17 minute read
CANON'S AFRICAN DREAM
Top left: Amine Djouahra, CCNA Sales and Marketing Director, and right, he observes as Sebastien Devaud, Canon ambassador and filmmaker, operates one of the cameras at IBC.
Africa’s evolving content landscape has inspired many global companies to set up shop in the region but few have gone the extra mile like Canon Central and North Africa (CCNA). The imaging technology brand recently hosted several key African players at IBC, where it showcased new launches, offered training programmes and shared valuable market insights. In an exclusive interview with BroadcastPro ME, Amine Djouahra, CCNA Sales and Marketing Director, and Sebastien Devaud, Canon ambassador and filmmaker, discuss the latest trends in the African content market and the company’s new multi-camera set-up supporting remote and live production
Canon, unlike most global technology brands, has not shied away from business activity in Central and North Africa but has embraced the region’s markets, keen to harness the talent of its media industry. With its host of cinematic cameras and an expansive range of accessories that lend themselves to wholesome high-quality film and TV production, the camera manufacturer has made giant strides in the continent through various initiatives and engagement with industry professionals and aspiring filmmakers.
Following the hiatus imposed by the pandemic, Canon, which claims to be among the only main camera companies with directly operated offices in Central and North Africa, has ramped up its efforts in the region. The vendor brought more than 20 African partners to IBC to showcase its new launches, host training sessions for various systems and introduce a full multi-camera set-up.
“We are a brand that is dedicated to helping people reimagine and push the boundaries of what is possible through imaging, by having a physical presence in the region. Canon Central and North Africa (CCNA) employs more than 130 people across six offices in Kenya, Algeria, Morocco, Egypt, Nigeria and Ivory Coast, and we work with more than 40 partners,” points out Djouahra. “We believe there is a common opportunity for our partners to benefit from their visit and a Canon experience. And we can add value to their business.”
The Covid-19 pandemic unearthed a bountiful supply of African films, broadcast productions, music documentaries and social media content. With the lockdown, there was greater demand for content, which in turn led to more scripts, more production and more content on platforms. The continent saw several new production houses, from small set-ups to professional studios, attempt to satiate viewers’ hunger for new content. Both the private sector and freelancers saw their business grow during this period. There has also been a significant rise in African participation at international film festivals and exhibitions in recent years.
But African content can’t all be classified as the same, with the diversity of African markets and the differences in their dynamics. “Image is one of the best tools to export what a country has to offer, whether it be culture, tradition or landscape. Egypt is historically famous for media and cinema, Kenya is the land of documentary films, Nigeria is famous for movies and music videos, and Morocco is a mix of both movies and documentaries. It’s a vibrant place for filmmaking. That’s why we would like to support local communities to ensure that we contribute to growing filmmaking in Africa,” says Djouahra, adding that with Africa’s media landscape ripe for the picking, Canon is setting its sights on “creating direct contact with the end users”.
Hence, media agencies, government institutions and production houses whose traditional partners are TV stations were all invited to attend Canon’s stand at IBC, where the manufacturer offered training from product experts on the proper management of its professional cameras.
The manufacturer claims to keep an active ear out for user feedback. “We have our product development team listening.
The Canon Central and North Africa team together with African customers at a training session at IBC.
What’s next? What should we look at for future developments?”
With Africa’s growing broadcast scene in mind, Canon has introduced new models within its PTZ range and new accessories compatible with other cameras. The launches also address African education, government and security entities’ growing interests in PTZ solutions.
“Given the shift that has happened over the past two years, we are into a more automated set-up – a virtual content production and remote-based solution. Canon’s presence at IBC today is a real testimony of this shift. You can still have the right quality in the right ecosystem because the lens is Canon, and the camera is Canon. It is compatible with other third-party solutions,” Djouahra explains.
At its booth, the company demonstrated how filmmakers can adapt the C500 and C300 for broadcast productions, rather than invest in brand-new broadcast cameras. Through its collaboration with Mo-Sys, Canon’s lenses and accessories allow complete communication and transfer of information.
