors and 200 thought leaders at the Summit, an estimated 40,000 attendees will be looking to truly transformative technologies and solutions to get an edge in automating business processes and exploring fresh revenue streams in this digital era.

ConnecTechAsia comes out of the gate in 2019 as the region’s newly minted telecom, media and technology (TMT) knowledge powerhouse,

leveraging new partnerships with leading business intelligence and research affiliates such as Accenture, Deloitte, KPMG, Light Reading, McKinsey, Ovum and Tractica, to provide expert insights to all event stakeholders, not just during three event days, but throughout the year.

Top brands including Amazon, Axiata, Ericsson, Google, Grab, Huawei, IBM, iflix, Intel, Microsoft, Netflix, NHK, NTT DoCoMo, RedHat, Singtel, Verizon and VMWare will bring with them the latest innovations, new business opportunities and networks, and thought leadership to the show floor and Summit.

“Knowledge has always been the most powerful asset to have, and today’s enterprises need additional

10 | www.broadcastprome.com | May 2019

clarity to optimise business decisions and harness opportunities,” commented Ivan Ferrari, Event Director for ConnecTechAsia.

“ConnecTechAsia will bring the combined value of its new knowledge partnerships providing TMT intelligence to our stakeholders throughout the year, culminating over three event days in June when the industry comes together to share, make deals and network. This new iteration of ConnecTechAsia is testament to our evergrowing commitment to support the TMT industry and facilitate its path towards successful growth in the region.”

In 5G, artificial intelligence (AI), cybersecurity, multiand hybrid-clouds, Internet of Things (IoT), smart cities

and more, ConnecTechAsia, comprising three pillars catering to each sector of the TMT space, will bring together the diverse yet hyper-connected businesses that will form a big part of tomorrow's digital life.

CommunicAsia brings together next-gen technologies for the telecom and related industries.

BroadcastAsia is where broadcasting media companies and equipment makers showcase their latest products and services, and NXTAsia will feature emerging technologies and enterprise solutions. There will also be power-packed activities, free workshops and seminars, speciality zones, partner programmes and networking receptions to keep attendees fully immersed and engaged.

PROnews

Key speakers at ConnecTechAsia Summit The ConnecTechAsia Summit, themed Shaping Future Societies, will bring together thought leaders from infocomm, technology, media and enterprises to discuss what is driving digital transformation in the region and how the latest tech trends and innovations are changing the landscapes of cities, economies, business and media.

The keynote by Harriet Green, CEO and Chairman of IBM Asia Pacific, will explore how the shift from digital experimentation to scale adoption of new technologies will fundamentally alter the

will The ConnectechAsia conference from als ssion profe ther bring toge . broadcast, satellite and IT this year

value chains of entire industries and change the way we work and live.

Key industry leaders at ConnecTechAsia2019 Summit will also include: • Dr Min Sun, Chief AI Scientist, Appier • Muhamed

Zilkhairilishamuddin, Assistant Vice President, OTT Principal Engineer, Astro • Dr Keeratpal Singh, Chief Data Scientist, Axiata • Ong Geok Chwee, CEO, Bridge Alliance • Cheryl Goh, Group

IP Made Easy

Vice President of Marketing, Grab • Dr David Soldani, CTO, Huawei Australia • Jason Little, Chief Information Officer – SEA, Manulife • Ian Yip, Chief Technology Officer, McAfee Asia Pacific • Gustavo Fuchs, GM – Cloud & Solutions (Asia), Microsoft • Krishnan Rajagopalan, Director of Payments APAC, Netflix • Seizo Onoe, President of DoCoMo Technology and Chief Technology Architect, NTT DoCoMo • Andreas Spanner, Chief Architect (ANZ), Red Hat

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May 2019 | www.broadcastprome.com | 11

PROnews

Al Arabiya announces AR app prototype Al Arabiya is changing how viewers consume news with its new Alarabiya 360 app.

To be launched in 2019, the prototype was recently displayed at the Arab Media Forum. The main concept behind the app is the use of augmented reality to tell stories and create a world of interactivity for users.

Fadi Radi, Head of Creative at Al Arabiya Network, said: “This is a unique concept that has been used for the first

The app will incorporate AI and machine learning algorithms.

time in news. The app will incorporate artificial intelligence (AI) and machine learning algorithms to offer relevant information

to viewers. The app has been developed in-house and uses ARkit technologies from Apple and Android.”

Explaining the working

Front Row teams up with Cinema Akil to screen Leaving Neverland as part of Debatable debut

Cinema Akil on Al Serkal Avenue,

Front Row Filmed Entertainment has partnered with Dubai independent cinema venue Cinema Akil to screen Leaving Neverland for three days at Warehouse 68. The screening was part of Cinema Akil’s new Debatable programme.

Dubai.

Front Row secured complete MENA distribution rights to Leaving Neverland in February at the European Film Market Berlin. The deal was signed

by Front Row CEO Gianluca Chakra and Acquisitions and Marketing

12 | www.broadcastprome.com | May 2019

Director Elie Touma.

Butheina Kazim, founder and Managing Director of Cinema Akil, said: “Debatable is a brand-new discussion-based programme under which Cinema Akil presents films that bring up difficult conversations and allows audiences the chance to express their views openly in a safe environment.

We have invited a panel of speakers from across the spectrum of opinions on the film to drive the evening, and will include an open forum segment of the discussion for the audience to weigh in."

of the app, Radi added: “The app will show users relevant content on what Al Arabiya has covered on the subject or place they are exploring.

The user will be able to watch related Al Arabiya videos covering the place.

The application will give the user the same experience in showing augmented reality objects everywhere, using the same 3D objects as shown in Al Arabiya studios.”

The app is not yet available for download.

New regional feature film begins production in UAE Romanian actor, writer and producer Robert Cristian Trif will play the prominent role of a farmer in A Tale of Shadows 2: Illusions, a film shot in key locations within the UAE. The film is a sequel to Director Tariq Al Kazim’s 2017 horror feature A Tale of Shadows. Production began last month in the UAE and is scheduled for release next year.

Advanced Media brings RED workshop to Dubai Advanced Media will host a REDucation Workshop from June 26-28 in Dubai at AM Studio. The three-day course will be conducted

by Steve Johnson, CEO at Futurist Digital Ltd, who instructs and manages multiple REDucation training events on behalf of US firm RED Digital Cinema.

Registration is

now open and attendees will receive a certificate of completion from RED Digital Cinema.

REDucation is a fully immersive, hands-on, practical training course for RED DSMC2 cameras, including the Monstro 8K VV, Helium 8K S35, Gemini 5K S35 and DragonX 5K S35 systems, for both on-set and postproduction practice.

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PROnews

New original Arabic-language drama series from Netflix Netflix has announced a new Arabic-language original drama series, AlRawabi School for Girls, which will launch later this year. The show will be produced in collaboration with Jordanian media company Filmizion.

Written and directed

by Jordanian director, writer and actress Tima Shomali, AlRawabi School for Girls tells the story of a girl who gets revenge on her bullies, only to find

From left: Shirin Kamal and Tima Shomali.

out that no one is all that bad in the first place.

Commenting on the new series, Simran Sethi, Director of International

Originals at Netflix, said: “We are extremely proud to partner with Tima again to produce what is essentially the first Middle Eastern young adult series that celebrates the role of women, not only on screen, but behind the scenes as well. The story brings a fresh perspective to Middle Eastern content, and we are absolutely excited to share Al Rawabi School for Girls with our global audiences in over 190 countries.”

Bitmovin powers OSN video streaming for WAVO OSN has selected Bitmovin Encoding to offer video content to subscribers to its Wavo video streaming service. The platform showcases rich content including live TV, shows on demand, hit movies and the most talked-about series in English and Arabic.

Stefan Lederer, CEO at Bitmovin, said: “Consumers in the MENA region embraced online video early on and demand high-quality content that is available at any time and on any device. OSN has a track record of investing in innovative and creative

Saudi Arabia welcomes UK cinema chain UK independent exhibitor The Light Cinemas has signed a deal to launch 15 sites in Saudi Arabia.

