BroadcastPro ME September 2019

ISSUE 111 | SEPTEMBER 2019

Licensed by Dubai Development Authority

YUPP AND COMING STAR

Zahra Zayat on how great content, in-house technology and a flexible business model are driving YuppTV's subscriptions

See Vitec @ iBc 2019 - Booth # 7c34

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 Rachel Dawson rachel.dawson@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 Dominic De Sousa (1959-2015)

Early this year, we made a conscious decision to ferret out women leaders in media from across the Middle East and Africa and write their stories.

Only when we made this conscious search did we start discovering a lot of hidden talent out there. In fact, some of these talented people had been in our own backyard, and we hadn’t met them until now.

This issue is testimony to that search.

We highlight three outstanding women in MENA media, operating in three different spaces. Zahra Zayat, who heads YuppTV, a relatively new entrant in the MENA OTT space targeting South Asians; Egyptian filmmaker Nada Riyadh, who had to temporarily fold up her film project due to resistance, but held on to her dream and eventually made it to Cannes; and Pauline Hunter, Senior Manager EPG Broadcast Systems at OSN, one of a handful of female engineers we have come across in the industry. In fact, Pauline is the first female engineer we have interviewed in BroadcastPro Middle East.

The IBC issue is always one of our most celebrated annual editions, and while the region is in holiday mode during the July-August season, the BroadcastPro team works doubly

hard to scan the market and bring you exclusive news of installations, initiatives and productions you won’t read about anywhere else. While it’s difficult to mention all of them here, I'm proud to say that we have a number of stories from Egypt this time, from how the country pulled off the coverage of the Africa Cup of Nations tournament this summer — with 4K production to boot — to the innovative Deaf Film Lab initiative, which empowers deaf Egyptian youth to make films, and a report on how Egyptian cinema can potentially rise to its former glory again.

We have always had a strong tech lineup and this issue packs a punch with reviews of new products from industry professionals; discussions from the market on esports, cloud, AR and VR, as well as some of the new launches we will see in Amsterdam. The BroadcastPro team will be there, armed with one of our best issues ever. We hope you enjoy reading it. See you at the show.

Vijaya Cherian, Editorial Director

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Issue 111 | sePTeMBeR 2019

Licensed by Dubai Development Authority

The publisher of this magazine has made every effort to ensure the content is accurate on

On this month's cover…

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the date of publication. The opinions and views

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expressed in the articles do not necessarily reflect the publisher and editor. The published material, adverts, editorials and all other content are published in good faith. No part of this publication or any part of the contents thereof may be reproduced, stored

YUPP AND COMING STAR

Zahra Zayat on how great content, in-house technology and a flexible business model are driving YuppTV's subscriptions

Zahra Zayat, VP & Head of MENA, YuppTV Inc.

or transmitted in any form without the permission of the publisher in writing. Publication licensed by Dubai Development Authority to CPI Trade Publishing FZ LLC. Printed by Printwell Printing Press LLC.

Subscribe online at:

CPI Trade Media. PO Box 13700, Dubai, UAE. +971 4 375 5470 cpitrademedia.com © Copyright 2019. All rights reserved.

September 2019 | www.broadcastprome.com | 1

PROCONTENTS

Inside this issue 05 NEWS Twofour54, MBC and Image Nation to produce Inheritance; MediaPro and Protec Dubai invest in Robe; AMT opens showroom in Saudi Arabia; Kuwait in VAR deal; and more

September 2019 A MEGA PRODUCTION UNDER WAY NEWS FROM AROUND MENA

WOMEN LEADERS IN MEDIA

INTERVIEWS

16 Uday Sodhi on SonyLIV 40 Abdelrahim Suleiman on

18

ASBU's vision as it hits 50 WOMEN LEADERS IN MEDIA

18 OTT - Zahra Zayat discusses Yupp TV's success in MENA 44 Film - Director Nada Riyadh makes it to Cannes with Fakh 48 Broadcast - Pauline Hunter on her engineering role at OSN