Canon cameras have traditionally been used as support cameras, but the rise in content creation has propelled them to the forefront as Camera A. Djouahra asserts that this recent development proves Canon is a game-changer in the international filmmaking scene: “With the evolution of technology and the quality of product we have seen over the past few years, nominees and winners of Oscars are all using Canon.”
Proposing a multi-camera set-up of a fully automated PTZ camera, an XF605 and an adapted C300, he explains: “You can have a proper IP protocol to combine information from three completely different products.”
French filmmaker and Canon ambassador Sebastien Devaud, at IBC to demonstrate the multi-camera set-up, remarks that this professional workflow solution does not simply reflect innovative technology, but an improvement in creativity. “As a TV director, I have a full range of Canon cameras – Cinema EOS, Digital EOS, R5 C, C700, C300 Mark III, C500 Mark II, XF605, the new PTZ … and I can control it all with just one controller!”
Reflecting on the African market’s growing interest in PTZ and broadcast solutions, Djouahra says: “Somehow, these are the two segments where Canon was not present. But we have shown the intention that we want to play a major role in these segments from now on.”
Canon held training sessions at IBC to deliver a “full immersive experience” to interested visitors. The first was a detailed introduction of available products and the latest technology with which they are compatible. The second outlined best practices for Canon products, using solutions previously implemented in African countries as examples.
“When you’re used to a set-up and working with one manufacturer, just going in and changing things is not easy. People are decision-makers and need to be convinced, so we had to show them a solution that they could easily relate to,” Djouahra says.
Visitors also met with product experts and Canon ambassadors to better understand the solutions. Partners were encouraged to voice their concerns in one-onone discussions with product experts and speak about their
Amine Djouahra, Sales and Marketing Director, Canon Central and North Africa
challenges, requirements and how the manufacturer could potentially support them.
These open channels of communication proved useful. The Algerian senate requested a specific demonstration from Canon, for instance, while a Kenyan partner shared feedback on the service of an implemented solution. Canon representatives feed this back to HQ and changes come in the form of new and improved products.
Another concern in African markets is the delayed availability of new products. “African customers always have the feeling that if something is launched in the West, it will come to Africa the following year,” Djouahra confides. In the past, with limited resources and an unfavourable structure, Canon was unable to bring new technology to Africa sooner than six months or a year following its launch elsewhere.
However, Canon is quickly closing this waiting period. For instance, Egypt welcomed Canon’s EOS R7 and R10 just a week after their launch in Europe in June. Today, the company aims to launch its products almost simultaneously in all markets.
African markets also worry about tutorials for new products. Traditionally, customers resort to online information sets. “It’s up to the individuals to go find it,” says Djouahra. To ease user concerns, Canon added an educational element to its corporate philosophy two years ago. Through the Young People Programme and Miraisha Programme, interested filmmakers have access to the ins and outs of Canon products. The company also educates users on the business elements of the media industry through the Canon Video Academy and Canon Tech Talk series.
Djouahra elaborates: “Canon wants to position itself not just as a brand that supplies the latest technology, but as a partner that supports the market to grow. As a hub, we would like to develop people’s skills and allow them to maximise the potential of Canon solutions.”
Next month, CCNA is set to launch a first-of-its-kind Canon Academy Video. The product of a virtual call during the pandemic, the project seeks to answer the question: how can Canon continue to educate in filmmaking without doing any physical workshops?
The programme, a virtual and immersive environment, unites filmmakers with industry experts, giving the former the opportunity to learn about pre-production, production and post-production. Djouahra likens the initiative to a gaming platform within the metaverse – users can enter as avatars, watch expert-made videos, download content and complete various assessments.