The exhibitor has collaborated with London-based consultancy firm The Big Picture to create MUVI, which will launch

the cinemas in KSA. The Light is the first UK exhibitor to obtain a licence to operate venues in Saudi Arabia, and one of only five companies to qualify for the Saudi government’s operating licence.

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technology to offer the most advanced, comfortable and affordable viewing experience to its subscribers. We are proud that OSN selected Bitmovin to help facilitate its media supply chain workflows and optimise content encoding to the highest standard.”

Jeddah to host 2020 International Red Sea Film Festival The first edition of the International Red Sea Film Festival will be held on the Red Sea coast in 2020 with a focus on showcasing growing Saudi creativity, new Arab film works and the latest trends in international cinema.

Also created will be the Red

Sea Film Facility as an incubator for local film projects, working on programmes for directors and producers, to support film projects through sponsorship at all stages of development, financing, production and distribution.

MediaKind powers Vodafone Qatar Vodafone Qatar has selected MediaKind to deliver MediaFirst, a next-generation cloudbased multiscreen TV platform service, to consumers in Qatar. The MediaFirst deployment will provide Vodafone Qatar with the capability and flexibility to launch new content over existing IPTV or OTT devices. Deployment will commence in 2019.

Damien Montessuit, Senior VP, EMEA, MediaKind, said: “Through the deployment of MediaFirst, we are strengthening our global leadership in delivering highly immersive, personalised TV experiences by providing Vodafone Qatar customers with access to rich, consistent viewing opportunities across any device, anywhere.”

Damien Montessuit, Senior VP, EMEA MediaKind.

PROnews

SEVEN announces new EVP for Strategy Saudi Entertainment Ventures Company (SEVEN), fully owned by the Public Investment Fund (PIF), has announced the appointment of Jennifer Hanser as EVP, Strategy and Mergers & Acquisitions (M&A). Hanser will hold responsibility for ensuring SEVEN’s investments and project executions meet its vision of being a leader in Saudi Arabia’s burgeoning entertainment ecosystem.

Hanser joined the rapidly expanding entertainment

Jennifer Hanser, EVP, Strategy and M&A.

BSS appointed Middle East distributor for ATOM cameras Dream Chip Technologies GmbH (DCT) has appointed Dubaibased leading systems integrator and distributor BSS as the Middle East distributor for its ATOM cameras, effective March 20.

The ATOM camera line is a range of extremely small full-HD cameras with dual 3G-SDI output and highquality image performance.

Tareq Eid, Managing Director of BSS, which represents over 15 brands in the Middle East, said: “ATOM cameras are ideal for POV shooting, live concerts and for OB coverage.

Despite its small factor, the ATOM camera features the smallest global shutter, high dynamic range and provides broadcastquality output.

We are pleased to represent Dream Chip in the region for these cameras and are sure there is a good market for them in this region.”

Stephane Ducobu, Director of Sales, Broadcast Product Worldwide at DCT, added: “The reputation and technical knowhow that BSS has shown for so many years are key assets to develop and promote our ATOM cameras range in this region.”

group shortly after the organisation recently announced plans to create the first 100,000sqm purpose-built entertainment complex in the Kingdom.

Chairman of the SEVEN Board of Directors Abdullah bin Nasser Al-Dawood said: “Jennifer has a strong track record of building relationships with key stakeholders from varied disciplines to yield highly-negotiated, well-structured deals that optimise alignment and

drive results in competitive, regulated, international business environments.”

Bill Ernest, CEO of SEVEN, added: “Jennifer joins us as we develop the most exciting, wide-ranging and ambitious plans for a new era in entertainment across the Kingdom. Her wide experience within well-known organisations – from Wall Street to Major League Baseball – gives her some powerful insights into modern business strategy.”

Qudurat Media gears up for business in Dubai Qudurat Media, a Riyadh-headquartered media production house, has launched full-fledged operations in Dubai, effective March 2019. The operation is helmed by media veteran and CEO Abdulrahman Al Sahely, with wellknown TV producer and presenter Mirna Mounzer recently appointed as Business Development Director.

Commenting on the reason for a second base, Al Sahely, who previously managed Saudi TV’s Ekhbariya channel before undertaking this challenge, noted: “Running operations from two prominent business hubs in the Gulf helps us understand our

clients’ needs and their methodology of work perfectly well. In addition to the presence of a creative team from around the world, we also invest in young Saudi and Emirati creative professionals who give our integrated production house a local finesse.”

Mirna Mounzer.

Qudurat, whose main clients are Mounzer, who has Abu Dhabi Media, Dubai TV and Al Aan previously project TV, added: “Qudurat managed several high-profile media couples state-of-theart technology with the productions in Saudi expertise of its team, Arabia and hosted TV to provide cuttingshows, added: “We are proud to extend edge production and our Saudi experience broadcast solutions. and add our UAE Whatever and local touch to it.” wherever your event is, we can capture Qudurat Media is the story and tell based in Business it to the world.”

Bay, Dubai.

May 2019 | www.broadcastprome.com | 15

PROnews

Ross Video announces Piero Sports Graphics and Portalis acquisitions at NAB Ross Video has completed the acquisition of the Piero Sports Graphics business from UK firm Red Bee Media. The acquisition by Ross and divestment by Red Bee are complementary to each company’s strategic objectives, with the Piero products fitting into Ross Video’s sports solutions portfolio – adding

Vislink announces MEA hire

Vislink has appointed Ghassan Dadokh as MEA Regional Business Development Manager for its Military Government sectors. A statement on Vislink’s LinkedIn account said: “Ghassan Dadokh comes to Vislink after spending five years at MRT Corporation Jordan as a Business Development Manager specialising in Armed Forces and Security Agencies.

His qualifications and experience leave us excited to welcome Ghassan to our team.”

Media Links appoints Al Nuñez

Media Links has strengthened its global sales team with the appointment of Al Nuñez as Senior VP of Sales, Americas & EMEA. He will oversee sales activities and teams in both regions.

He will report to John Dale, Chairman, CEO and President of Global Media Links.

“I look forward to working with the team to help customers maximise the opportunities presented by the continued transition to IP-based infrastructures," Nuñez said.

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advanced sports analysis graphics to the mix.

As part of the business transfer, all Piero employees have moved to Ross Video’s UK subsidiary (Ross Video UK) from Red Bee Media.

Ross Video also announced at NAB the acquisition of Portalis, a Utah-based leader in Workstation Integration systems.

Vizrt acquires NewTek Vizrt has acquired Texas-based NewTek. The combined companies will drive the transition to IP video for live production with NDI and SMPTE 2110, with each serving different needs. The company will deliver flexible end-to-end workflows for all levels of production and softwarebased products and services for media, sports, entertainment, education, esports and enterprise.

Vizrt CEO Michael Hallén said: “Combining our organisations allows us to pursue our joint vision of software-based video production, leveraging the

power and flexibility of computing and IT-based systems.

The combined business will be well positioned to deliver turnkey systems to organisations that have ambitions of producing content for any output platform.”

The new company will put together the minds that invented the NDI protocol with those that invented template-driven real-time graphics.

The company will be R&D-focused.

Michael Hallén will lead the business, while Dr Andrew Cross, President & CTO of NewTek, will serve as President of R&D at the combined company.

New Global Sports unit at Vizrt Vizrt has created a Global Sports unit to strengthen focus on sports. Dr Stephan W Stadler will head the unit as President.

Global Sports will lead all business worldwide with sports broadcasters, sports teams and federations, esports and sports venues.

PROnews

Sky News Arabia revamps content and tech at Abu Dhabi headquarters

Sky News Arabia’s new studio boasts a massive 15x3m video wall.

Sky News Arabia has unveiled the biggest enhancements since the 2012 launch of the channel at its Abu Dhabi HQ with a brand-new wing that includes two new studios equipped to support Virtual Reality (VR) and Augmented Reality (AR) productions. The announcement, made just before the start of the Holy Month of Ramadan, includes a new programming line-up, new presenters, state-of-the-art broadcast technology and a digital-first approach to content creation. The announcements follow the arrival of CEO Angelos Frangopoulos, who took charge November 2018 and CTO, David Clark, who

The AR studio set for Sky News Arabia’s new daily sports show Mala’eb.

assumed office March 2019.