05 PRODUCTION - FILMING AT 1500 FEET

EGYPTIAN CINEMA- AN UPDATE

A SPECIAL INITIATIVE

34 Deaf Film Lab founder Waguih El Laqany shares how his filmmaking initiative has empowered deaf Egyptian youth DEVOPS IN THE CLOUD 38 Cloud technologies are ideal for low-bandwidth regions, says Bitmovin's Gerald Zankl 68 Solution providers in various parts of the chain on new trends in cloud technology and what they have to offer 96 Imagen CTO on harnessing cloud tech to safeguard footage PRODUCT REVIEWS

52 Axient Digital 56 URSA Mini Pro 4.6K G2

26

30

REVIEW - URSA MINI PRO 4.6K G2

CASESTUDY - AFCON 2019 FOR TV

60

56 COUNTING ON THE CLOUD

76 TECH UPDATE

NEW LAUNCHES AT IBC2019

Innovative approaches to delivering news with VR & AR

78 GAME CHANGER Exploring how esports is changing the game in media

82 LET THE SHOW BEGIN IBC CEO on what's new this year plus we bring you new launches

68

86 September 2019 | www.broadcastprome.com | 3

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PRONEWS

Twofour54, MBC and Image Nation partner to bring first Arabic-language soap opera Twofour54 Abu Dhabi, MBC Studios and Image Nation Abu Dhabi have entered into an agreement to produce Inheritance, the world’s first Arabic-language soap opera.

Under the agreement, a dedicated studio will be built for the show in Abu Dhabi.

Twofour54 will invest directly in the production, and MBC will benefit from the Abu Dhabi Film Commission’s 30% rebate on production spending in the emirate. Both parties will work closely with Image Nation Abu Dhabi on talent and script development for the project. The soap

From left: Peter Smith, MD, MBC Studios with Ben Ross, CCO, Image Nation Abu Dhabi and British writer, Tony Jordan.

opera is slated to shoot for more than 250 days and the production team estimate the show will generate over 200 jobs

Saudi cinema chain opens 15-screen complex in Jeddah Saudi cinema chain Muvi Cinemas will open multiplexes at four Arabian Centres malls in KSA by the end of 2019, following a deal with the mall operator. The first 15-screen complex will open at the Mall of Arabia in Jeddah in the coming weeks, followed by launches at Nakheel Mall in Dammam, Mall of Dhahran, Al Hamra Mall in Riyadh and the new boulevard mall complex U-Walk scheduled to open in the capital later this year.

Arabian Centres will expand its partnership with Muvi Cinemas and launch an additional 10 malls, bringing cinemas to eight Saudi cities over the next 24 months through 250 screens.

in the first year alone.

HE Maryam Eid AlMheiri, Vice Chair of twofour54, said: “Partnering with MBC Studios and Image Nation

Times Network launches two new channels on du TV Times Network, part of one of India’s largest media conglomerates, The Times Group, has launched Times Now World and Mirror NOW in the Middle East on du TV, a digital entertainment offering delivered

by UAE telecom operator du. This foray into the Middle East further strengthens the footprint of the network’s existing offering in the region with TIMES NOW, ET NOW and Zoom.

Commenting on the new

launches, Jagdish Mulchandani, COO & Executive President, Times Network, said: “Our alliance with du to launch Times Now World and Mirror NOW is both exciting and enriching. We have successfully secured a premium position in the market with our existing content offerings, and I am confident that our latest additions will provide a complete bouquet of news and entertainment to the discerning taste of the Indian diaspora in this region.”

to produce the world’s first Arab soap opera is a landmark moment in the Arab entertainment industry.

The creation of Inheritance is an indication of our region’s rapidly growing media and entertainment industry and will serve as a catalyst to inspire the next generation of storytellers to create more original Arabic content.”

Ben Ross, Chief Content Officer of Image Nation Abu Dhabi, added: “This major production demonstrates the scale and ambition that Abu Dhabi’s entertainment industry has achieved.”

WarnerMedia promotes Giorgio Stock to President of EMEA and APAC Giorgio Stock, previously President EMEA at Turner, has now been appointed President of WarnerMedia Entertainment Networks, Distribution and Advertising Sales, EMEA and APAC. In his new role, he takes responsibility for all entertainment networks, distribution of all networks, advertising sales and the kids’ networks operations for EMEA and APAC.