“It’s a very exciting platform. We have currently rolled out Phase 1, which is the pre-production phase, but our goal is to cover all phases and expand into the broadcast part. We are investing heavily to ensure that all existing and potential future customers have access to our education programmes and knowledge, because Africa is a huge pool of young talent looking for guidance and support to ensure that they can release all that creativity.” – Sarah Nathan PRO
Canon Academy Video
The Canon Academy Video, launched last month, aims to provide filmmakers with a dynamic, interactive and engaging educational virtual platform. Canon has myriad initiatives and activities, including its pre-existing Canon Academy Photo (photography) and Canon Academy Juniors (the advancement of children in the virtual arts). It will empower cinematographers, filmmakers and videographers by delivering an online film school with a vast amount of educational content, insights and guidance from leading industry experts, tips and tricks on using Canon products for filmmaking, and much more.
The platform has courses for all skill levels, delivered through e-learning and face-to-face learning experiences and workshops. It is currently available in English and French and virtually mimics the actual working process of a cinematographer/videographer/filmmaker in a physical production studio, to deliver an authentic learning experience.
“We are transcending the borders of learning by introducing this novel education format that is a lot more than just a virtual hub of information. We have paid special attention to the details in ensuring that we created an experience that thoroughly immerses the user into understanding the A-to-Z of filmmaking,” says Djouahra.
“The video academy is a culmination of many creative ideas. The platform is a treasure of knowledge that can provide everything a user may need in their journey of learning. We have also replicated the exact process followed in the production process to elevate the experience of our users, along with the other myriad of features. Our goal is to make education in filmmaking accessible to all through this platform. So if you have the passion for education in filmmaking, Canon has the solution – the Canon Academy Video.”
The academy has three main areas: pre-production, production and postproduction. On top of these, the Kit Room offers detailed insights into Canon cameras and the best tips and tricks for using them, while the Theatre Room has information about Canon’s latest equipment, upcoming events and masterclasses.
The second phase will include enhancements to the platform based on learner feedback, with physical workshops in some cases. The initiative is open to anyone in Africa, and can be accessed at https://en.canoncna.com/canonacademyvideo.
CREATING A SOUND EXPERIENCE
Italian tenor Andrea Bocelli, one of the biggest-selling artists in classical music, will perform in a one-off concert at Etihad Park in Abu Dhabi on November 24. Haidar Shukry, VP of Operations with event organiser Flash Entertainment, tells BroadcastPro ME what it takes to put together an event of this scale
Tell us a bit about the kind of tech prep that goes into creating a live experience at Etihad Park. Does Flash Entertainment manage all the AVL experiences at the venue? We are well equipped to deal with all levels of organisation for individual event needs. For a show on the scale of Andrea Bocelli for example, the tech preparation is huge, with safety being our primary concern. The audience journey is where we begin the base of all our plans; the entry points must be clearly marked and operated in a way that reduces any formation of crowds. This can be quite challenging, especially dealing with thousands of people wanting to experience the show and all arriving at the venue within a two-hour window. It is key that we work closely with a dedicated health and safety team from early on to work out and manage ingress, egress and crowd movements.
In terms of AVL systems, these are usually based around the artist riders, which vary. That said, Flash Entertainment adds to peripheral areas, further enhancing
the customer experience.
What does hosting Andrea Bocelli require in terms of mics and sound systems? And having a large audience – what does that require, especially if it is outdoors? The Andrea Bocelli tech specs are very detailed due to the nature of the show. Amplifying an orchestra is not an easy thing to do. The sensitivity of the orchestral instruments in an outdoor set-up is one of the biggest technical challenges. The strings, brass, wind and percussion sections are susceptible to natural elements, as the heat and humidity can affect the tuning of the instruments. The PA system is meticulously designed to mimic a studio concert hall, which allows the engineers to mix and deliver a natural acoustic sound, covering every seat in the house.
SPL (sound pressure levels) are also managed in such a way that what is being heard in the front row is the same as in the back rows, without quality loss. To achieve this, we will install a left, centre and right (LCR) system with front fills and additional delay speaker hangs to cover the grandstand. We are confident this system will offer the ideal experience for a concert of this style.