Sky News Arabia will have new virtual news studios using the latest in VR and AR technology. Three new shows will be launched using the new technologies including a daily sport show live from the AR set. This will be accompanied by renewed editorial content across TV and digital platforms including live coverage and programmes that cover current events and analysis, business, technology, lifestyle and sports.

A new dedicated documentary unit will also bring viewers more investigative and informative stories from around the region.

Sky News Arabia’s Head

of News, Hani Abuayyash, hailed the move as a “fantastic moment” in the history of the channel and its biggest-ever enhancement, leading the way for high quality storytelling and news broadcasting in an increasingly digital world.

Abuayyash said: “We have raised the game for news broadcasters in the region, with new ways of showcasing our content that ensure we continue to serve our audiences in the Middle East and North Africa, as well as having a global outlook."

Several new programmes have been announced including News Radar at 6pm, a brandnew format for the Morning

Yahlive, BBC Arabic extend partnership UAE-based satellite broadcaster Yahlive has announced the extension of its longterm partnership with the British Broadcasting Corporation (BBC). This venture enables BBC Arabic to reach Arabian Maghreb viewers via

Yahlive’s MENA beam – extending its reach to over 42m viewers in North Africa via the prime orbital slot of 52.5 degrees east.

Remarking on the extension of the venture, Ammar Baranbo, COO of Yahlive said: “Since

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the inception of Yahlive, the Arabian Maghreb has been a key focus for us. This partnership is in line with our strategy to bring relevant, most watched content to each of the culturally diverse communities under our coverage”.

Show and an enhanced format for the Evening Show among others. Sky News Arabia’s sports programme Mala’eb will be broadcast from an AR studio daily using the latest in graphics technology. There will also be a new international news segment and an indepth business bulletin.

Sky News Arabia is also launching programming designed specifically for a digital audience. These programmes will be tailored for digital channels and will feature youth news, humanitarian stories, travel, current affairs and a look at some of the most significant historical events.

Quest Arabiya to shut down on May 1, 2019 Abu Dhabi-based free-to-air channel, Quest Arabiya, operated

by Channel Ventures FZ LLC, will go off air effective May 1, 2019. Inside sources have cited the lack of commercial viability as the key reason for shutting down the channel.

PROnews

Twitter expands video content in MENA with 16 media partnerships Twitter has announced 16 new partners in the video content segment across sports, entertainment and news in the MENA region.

The new partnerships and expansions of existing content deals allow Twitter to offer expanded content, helping it to connect better with valuable audiences during relevant and engaging cultural moments.

Twitter’s new partnerships span entertainment, sports and publishing genres; notably, the broadcast collaboration with Abu Dhabi Media, MBC Group and Dubai Media Incorporated will see exclusive content for Twitter being produced, while a partnership with Rotana has been extended.

The partnership with MBC Group includes highlights, backstage content and recaps of the top regional flagship shows, including The Voice, Arab Idol, Arabs Got Talent and Top Chef, in addition to recaps of top Ramadan shows and regular programming in lifestyle and entertainment categories.

With Abu Dhabi Media, besides special Ramadan programming and other lifestyle content, the deal covers select sports programming content.

The Dubai TV partnership will bring special Ramadan programming to Arabicspeaking audiences on Twitter as well as top entertainment shows such as Carpool Karaoke Arabia season 2, The

Kinda Ibrahim, Director of Partnerships MEA, Pakistan and Russia, Twitter, addresses the gathering.

Insider Arabia season 2, Mashaheer season 14 and Fashion Star season 4.

Speaking about the new partnerships, Theo Luke, Head of Content Partnerships, EMEA at Twitter, said: “Across the world, we find that Twitter’s audience leans in to our partners’ premium real-time video and our advertisers appreciate aligning with our brand-safe inventory – whether via global firsts originating from MENA, which include custom productions which position

brands as viable distribution partners, or by accessing original programmes and video highlight clips. This event is a great way to celebrate that momentum with our partners.”

Viewers can also expect to watch Ramadan Originals on Twitter, produced by Sayidaty, Uturn, Goal.com and others for Twitter-only audiences. The sports partnerships will see Twitter bringing bespoke content from Formula One, Goal Arabia and beIN Sports.

New formats will also be

available around football content for Saudi football clubs Al Ahli and Al Ittihad, including behind the scenes with the teams, training sessions, team travel, interviews, fan moments and team archives.

Twitter also shared new research conducted by Toluna, a consumer insights company, which examined user preferences for content and interactions within the online video landscape on Twitter among users in Saudi Arabia, the UAE, Egypt and Kuwait. It revealed that the majority of Twitter users – 72% in KSA and the UAE and 62% in Egypt – consider Twitter one of their main sources for online video content, and that 64% have watched live streamed content on the platform.

The research also revealed that football, wrestling, tennis and motorsports are in the top six sports for video content enjoyed by Twitter users in MENA. The most viewed videos around football are match highlights (87%), behind the scenes (49%), player interviews (53%) and commentary and analysis (39%).

Benjamin Ampen, Managing Director, MENA, Twitter, added: “We’re excited to bring premium content partnerships to these audiences and look forward to seeing continued success by advertisers as they launch new products and services when partnering with such content.”

May 2019 | www.broadcastprome.com | 19

PROCOVER

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PROCOVER Snapshot Company: ChopperShoot Location: Dubai, Abu Dhabi and Oman Key suppliers: RC Corner & Advanced Media Trading Key equipment: Alta8 & Inspire 2 Exclusive equipment: Alta8

GAME OF DRONes

With drones lending a new direction to aerial filming, BroadcastPro ME catches up with Hatim Saleh of Dubai-based ChopperShoot to find out more about what it takes to get the best shots from the sky Today, the sky’s the limit when filming – literally. Once used only to capture wide-angle and establishing shots, aerial filming has grown into a dynamic industry.

Contributing to the growing success of using drones for the entertainment and media industry is Hatim Saleh, founder of ChopperShoot, who has just wrapped up a sequence for a Pierce Brosnan film called The Misfits. The project was shot in Abu Dhabi and Saleh helped shoot the drone footage.

Besides The Misfits, Saleh has also worked on other Hollywood and Bollywood biggies in the last year. His love for filming in the skies led him to start ChopperShoot in 2005 in Dubai.

Growing up in Dubai in a family that owned a video production company, he had early exposure to film-making.

His family’s main business came from producing films related to the oil & gas industry, and it was while working for a similar project that Saleh identified his calling.

“While flying in the helicopter to oil rigs for ground filming, I used to do some aerial filming before landing; it was during one of these projects that I saw an opportunity and decided to open a dedicated aerial filming company,” he shares.

“At ChopperShoot, we started by using RC helicopters for filming until 2007, and then switched to large-scale helicopters. Today we film with both drones and helicopters.

Helicopter filming continues to be a large part of our business, but since 2014, when we trained in flying drones, our drone filming business has grown significantly year on year. We specialise in filming for broadcast of special events and sports, filming of television commercials, television series, feature films and tourism-related projects. We are fully equipped and experienced with large-scale broadcast events, with in-house crew, equipment and a dedicated permits department.”

Drones are redefining aerial filming by offering

greater flexibility and control for the filmmaker to create breathtaking, awe-inspiring shots for features and films.

Saleh, however, is quick to add that anyone trying to get into the drone industry must train and plan well while maintaining the highest standards of safety.

“Just like any form of filmmaking, drone filming also requires years of experience to get that precision shot. Anyone can fly a drone, they are easy to fly, but to fly it with precision and provide the shot that the director wants, along with offering your individual input, can only be achieved with a lot of practice.”

Saleh stresses the importance of planning well before the shoot. “We plan our drone filming projects depending on the location and size of the area. We start by visiting the site and checking Google Earth to identify the finer aspects like exact location, angle, proximity to any potentially sensitive area and proximity to any airport, and direction of sunrise and sunset. Good planning and clear communication are very big factors to successfully shoot with a drone. We identify safe take-off and landing zones and ensure that the flight path is as per the safety regulations laid out by the General Civil Aviation Authority (GCAA) and Dubai Civil Aviation Authority (DCAA).”