September 2019 | www.broadcastprome.com | 5

PRONEWS

MediaPro expands inventory with Robe Middle East rental and production company MediaPro has announced a massive investment in Robe moving lights. Jinesh Nair, Sales and Marketing Manager at MediaPro, commented that a major factor that led to the rental house’s investment in Robe moving lights earlier this year was reliability.

When it came to deciding about expanding the moving light inventory at their Dubai HQ, the vital parameters included engineering quality and versatile features, as well as an increasing demand from international lighting designers requesting Robe products on their specs, he said.

This led to the purchase of 86 x Spiider LED wash beams, 76 x MegaPointes and three RoboSpot systems

Robe lights have been employed for a variety of concerts.

complete with the BMFL FollowSpot LT (long throw) fixture with integral camera, which has been especially designed for large arenas and stadiums. These are the first of these special BMFL FollowSpots in the UAE. “Lighting designers

(LDs) and productions are constantly asking for Robe lights, and we want to give our customers the best and most flexible options to realise their shows,” Nair added.

Having its own stock of new Robe products,

MediaPro hopes to substantially save on cross rentals.

“When LDs know we can offer Robe for moving lights, they are satisfied, especially for concert and TV studio work – where they like the brightness, and for TV – the low noise levels,” explained Nair.

MediaPro often advises on an event’s lighting design and work, in collaboration with independent artists and LDs. Recent events featuring Robe include the 2019 Dubai Jazz Festival, where MediaPro created the production design, and Virgin Radio’s RedFestDXB 2019, featuring a lighting design collaboration between its own Harold Fernandez and Miguel Galvao from Done Events.

Protec Dubai invests in Robe The Dubai branch of event technical and staging solutions provider Protec Group has enhanced its existing portfolio of Robe solutions with a range of new fixtures including BMFL XF Washes, Pointes, MegaPointes, Spikies and RoboSpot systems.

This has been spearheaded by Protec Head of Lighting Aaron Russ, winner of the 2019 TPMEA Award for Lighting Designer of the Year. An accomplished production lighting designer, Russ often collaborates with a team of designers to creatively light up event spaces varying from intimate shows to

stadium spectaculars.

Speaking about the Robe solutions, Russ said: “They work really well, especially outdoors in adverse weather conditions – in fact, I’ve never had Aaron Russ (l), Head of Lighting, Protec with Elie Battah, General to send a Robe fixture Manager of Robe Middle East. back to be repaired.

They are really tough and, believe me, we’ve perspective, Aaron said the beaten them up enough optics are “impressive”; times in terms of harsh he likes flat beam field, operating environments!” the gobo selection and the Russ added that the fact that they make good products are well designed workhorse lights for both and engineered to make theatre and rock ‘n’ roll. life easy for crews, who He cited the Opening and greatly appreciate the fact Closing Ceremonies of the that they are not “needy President’s Cup Football lights”. From a design at the Hazza bin Zayed

6 | www.broadcastprome.com | September 2019

Stadium, Al Ain as a good example, where he positioned 24 x BMFLs on one of the balcony handrails at the top of the seating bleachers, shooting a long way down to the field of play.

“They were completely still – rock solid – which was noticeable compared to some of the other lights on the job!” he confirmed.

In addition to these creative advantages of using the Robe units, he also commented on the great service and support from Robe Middle East, headed by Elie Battah.

PRONEWS

Annual Cannes Corporate Media & TV Awards to honour industry's best The annual Cannes Corporate Media & TV Awards, which honour the world's best corporate films, online media and documentaries, will take place in Cannes on September 25 and 26 this year. Founded in 2010 by Filmservice International, it has grown to become one of the leading events for corporate films worldwide.

The festival team received more than 950 submissions from 51 countries, which were evaluated by its panel of experienced jury members, comprising film experts, Oscar and Emmy Award winners, and marketing and communication professionals.

The winning productions will be awarded the prestigious Gold, Silver and Black Dolphin Trophies for the 10th time.

The highlight of the awards focuses on the presentation of the White Dolphin for the most outstanding production of the

This year, the festival received more than 950 submissions.

year, and the Blue Dolphin for the best production company of the year. The Awards Days offer festival guests the opportunity to not just attend a variety of lectures about the latest industry trends, but also view all submitted productions at the Cannes Corporate Media Centre.