There are a whole range of microphones and techniques that can be used to mic up an orchestra. Andrea Bocelli’s team uses a combination of close-up and ambient techniques with mics from Schoepps, Sure and Sennheiser, among others. Additionally, the microphone positions are very important and will enable the audio team to best capture the natural acoustic sound of the instruments.
How will this experience differ from others at Etihad Park, given that the venue plays host to many high-profile artists? Non-classical music shows are referred to as high-level shows; however, for Andrea Bocelli, it
is much more refined. We must emulate the sound of a studio with an orchestra throughout the entire venue. Fortunately, Etihad Park has a surrounding roof structure that is beneficial to the audio systems used, as it creates a natural reverb tunnel.
The Andrea Bocelli concert will be a seated show, which creates a fixed listening field that is very different to a standing high-level show. The visuals for Andrea Bocelli will be based on the music tempo, making the visual experience very smooth. For a high-level performance, the upbeat tempo will allow vision mix engineers to chop and change more frequently with faster moving images and other visual effects.
The same can be said for the lighting, whereas the Andrea Bocelli show is more static with very slowly changing lighting effects during each song and scene, changes happening at the start of each song or piece – contrary to a high-level show, where there will be lots of movement and several colour changes along with additional lighting and laser effects during each song.
Does this performance require a different AV configuration
Andrea Bocelli’s team uses a combination of close-up and ambient techniques with mics from Schoepps, Sure and Sennheiser to create the right listening experience.
or set-up? If so, why? Aside from the speaker configurations mentioned, we will also group certain instruments and send these to specific speaker hangs, creating what we call a point source effect. For example, instruments positioned on the left will be louder in the left speakers, and the same for the centre and right hangs.
This will create a focal point based on the position of the instruments on stage. The AV equipment used will be the same type of equipment as those that are often used for a high-level show; however, the configuration and quantities will vary. You would think that fewer speakers would be used for an orchestral show, but in fact more speakers are required. This is because of the careful attention paid to the consistent SPL levels throughout Etihad Park as well as maintaining the LF contour across the listening areas.
What are the challenges of hosting such an event? Anticipating and strategically addressing challenges is all part and parcel of the role as event organiser. The biggest challenge “The PA system is meticulously designed to mimic a studio concert hall, which allows the engineers to mix and deliver a natural acoustic sound, covering every seat in the house”
we foresee is managing the orchestra and choir when at the venue; however, other logistics also come into play. These include creating and managing the space needed for dressing rooms, catering and transport. Flash Hospitality teams use their experience as well as their suppliers to manage these tasks seamlessly.
What key kit will you be using? The sound system will be an L-acoustics rig using K1, K2 and Kara cabinets with flown and ground-stacked subs. Audio control will be through Digico SD7 quantums with 32-bit cards in the supporting stage racks. There are several lighting fixtures that will be used, such as Clay Paky, Ayrton, Robe and others, all controlled using Grand MA consoles. There will be three large LED screens as well as six vertical fingers that will add to the look and feel of the stage, displaying content produced by the Andrea Bocelli team.
How many people are required to put in place the surface infrastructure for a project of this scale? What numbers can you share in terms of people, cabling, infrastructure, gear, etc? The technical team will consist of approximately 30 engineers, technicians and stage crew. The production team, including F&B, ushers, security, medical staff, cleaners and general site staff, is the largest workforce at approximately 10 times the technical team – around 300 people.
Almost all the staff employed during our events are residents of the UAE and have developed an incredibly high standard of delivery. This contributes to why the UAE is such an attractive destination for artists – the suppliers that operate within the region stock the most up-to-date equipment, alleviating the need for costly freight and again enhancing the experience of both the customers and the international touring production teams. PRO
The biggest challenge is managing the orchestra and the choir when at the venue, says Haidar Shukry, VP of Operations at Flash Entertainment.