It is interesting to note that the UAE is among the very few countries to have laid down detailed guidelines to regulate the unmanned aerial vehicle (UAV) domain. For aerial filming enthusiasts, the authorities have a permit process in place.

“Aerial filming required less paperwork 10 years ago, but now drone filming regulations in the UAE are streamlined.

Considering how busy the airspace is, it is still fully supported by all federal and local civil aviation departments to accommodate drone flights safely,” explains Saleh.

The Dubai Film and TV Commission (DFTC) has laid out

May 2019 | www.broadcastprome.com | 21

PROCOVER

Almost every outdoor production uses drone shots now. The use of drones will increase in the coming years, says Saleh.

drone filming regulations well, with a step-by-step guide on how to obtain a permit in Dubai, while the GCAA offers drone filming permits for the other emirates in the UAE. “The UAE is among the top countries that implemented drone regulations as soon as the technology was available. The rules are clear and straightforward. All involved departments provide complete support,” says Saleh.

A report by TechSci Research forecasts that the UAE drone market will reach $122m by 2023.

It is believed that nearly 80% of all outdoor shoots now require drone filming, as it adds a unique and dynamic perspective to any film. Filming through drones is getting popular globally, and the UAE is no exception.

“Almost every outdoor production uses drone shots now. The use of drones will only increase in the coming years. It is important to understand that with the permit process getting simpler, we will see more demand among filmmakers to employ drone filming techniques in the coming years,” Saleh points out.

2018 was an important year for Saleh and ChopperShoot. The company worked on five films in the UAE, including an as yet unreleased Hollywood movie. Other key projects included Bharat, starring Salman Khan, and a sequence for the movie Zero, which was shot in Abu Dhabi.

ChopperShoot just completed a five-year contract to film Khalifa Port in Abu Dhabi, and has an ongoing contract with Abu Dhabi Airport to film it every month.

The drone specialist also visits the Expo 2020 site biweekly to document its construction.

Construction used to be a large part of ChopperShoot’s business, but as drones became more easily accessible and requirements became purely information-based, construction companies took to hiring their own teams and

“Anyone can fly a drone, they are easy to fly, but to fly it with precision and provide the shot that the director wants, along with offering your individual input, can only be achieved with a lot of practice” Hatim Saleh, founder of ChopperShoot drones to document construction progress, to keep budgets down. In the meantime, ChopperShoot moved to new verticals to grow the business.

“2018 was one of our best years.

Overall, the year was difficult for smaller companies, but we were able to grow. I believe that growing up in Dubai gives one an advantage, as it is easy to find your way around. Many new companies struggle with that.

We worked on broadcast as well as non-broadcast projects last year. We feel privileged to have been associated with some prestigious projects, like the Year of Zayed celebrations.”

2019 has been just as exciting for Saleh and his team, having just concluded the sequence for The Misfits.

“The project was shot in Abu Dhabi, and ChopperShoot helped shoot the drone footage for the movie. The sequence was shot using the ALTA 8 drone, which is often the first choice for big-budget movies as it can lift cinema cameras like the RED and

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the Alexa Mini with various lens combinations,” explains Saleh.

ChopperShoot was also commissioned to provide a live drone broadcast of Pope Francis’ historic visit to the UAE in February this year. The team, along with Go Aerials, provided the broadcast range at 3km in Abu Dhabi for the event. The airspace was shared by security helicopters, a broadcast helicopter and the ChopperShoot drone. The complete preparation required meeting with the Abu Dhabi Air Wing safety committee and ensuring detailed planning of communications, flight times and safety parameters. Saleh lauds the meticulous planning the Abu Dhabi government carried out for this project.

Offering a glimpse into the firm's 2019 work line-up, Saleh says: “2019 has opened on a good note for us, and I hope we can associate with more prestigious projects in the coming months.

Business is booming and getting better with each passing year; we are making more connections. Our filming process is very solid. We see ourselves at the heart of larger projects. While more people are entering this industry with access to drone technology becoming easier, we continue to innovate in this space. We are not in this business because the technology is now

BroadcastProMEAwards.com

HABTOOR GR AND HOTEL / DUBAI / UAE

1 day / 1 evening / 4 panels 23 speakers / 17 awards 1 gala awards dinner 13 November 2019

Sponsorship

Nominations

Information

Raz Islam +971 50 451 8213 raz.islam@cpitrademedia.com

Vijaya Cherian +971 55 105 3787 vijaya.cherian@cpitrademedia.com

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PROCOVER

It is believed that nearly 80% of all outdoor shoots now use drone filming, as it adds a unique and dynamic perspective to any film.

available, accessible and relatively cheaper. We are here because we have the knowledge, training and the passion to shoot from the sky.”

In the meantime, ChopperShoot is continuously investing in new drones. A BFD S8 is a new addition to its inventory of two ALTA 8 drones, one ALTA 6, two M600 Pro and seven Inspire 2 systems, all registered and well-documented.

The BFD S8 is especially significant, owing to its ability to carry up to 25lbs while remaining under 55lbs in total weight.

While availability of drones in the market has increased, Saleh has some criteria before investing in a drone: “We would consider investing in new equipment only if it has a big demand in this market or if it has obvious advanced features that will improve the overall filming experience and picture quality.

“We primarily use the RED Helium and Alexa Mini on the Freefly ALTA 8 for shooting footage for feature films and TV commercials” Hatim Saleh, founder of ChopperShoot We are in this business because we have the knowledge, training and the passion to shoot from the sky, says Saleh.

24 | www.broadcastprome.com | May 2019

The industry is flooded with new cameras at the consumer level, but high-end equipment is not launched as often. If we see constant demand and major technical improvements in new gear, we invest in it right away. We also firmly believe that a less technically advanced camera in the hands of an experienced photographer will produce far superior results than a high-end camera in the hands of an amateur.

“We primarily use the RED Helium and Alexa Mini on the Freefly ALTA 8 for shooting footage for feature films and TV commercials. We also use DJI Inspire 2 for TV commercials and on projects that do not require film cameras. We fly the DJI M600 Pro for long ranges of up to 4km of live broadcast. We have all the cameras and lenses for DJI Inspire 2 and a RED Helium,” comments Saleh, adding that the company also has the regular fare – the Blackmagic Pocket Cinema Camera, a number of X5 and X7 cameras, and so on.

While drones have made it easier to shoot aerial footage, the use of helicopters for filming also continues to grow, according to Saleh. They are still widely used for aerial filming and are here to stay. Many projects cannot be done with drones, he points out.

“Helicopters are great for capturing large landscapes, and for high-altitude filming. Filming over long distances can only be done

PROCOVER

“Almost every outdoor production uses drone shots now. The use of drones will only increase in the coming years” Hatim Saleh, Founder of ChopperShoot

with a helicopter for now. Also, helicopters make it possible to carry larger camera and lens packages, and this has an impact on the quality of the footage,” he points out, adding that helicopters with a single engine are only permitted to fly during the day. “The regulations mandate that only a twin-engine

helicopter can be flown at night.”

Drone filming is good for filming within close range and under 400ft.

Compared to helicopter filming, drone filming is more flexible to reschedule, requires less logistics and planning, and is at least 70% cheaper. A drone shoot usually only requires a threemember team – a drone operator, a camera operator and a technician.

Saleh can’t underline the importance of safety and maintenance enough.

“We have a very strong technical team and we maintain our drones very well.

Before every shoot, we have detailed

safety checks. We operate like an aviation company when it comes to our pilots. Just like a pilot is expected to be well-rested before a flight, we ensure that the drone pilot is well-rested prior to any shoot.

“A drone can be quite stressful to fly. It needs a lot of concentration and control; otherwise it can fly off track. The time of the shoot also matters, especially in this region, where the temperature can really soar. There is always a possibility of getting fatigued by the sun.