On the first day, a Welcome Evening at a beach restaurant on the Croisette will serve as a launch platform for the forthcoming festivities. During this welcome event, international guests have the opportunity to network at the beach while enjoying the sunset over the Bay of Cannes. The highlight of the second Awards Day is the Awards Gala Dinner, a glamorous black-tie event during which the winners are honoured for their outstanding work. Following the Awards, guests and winners will enjoy the rest of the evening at the Dolphin Lounge, with music from an international DJ.

Great events don’t happen by accident Contact our Middle East team to arrange a meeting and discuss how we can assist with your events: Jorge SIMAO simao@eurovision.net +971 52 737 6615

Anas ATHAMNEH athamneh@eurovision.net +971 52 266 6817

September 2019 | www.broadcastprome.com | 7

PRONEWS

DCT Abu Dhabi inks deal with Viacom The Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi) has partnered with Viacom International Media Networks (VIMN) to bring the Nickelodeon Kids’ Choice Awards and The World of Nickelodeon to the UAE capital for the next five years.

The first Nickelodeon KCA Abu Dhabi will be staged on September 20, 2019 at the Abu Dhabi National Exhibition Centre.

It will feature a line-up of international and regional performers, as well as Nickelodeon’s trademark green slime, while at the same time giving young fans a chance to vote for

The first Nickelodeon KCA Abu Dhabi will take place on September 20, 2019.

their favourite artists.

HE Saif Saeed Ghobash, Undersecretary of DCT Abu Dhabi, said: “An event of this stature fits perfectly with our mandate to provide the best entertainment and

activations for all sectors of society, and we are looking forward to seeing overseas visitor numbers increase because of securing this event for Abu Dhabi for the next five years.”

Raffaele Annecchino, President of Southern and Western Europe, Middle East and Africa for VIMN, added: “This partnership with the Department of Culture and Tourism – Abu Dhabi is a milestone for us, which further strengthens our leadership position within the media sector in the Middle East. Viacom has invested significantly in this key region, expanding our brand portfolio in recent years. We will now bring the first of our globally recognised tentpole events to the MENA region, and we want to continue growing this important area of business.”

MBC Group announces Creative Communities Collaboration

(L-R) Chris Backemeyer, Ali Jabe r, Elizabeth Daley, Ali Al-Hedeithy, Marie Royce and Mark Mitchell.

MBC Group has launched Creative Communities Collaboration (CCC), a public-private association of global media and entertainment executives to strengthen ties and partnerships between the MENA region and the Hollywood entertainment industry.

Last month, CCC members met at an exclusive event held in Beverly Hills, Los Angeles during which 17 Arab television writers and producers graduated from specialised workshops at the University of Southern California (USC) School of Cinematic Arts.

8 | www.broadcastprome.com | September 2019

Since 2016, MBC Group has partnered with a private media school, several leading Hollywood executives and showrunners to organise entertainment industry gatherings and professional exchange programmes on the role of media in promoting tolerance through storytelling in the Arab world.

One outcome of this process has been the Middle East Media Initiative (MEMI), a State Department-funded professional training programme produced by USC aimed at increasing the capacity and standards of the Arab world’s creative talents and their original storytelling.

Ali Jaber, MBC Group TV Director, said: “We believe

in the power of positive storytelling and the effect it has on communities in the Arab world. Through the Creative Communities Collaboration, we aspire to provide new opportunities for inspirational stories to come to life via the medium of television.”

Elizabeth M. Daley, Dean of the USC School of Cinematic Arts, added: “Our joint initiatives focus on bringing cultures together. Our specialised workshops focus on finding the common ground in what unites us, sharing best practices, values and mutual understanding between both communities. We look forward to working with MBC Group on the new Creative Communities Collaboration.”

Talkback Communicate with camera operators and production staff.

USB Connection For updating switcher software and settings.

Program Mix Listen to the program audio mix.

Source Select Buttons Input buttons for PGM/PVW or cut-bus style switching.

Reference In Supports black burst or tri-sync reference for use with large broadcast systems.