Just like an airline complies with the GCAA regulations, we comply with all GCAA regulations. In a recent GCAA audit, we topped the list. We have everything as per their expectations, as we maintain safety and incident records along with pilot and drone flight hours and equipment maintenance reports,” Saleh concludes.

ChopperShoot uses the Freefly ALTA 8 to shoot footage for feature films and TV commercials.

May 2019 | www.broadcastprome.com | 25

PROINTERVIEW

AugMEntIng lIfE with snapchat Snapchat is taking its visuals to a new level with AR and a number of programmes and projects around it. In an exclusive conversation with BroadcastPro ME, Mike Evans, Software Engineering Manager at Snap Inc, talks about how Snap is helping companies leverage AR to augment their brands

What are the various ways in which Snapchat is using augmented reality with its users and business partners? What are the most popular AR tools within the Snapchat portfolio today?

Snapchat is a fundamentally different platform to anything else out there today. It has always opened to the camera, inviting people to express themselves, be creative and explore – and this positively impacts the engagement we see. We’ve long believed that augmented reality is a powerful tool for self-expression and communication.

We’re taking a step-by-step approach to innovating iteratively along this path, with real-world consumer experiences and insights taken into consideration alongside hardware and software technology advancements.

Snap is focused on three core building blocks of AR: understanding the world through our

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Snapchat camera, providing a platform for creators to build AR experiences, and investing in future hardware that will transcend the smartphone.

For us, it’s not about technology, but the experiences you can create. We made the deliberate decision to invest early in making AR technology accessible to all, and our growing creator community is validating this decision. We’re at the beginning of a very exciting shift in computing – in the future, computing will be overlaid on the world around us, not constrained to a screen in our hand. It’s very early days for AR as an industry, but we’re excited by the acceleration we see in the industry today.

Our creation platform, Lens Studio, is our AR creation tool where people can make, publish and share AR experiences.

A more recent addition is Snap Camera, which is our new desktop app for Lenses that we released in October 2018.

Here, we are extending Lenses beyond Snapchat on mobile

PROINTERVIEW

to Mac and Windows PCs for use in video streaming, e.g. Twitch, and video conference – Skype, Google Hangouts, etc. Snap Camera also offers our growing Lens creator community a new distribution channel and new audiences for their Lens creations.

How is Snap approaching animation design today? How are these capabilities available for developers, broadcasters and Snapchat users in general?

Whether you’re a broadcaster, designer, advertiser or just an avid Snapchat user, the primary space for animation and AR creativity is Lens Studio. This tool gives developers, creators and brands the means to build and distribute their own Snapchat AR experiences. This is supported by easy-to-use templates and guides, as well as a scripting API. In this instance, broadcasters can work with agencies – or with one of our official partners – to create an AR experience. This is an easy way for them to dip their toes into the world

“AR is becoming a larger part of advertisers’ media buying plans in MENA. A part of this increase is driven by an increase in flexibility for buying and creating AR Lenses for Snapchat” Mike Evans, Software Engineering Manager, Snap Inc of AR and experiment. We also have a Lens Creative Partners programme.

These certified creators are experienced in developing quality AR and have completed a rigorous course about the development process, creative best practices, ad policies and buy models for sponsored AR Lenses on Snapchat.

So essentially, advertisers and publishers have access to Lens Studio, allowing them to craft immersive stories for their customers through promoted ads or organically through Snapcodes. A great example on the publisher side is from the Economist, which brought its story about the future

of food to life with an immersive AR experience on Snapchat that reached thousands of people.

What AR tools and capabilities does Snapchat offer creatives in the Middle East today? How is this AR developer community evolving, and what volume of AR content is being created on platforms like yours?

Our full suite of AR creation and consumption tools are available: Lens Studio on the creation side and Snapchat and Snap Camera on the consumption side. We see a lot of activity from Lens creators in the Middle East. While we don't share specific numbers by region, over 300,000 Lenses have been submitted via Lens Studio, which have been viewed more than 35 billion times, and the Middle East is certainly a region where Snapchat is very popular.

Several of our Official Lens Creators are in or from the Middle East – one example is Georgio Copter from Lebanon, who was Snapchat Artist of the Year from the

Snapchat has extended Lenses to Mac and Windows PCs for use in video streaming.

May 2019 | www.broadcastprome.com | 27

PROINTERVIEW

Snapchat users can create their own Face Lenses in Lens Studio, build digital masks and access new 3D templates.

first annual Ghosties Awards, and also Othman Abdullah Akhodair from Saudi Arabia, who recreates 3D models from photos of Saudi treasures for the tourist mission in the UK. Othman realised how incredible Lens Studio could be when he garnered 20,000 views for a single Lens in one day while showcasing his work in Dubai. We also have the likes of Ahmed Ali and Mohammed Al Asmer, two very high-profile Lens Creators operating from the region.

Do you have any figures that show how AR features and tools are driving deeper engagement between media owners and audiences?

Media owners across the world have seen great engagement with their audiences. A great example is LADbible Group in the UK, which recently partnered with the world’s biggest illegal wildlife trade conference to drive mass awareness through immersive storytelling on Snapchat. Extinct allowed users to playfully immerse themselves in the powerful experience of becoming an elephant in AR. However, there was a provocative twist; the elephant’s tusks begin to disappear and the user is confronted with the realisation that one of the world’s most iconic species is under serious threat of extinction.

It was viewed over 80,000 times.

“We’re at the beginning of a very exciting shift in computing – in the future, computing will be overlaid on the world around us, not constrained to a screen in our hand” Mike Evans, Software Engineering Manager, Snap Inc Another example is from one of Germany’s biggest publishers, Bild. They created a ‘Valentinstag’ Lens which had more than 59,000 views in Germany.

What technology powers Snapchat’s AR efforts?

In terms of design, Lens Studio is very similar to the creation tools that our own Lens designers use. For the end user, however, using AR is as simple as selecting the Lens you want from either the carousel or Lens Explorer (a tool that allows users to find and play with Community Lenses). Snapchat opens to the camera, so Snapchat is designed to make it incredibly straightforward to engage with AR – so much so that over 70% of our daily active users play with or view Lenses every day.

What are Snapchat’s plans to upscale AR to drive more business, especially in MENA?

28 | www.broadcastprome.com | May 2019

AR is becoming a larger part of advertisers’ media buying plans in MENA. A part of this increase is driven by an increase in flexibility for buying and creating AR Lenses for Snapchat. For Lens creation, Snapchat recently announced the launch of dozens of certified Lens Creative Partners globally, some of whom I referenced earlier. On the buying side, Snapchat released the ability for advertisers to buy AR directly through self-service tools, making AR just as easy and efficient to promote as a regular video ad.

Is your AR feature available to Middle East users at present?

When launching Lens Studio in 2017, it was open to everyone. In the beginning, however, those who were not a Snapchat partner or an agency could only create World Lenses (digital objects around you). Last year, we made Snapchat even more creatorfriendly with the ability for anyone to make their own Face Lenses in Lens Studio. We also unveiled seven new templates in Lens Studio to support creators to build digital masks, and there are now 30 templates in total.

Lens Studio now enables any user – professional or not – to create AR objects that are static or animated, 2D or 3D, and responsive when users interact with them through their phone screens.- Vijaya Cherian

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Be part of the exciting developments within the broadcasting and digital multimedia industries.

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PROTECH

Cloud and broadCasT – where are we?

There is definitely a role for cloud in our broadcast operations, but not all roles are ideal in a cloud ecosystem. Brick Eksten shares some ideal and not-so-ideal cloud scenarios The media industry has been talking about the cloud for a few years. Now is a good time to take a look at what can be done in the cloud, where the practical advantages lie, and what new possibilities have opened up.

First, should you move your media to the cloud? As always, it depends on the size and nature of your business.

But in general, your content is the number one asset of your business – and you know you have to protect that asset. You must ask yourself two questions: am I able to guarantee the safety and integrity of my content on my own; and is it more efficient to put those assets into a storage pool in the cloud?

On the one hand, there is nothing magical about the cloud: service providers use exactly the same commodity hardware that you can buy. If you are confident in managing performance and sorting your own geo-diversity, then you

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may as well buy your own system. You can probably buy the hardware for the same sort of price as the cloud vendors, so you would save their added margin if nothing else.

But once you start to factor in things like the duplication of IT and network resources, overall management and lifecycle care, then cloud gets a lot closer in cost to owning it yourself. And cloud will always be the most secure option – even if your building burns down, your assets will still be pretty safe in the cloud.

Geo-diversity is an important point to bear in mind, and not just for resilience. If you are delivering content beyond your own immediate area, then it can actually be cheaper to put it in the cloud. If you are a national broadcaster moving content between your own facilities, it is probably more cost-efficient to do it yourself.

PROTECH

Total cost of ownership Keep in mind total costs: facilities, power, cooling, leased lines to storage, the space your kit occupies. Most people, when they think about cloud, only compare storage costs; they don’t really compare the IT overheads.

The backbone of cloud value is really high-scale IT automation and top-tier security – what is that worth to you?

Recently, an Imagine customer told us that they had analysed their network and found that 80% of their equipment only runs 20% of the time – four-fifths of the network only working one-fifth of the time. If you think that power and cooling is 30% of your operational overhead, that is a lot of money you could transfer to more creative tasks.

What should you put in the cloud? Anything up to and including scheduled playout. Anything to do with the distribution of scale. If you are playing out a channel, then cloud should be at the top of your list. If, however, you are involved in live production, then cloud probably isn’t the right fit today. We have done proofs of concept of live production in the cloud, but it tends to be very application-specific.

It is often said that cloud is for peaky demand, but how many broadcast companies actually have peaks in their internal processes?

They tend to do the same thing day in, day out. Except for specific, large-scale events, they are not really changing scope. The only peaks for a typical broadcaster might be when a new set of stations or a library is acquired.

For me, the issue is the inverse of peak: services that you only run occasionally, and you ask yourself whether it’s really worth owning the equipment for that. Why am I giving rack space, power and cooling to something I only use three times a week? Better to put it in the cloud.

Microservices We are all aware that the cloud

“You must ask yourself two questions: am I able to guarantee the safety and integrity of my content on my own; and is it more efficient to put those assets into a storage pool in the cloud?” brick Eksten, CTo Playout and networking, Imagine Communications depends on virtualisation, but we also need to be aware that cloud providers are primarily serving IT customers and do not really provide specific functionality for media organisations. You cannot forklift desktop playout to the cloud.

Across the IT industry, the virtualisation trend depends on microservices, and the media industry has to follow suit. This is about getting an optimised deployment plan based around a technology set that is lighter weight and more agile than traditional software. We see more and more broadcasters coming up to speed on microservices: what the design philosophy is and what it can do for them. We are seeing more articles in the press about this, but there is still a way to go on both the education and the adoption side.

We are now getting customers who have their heads wrapped around the notion not only of microservices, but also of the importance of ‘pure’ microservices.

Can I run this in a container without a virtual machine? Can it really meet my requirements for flexibility?

Microservices may be the answer.

Microservices mean services can run on any standard COTS platform: in a dedicated appliance, in the machine room, in a corporate data centre or in the cloud. Marketing people always then add that your system could run in a hybrid of multiple locations.

The modern take on hybrid systems is the notion of edge computing.

What we are really saying is that

there is a role for cloud and there is a role for other things that don’t fit in the cloud, whether they are too small, too specific or the performance just doesn’t fit right.

We have major broadcast customers who have part of the content chain in the studio in downtown Manhattan and part in a cloud data centre elsewhere. There is an appropriateness to each, so it is about locality: the things that can be put in the cloud probably belong in the cloud. This sort of hybrid solution is practical.

With an increase in education and awareness of real cloud technologies such as microservices, and an increase in the number of deployments, there is a next-step requirement from the industry to agree on how all these systems are going to inter-operate.

We’ve done that for the network with the Alliance for IP Media Solutions (AIMS) and with SMPTE ST 2110, but the opportunity is to bring those same efficiencies to the computer itself.

There are ongoing efforts in SMPTE with the media microservices standard, and there are other efforts in other professional bodies.

The risk is that individual vendors develop their own platform, but at some point we have to get to a place when we can connect services. As computers get faster, the natural evolution for interconnectivity is to do it inside the computer, not in a network – do it in memory.

brick Eksten, CTo Playout and networking, Imagine Communications.

May 2019 | www.broadcastprome.com | 31

PROSPORT

ThE Final Cut

The UAE’s Pro League Committee is well-known for experimenting with the latest technological innovations in broadcast at the Arabian Gulf Cup. This year, it introduced AR and a new player point of view

The Arabian Gulf Cup (AG Cup) concluded in March with Shabab Al Ahli beating Al Wahda in the final, played at the Hazza Bin Zayed (HBZ) Stadium in Al Ain. To capture the emotion on the field for football fans, the Pro League Committee (PLC) applied the latest technologies in sports broadcast for these matches. The tournament started in August last year and a total of 45 matches were played.

“Over the years, the Arabian Gulf Cup final match has become a testing ground for us to trial new technologies.

In 2017, we introduced tracking and heat maps statistics as well as video assistant referee (VAR); in 2018, we introduced virtual reality (VR); and now in 2019, we offered augmented reality (AR) graphics elements and player point of view (POV) replay technology,” explains Ammar Hina, Director of Broadcast & TV Production at PLC. “This is the match that gets maximum viewership every year, so we tend to put all the spice into this match and manage it end to end. We are the central team that

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manages this. We got really good feedback about the Cup in the past and wanted to test something new like the Sponix point of view technology, and AR graphics in cooperation with wTVision. We also added extra cameras to get new angles and capture more visuals from the field to give the fans a better experience.”

HBZ Stadium also provided the Hutaf service, an initiative that helps visually impaired fans listen to audio commentary through special radios.

PLC used 22 cameras this year to bring the action to life – a main camera with a follow-up camera, two offside cameras, a high reverse camera, a hyper motion camera, two super slow-motion cameras, an orbiter camera, a jimmy jib, a shoulder camera, two in-goal cameras, a Steadicam, a high behind goal position camera, a beauty camera, a tactical camera, a press conference camera, two HF cameras, a sky camera and a drone.

PLC worked with Abu Dhabi's Live HD for both host

PROSPORT

With the Sponix point of view technology, the Pro League Committee was able to offer fans a new perspective to the same match.

broadcast and TV production services, to ensure coverage that would appeal to both TV and digital audiences. It worked with Mediapro to provide VR coverage.

The TV production unit used three additional ENG cameras to capture otherwise unseen moments in the dressing rooms, including the bus arrival of teams at the stadium and fan reactions to key moments.

Another new feature this year was the player POV. Provided

by Sponix, which specialises in POV technologies, this was tested for the first time worldwide during the AG Cup final.

“This technology offers TV

“This is the match that gets maximum viewership every year, so we tend to put all the spice into this match and manage it end to end” Ammar hina, Director of Broadcast & TV Production, PLC viewers the players’ POV during key moments in the match; we saw it during Shabab Al Ahli’s first goal.

This technology can also give the viewers the referee’s point of view and show his position and view for penalties, red cards and other sensitive decisions,” says Hina.

“Player POV is a new technology that is usually used for replays during the match and the postmatch analytic studio tool and rich social media element, where we zoom into a portion of the match from the player’s angle and see the goals.

“Both these points of view are prominent in football. All crucial decisions are based on these, and for the first time we could bring this to our TV audiences. This is a software-based technology from Sponix, which has a presence in Dubai. This is the first time ever that they have showcased it live. We are working with them

The PLC introduced the video assistant referee (VAR) in 2017; this year, tracking and heat maps statistics were introduced.

May 2019 | www.broadcastprome.com | 33

PROSPORT

Last year, the Pro League Committee made headlines when it introduced the VR Seat Experience.

to develop this technology and have started using it on some of our other matches as well.”

Last year, PLC made headlines with its unique VR Seat Experience project, a solution undertaken with sports production expert Mediapro and UAE telco Etisalat.

To produce the VR element for this match, PLC used a set of five cameras – a fixed 360 camera, two fixed 180 cameras and two movable 360 cameras. Match highlights were shared online via the free Etisalat VR app.

Speaking about the planning that went into these matches, Hina says: “VR was used for telecasting the match in a completely different way. It required another whole set-up and team. To make the AR elements a success, we had

“For AR segments, we had a total of three people and another three for tracking purposes. The rest of the match production required close to 60 people” Ammar hina, Director of Broadcast & TV Production, PLC to undergo months of planning.

The initial plan was to launch AR during the Super Cup, but it required a lot more testing, so we waited another five months and did this for the final AG Cup match. We tested VR last year for these matches with a team of six people. It was quite challenging initially, and we worked with two

wTVision worked with PLC to provide the AR tracking system statistics as well as the graphics.

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other teams before finally settling on a third team – and we have gone with them this year as well.”

PLC also tested AR technology for the first time during the final.

This came from wTVision, which provided the tracking system statistics as well as the graphics.

Information displayed included heat maps for player movements, speed, passes played, head-to-head player comparison and other live statistics.

“For AR segments, we had a total of three people and another three for tracking purposes. The rest of the match production required close to 60 people,” explains Hina.

“The idea for us at PLC is to ensure that we are offering the best match experience to our TV viewers – and we have achieved this successfully.”

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PRONAB

THE POWER OF STORYTELLING

NAB CEO calls for a level playing field for broadcasters to compete with tech giants

“Everybody has a story to tell,” commented NAB President and CEO Gordon Smith, as he delivered the annual NAB State of the Industry address during the 2019 NAB Show.

Smith spoke about the array of exhibits “that are telling the innovation story of the media and entertainment industry through product displays”, referring to solutions within artificial intelligence, cloud computing, next-gen wireless, esports and connected cars, among others.

He said of broadcasting: “This vital lifeline is the electronic thread that keeps every community together, informed and safe… Indeed, here at the show the story of broadcasting is on full display, and it is a story rich in innovation, inspiration and imagination.”

He spoke of why the US is pushing nextgeneration television, also known as ATSC 3.0.

“This enables TV stations to deliver their programming over the air not only to new TVs, but also to next-gen enabled tablets and cell phones without using your cellular network. So you can watch your shows and local news on the go without using all of your data. The benefits of next-gen TV include 4K UHD video, immersive, theatrelike sound, interactive applications and mobility.

“The next-gen TV attachment with this phone lets me watch my favourite stations anywhere I am. With this device, I am connected to a lifeline that can warn me of an impending storm and other emergencies with targeted

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public warnings that are interactive and mobile.”

He went on to add, however, that while the little attachment works for now, the community hopes eventually to see “a chip built into mobile devices to give consumers this technology”.

“In fact, we may be on the cusp of a new era of manufacturing that should and could include broadcast reception in devices. But to date, manufacturers, Apple being one, refuse to enable broadcast chips in their devices.”

He quoted US Senator Elizabeth Warren to decry how some big companies have "bulldozed competition, used our private information for profit and tilted the playing field against everyone else".

With the threat these companies pose to local entities, he called upon lawmakers to modernise outdated broadcast regulations so that everyone can compete on a level playing field. He also called for increased regulation on the tech industry, to ensure it did not use its market power to stifle competition and the financial viability of local news.

He also called for legislators to oppose the reauthorisation of narrow satellite legislation that prevents many viewers from receiving their local TV channels, and called for fair streaming rates that make simulcasting viable for local stations.

He summed up his speech by reiterating that broadcasters are indeed “the heroes of everyday life”.

PRONAB

Rohde & Schwarz offers MaaS solutions for OTT

Rohde & Schwarz launched R&S PRISMON.cloud, a cloud-based A/V OTT monitoring solution that end users can deploy quickly without dedicated hardware. The set-up wizard takes only minutes to add new virtual sensors at different locations and connect them to the dashboard anytime.

A live multiview function, automated analysis of A/V data and error assignment in real time make it possible

to permanently measure the QoS, store it in a cloud and visualise it in a timeline format on a web interface.

In combination with the widely used on-premise R&S PRISMON monitoring solution, analysis data from physical and virtual sensors can be displayed on a single dashboard. Endto-end analyses quickly and easily reveal errors such as deterioration of video or audio quality, or poor CDN performance as a cause of churn – with just one tool.

R&S PRISMON.cloud is available in three service packages: silver, gold and soon platinum.

Riedel unveils Artist 1024 Thomas Riedel, President and CEO of Riedel Communications, unveiled the new Artist-1024 node, an addition to the Artist intercom ecosystem, at NAB. With higher port densities and full SMPTE 2110-30/31 (AES67) compliance, Artist-1024 is the next evolutionary step in the Artist intercom ecosystem.

This addition introduces a range of technical innovations centred on software-definable universal interface cards (UIC).

This new interface card combines networking, mixing and management, and can be configured to act as an AES67 or MADI subscriber card, or as an Artist fibre/router/ processor card.

Changing the connectivity type is as easy as reconfiguring the UIC with the click of a button in the Director configuration software.

Riedel said: “System compatibility and the sustainability of client investments are important to us. The Artist-1024 node will suit new clients looking for a comprehensive and futureready system today, as well as those who have supported us for years and are now ready to take the step to IP infrastructures.”

Blackmagic Design puts 8K in focus with new launches Blackmagic Design introduced a new range of 8K products and major updates within DaVinci Resolve 16 at NAB. The new ATEM Constellation 8K is a high-end live production switcher with 8K capability and is available immediately worldwide for $9,995.

The new ATEM Constellation 8K is an ultra HD live production switcher with four M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 keyers, four media players, four multiviewers, and two SuperSource and standards conversion on every SDI input.

When switched to 8K, all these features promise to make a powerful 8K switcher.

ATEM Constellation 8K features a compact 2RU rack

mount design with a built-in control panel. This allows operation of the switcher, critical during set-up or for emergency use. Also included is a large LCD so that customers can see programme output and change switcher settings via onscreen

menus. Although only 2RU size, the rear of the switcher has a massive 40 x 12G-SDI inputs and 24 x 12G-SDI aux outputs, plus balanced audio, Ethernet, RS-422 control and MADI digital audio extra inputs to the internal Fairlight audio mixer.

With a built-in control panel, customers can take full control of ATEM Constellation at any time. Customers are empowered by both PGM/PVW and cut-bus style operation.

The buttons are the same premium type used on fullsized panels, and allow control of transitions, upstream/ downstream keyers, media players and fade to black. The LCD menus also allow access to every single operational feature of the switcher.

Also announced were the new HyperDeck Extreme 8K HDR, the Teranex Mini SDI to HDMI 8K HDR, DaVinci Resolve 16, Fusion 16 Studio, the Blackmagic MultiDock 10G and a Blackmagic Pocket Camera Battery Grip.

May 2019 | www.broadcastprome.com | 37

PRONAB

Ross Video launches Furio SkyDolly at NAB

Fujifilm zooms in on new lenses at NAB

Ross Video has expanded its suite of camera motion systems with the addition of the Furio SkyDolly.

SkyDolly is a ceilingmounted version of the Furio family of camera robotics and features all characteristics of Furio, while also addressing the challenges specific to ceiling-mounted dolly systems.

Furio SkyDolly has been designed with safety as a priority – the fully captive dolly cannot be derailed and comes with safety tethers for the payload and head.

The three-wheel design enlarged wheelbase (60% wider and 40% longer than other Furio solutions) and raised centre of mass ensure shake-free operation, even at high speeds, promising solid stability for

Fujifilm showcased several new lenses at NAB, but the highlight was the 8K lens series and the UA series of broadcast lenses, which support 4K cameras equipped with a 2/3-inch sensor.

On show was the FUJINON UA46×9.5 portable 4K zoom lens for broadcast application equipped with a 46× zoom, the world’s highest magnification broadcast portable lens for 4K video production, and the FUJINON UA107×8.4 zoom lens, which features 107× zoom and is designed for shooting events, such as sports and concerts.

Fujifilm also premiered the FUJINON UA125×8

dramatic overhead moving shots.

Custom cable management reduces drag and moves quietly, with minimal impact on overall footprint. SkyDolly also features a payload capacity high enough to support a full-size prompter.

Initially available with 1248-inch fixed columns, Furio SkyDolly is fully compatible with all Furio heads and can be added to Ross Robotics solutions under SmartShell or OverDrive control.

4K-compatible box-type broadcast zoom lens, under development with the world’s highest zoom ratio of 125×.

The FUJINON UA125×8 covers a wide range of focal lengths from 8mm in wide angle to 1,000mm in telephoto (2,000mm with the built-in extender). It is a multi-purpose high-power zoom lens that can be used in diverse situations, including live broadcasts of sporting events and concerts.

Lawo gains IP network confidence with SMART Lawo announced several new features to its smartSCOPE Deep Packet Inspection & Network Analyser and its smartDASH System Monitoring and Realtime Telemetry solution, a vendoragnostic enterprise software suite designed to provide

full network and media visibility across an all-IP, all-SDI or hybrid WAN/LAN broadcast infrastructure.

In addition to existing transmission format support, smartSCOPE now also supports SMPTE ST2110-20/21/30/40 and ST2022-6/7 live production

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video formats. As a result, smartSCOPE allows integrated monitoring of both compressed and uncompressed streams in high-capacity hybrid systems. smartDASH’s new Auto-Topology Microservice automatically discovers, registers and documents

the IP network topology by leveraging OPENCONFIG, a vendor-neutral model-driven communication protocol, to present device status in real time. If it’s on the network, the Auto-Topology’s inter/intrafacility discovery functionality will find it, analyse it and present it in smartDASH’s topology view with clarity.

The new smartDS is a complementary data storage solution to smartDASH, allowing users to log and store months of alarm and data logs for a historical record of everything from network bandwidth to signal loss.

The smartDS software can run on a dedicated hardware server or in virtualised or cloud-based environments.

PRONAB

MediaKind and Google Cloud team up

MediaKind has partnered with Google Cloud to enable MediaKind’s entire portfolio of solutions to operate on Google Cloud Platform (GCP).

MediaKind customers can leverage and benefit from Google Cloud’s ecosystem of solutions and assets

such as TensorFlow and BigTable, global networking, Kubernetes Engine, advanced AI and ML APIs. This new offering opens possibilities for pre-existing customers of MediaKind and Google Cloud to deliver personalised user experience.

More robotics from Vinten Vinten introduced its allnew FH-155 at NAB. The robotic/manual pan-and-tilt head is designed to support heavy payloads in modern

broadcast studio settings.

With a maximum payload capacity of 70kg (155 pounds), the FH-155 combines sophisticated software and mechanical engineering to enable exceptionally accurate, smooth and quiet movements.

In addition, the FH-155 is the industry's first panand-tilt head with an option for a fully integrated StarTracker module, offering an absolutereference tracking system for floor-roaming pedestal combinations.

Shure announces launch of TwinPlex Shure unveiled TwinPlex, the company’s new line of premium subminiature (5mm) omnidirectional lavalier and headset microphones.

Designed to stand up to the toughest conditions, TwinPlex provides natural audio at both high and low frequency when professional vocal performance is a must.

The new patent pending capsule technology promises best-in-class sound in an easy-to-conceal package, ideal for quick costume changes or discreetly placed under wardrobe with no impact on sound quality. Developed with input from leading audio professionals, TwinPlex supports the diverse needs of theatre, broadcast, film and television, and corporate presentations to produce high-quality audio production with superior dependability.

TwinPlex consists of four lavaliers (TL45, TL46, TL47, TL48) and an ultra-light, fully-adjustable headset microphone (TH53) in multiple colours with extensive accessories and options.

The dual-diaphragm omnidirectional design yields off-axis consistency and low self-noise.

To simulate years of intense use, the ultra-thin TwinPlex cable was flexed, stretched and pulled to the absolute limit in internal tests. Available in 1.1mm and 1.6mm options, the paintable cables are immune to kinks and memory effects, resulting

in superior flex performance due to a spiral construction with redundant shielding.

Designed for unpredictable, high-stakes environments like theatre or reality TV, TwinPlex was pushed to the boundary during development and field testing to ensure flawless audio regardless of the conditions it encounters.

The superhydrophobic coating and interchangeable sweat-resistant frequency caps keep perspiration and moisture from upstaging the audio, while the medicalgrade cable technology flexes to fit the costume design and demanding schedules that often come with associated uses.

“In developing TwinPlex, we gathered valuable input from industry professionals at every stage of the process and extensively tested prototypes to ensure we were ready,” stated John Born, senior global product manager at Shure.

“This resulted in a comprehensive portfolio of more than 60 versions in a variety of colour, connector, cable, frequency response and sensitivity, to meet the demands of any application when you need amazing sound quality and unprecedented durability.”

May 2019 | www.broadcastprome.com | 39

PROGUEST

Creative Call

Nicole Hendrix shares the art of creating the perfect pitch and the power of crowdfunding in the MENA market

A four-time Emmy-winning producer and five-time PromaxBDA Gold award-winner, Nicole Hendrix hosted two workshops addressing advertising, film and storytelling at the -ing Creative Festival in Dubai last month. One was on ‘Storytelling for a brand’, and focused on using storytelling along with data to create a 360-degree marketing campaign.

The other workshop spoke about ‘Pitching and how to sell your idea to various audiences’. She shared advice for filmmakers and creative professionals on how to gain more visibility for their work and create a brand name for themselves.

In a world clamouring for attention, pitches can be tricky. How can content creators, especially MENA filmmakers, create the perfect pitch?

I find that using relevant research and data as part of the foundation of a creative pitch enables your audience to understand how you arrived at your idea and why your idea is the perfect solution for X. Doing your homework and coming prepared with examples of what you're hoping to achieve are other key components that help tip the balance in your favour.

How can content creators sell without compromising on creativity and freedom of expression?

Sometimes, having completely unrestricted parameters for creation can be crippling. Having unlimited possibilities can keep you from even picking up a pen, because you don't

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know where to start. Having a strict set of rules to abide by, and then figuring out what is the most creative and impactful way to communicate within these rules, can be a fun game that mentally stimulates you and keeps you up to date with the trends in your craft.

How is pitching an idea in the Middle East different from elsewhere in the world?

From my research, advertising rules on accuracy and positivity are stricter [here] than in the US. These rules coincide with my personal philosophy and pitching strategy, as I tend to rely on facts and solutions. Social media is also a heavy focus, so a plan for social engagement to me would be a key component to a pitch’s success rate.

How can content creators factor in the commercial aspect of their work right from the inception of an idea? Are there any definite steps to follow? What should be their strategy?

The idea needs to be a great, creative idea. Period. Once that idea has been formed and scripted, an edit pass on the idea for opportunities for partnerships, product placements, merchandising, tax credits, trade, etc should absolutely be done, to help investors/ clients see that there are multiple revenue opportunities available to support the great creative idea.

How is crowdfunding changing the commercial landscape

for content creators?

Crowdfunding is a beautiful thing for content creators. Even if a campaign isn't 100% successful, being able to show that there is an audience or a market for an idea is very valuable. Failure is only failure if you didn't learn and adapt from what happened. I found several inspiring projects on Zoomaal – from a mompreneur out of Lebanon whose start-up provides sliced, chopped and dried ready-to-eat fruits and vegetables, to a deaf-mute interactive communication product out of Jordan. From a content creator standpoint, it does seem that musicians seem to have a higher success rate from my research on this platform, but there are some beautiful short films and documentaries that have been successfully funded as well.

With data bringing in revenue for many players today, how can content creators use it to their advantage?

Content creators should be looking at what is out there similar to their idea. If their product is similar to X but with a unique Y twist, they should be researching how much revenue X made and be incorporating that into their pitch (along with why Y makes it a better idea). Looking at user behaviour data and trends over time can give you valuable insight into who your audience is and how to tailor your product or messaging to increase your success and growth. From a software standpoint, anything that has a data visualisation feature – so you can easily incorporate images into your pitches or reports – is worth it.

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