Source and Control Downstream keyer, media players, fade to black and transition selection.

Source Inputs Connect up to 40 x 12G-SDI inputs for HD and Ultra HD or 10 Quad Link 12G-SDI inputs for 8K.

Spin Knob Control Scroll through on screen menus or adjust audio levels.

Independent Assignable Outputs 24 x 12G-SDI outputs for HD and Ultra HD or 6 x Quad Link 12G-SDI outputs for 8K.

Lock Button Locks front panel settings to protect against changes during production.

Multi View Outputs 4 multi view outputs for HD and Ultra HD or 1 Quad Link 12G-SDI multi view output when working in 8K.

Introducing ATEM Constellation 8K! The next generation 8K switcher with 8K DVE, 8K SuperSource, 8K chroma key and 8K MultiView!

The new ATEM Constellation 8K is an Ultra HD live production switcher with so many features, you can combine them to make a powerful 8K switcher! You get 4 M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 Keyers, 4 media players, 4 multi viewers, 2 SuperSource and standards conversion on every SDI input!

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With a built in Fairlight audio mixer, the ATEM Constellation makes it possible to do complex live sound mixing You get a massive 156 channels, for the biggest audio mixer in a live production switcher! Each input features 6 band parametric EQ, compressor, limiter, expander, noise gate and pan Plus you can mix with an external Mackie compatible panel or full Fairlight Audio Console

ATEM Constellation features 4 independent Ultra HD DVEs that all work together as a single full resolution 8K DVE when you switch to 8K formats The DVE lets you create picture in picture effects with customizable 3D borders, shadows and lighting DVEs can also be used to create amazing DVE transitions with squeeze, push and swoosh effects for adding excitement to your programming

Includes 8K Multiview with Audio Meters The built in multi views let you view multiple sources in a single monitor You get 4 independent multiview outputs that can each be individually customized or transformed into a single full resolution 8K multiview when you switch to 8K Each multiview can be set to 4, 7, 10, 13 or 16 simultaneous views Each view also has on screen status including a custom label, VU meters and tally

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PRONEWS

NMK Electronics to represent Astera in GCC German wireless LED lighting specialist Astera has appointed UAE distributor NMK Electronics to distribute its products in the GCC region. This agreement will complement NMK’s growing lighting division.

Astera’s range of entertainment and architainment LED lighting has been used to illuminate numerous high-profile and world-class events.

The AsteraApp is also a key feature of the brand, offering quick, intuitive, advanced and straightforward control over multiple fixtures.

“Having simple and powerful control of complex lighting programmes and effects, coupled

Nat Geo Abu Dhabi launches Egypt Specials series

National Geographic Abu Dhabi launched an Egypt Specials series last month, which explores the lost treasures, mysteries, stories and artefacts of Pharaonic Egypt.

The four-hour series features archaeologists, forensic specialists and drone technology that dive into Egypt’s ancient realms. The Egypt’s Sun King: Secrets & Treasures episode is a two-part 60-minute film that delves into ancient Egypt, as archaeologists embark on adventures that lead them to discoveries such as the first tomb accommodating a body since that of Tutankhamun.

with the portability of Astera, means that lighting designers can focus on being creative without worrying about potential limitations like cables and rigging,” commented Darren Caithness, Lighting Business Manager – NMK Electronics.

Following an expo in Dubai earlier this year, Astera Sales & Marketing Director Sebastian Bückle was impressed with the drive and knowledge of the players, people and companies. “There is a lot of activity in the GCC and it is a vibrant market with huge potential for Astera, so we look forward to a busy, positive and productive long-term working relationship with NMK,” he said.

Darren Caithness, Lighting Business Manager, NMK.

iflix exits Middle East iflix has closed operations in the Middle East after entering the region two years ago in partnership with data services operator Zain. “iflix and its partner Zain are working together to complete the wind-down of the operations in the Middle East, to allow iflix to focus on its core markets in Southeast Asia,” the company told BroadcastPro ME. News of the pullout surfaced shortly after iflix announced that it had completed its latest round of funding for more than $50m by bringing in

major institutional investor Fidelity alongside strategic shareholders Hearst, Sky and EMC, and said it was looking at a possible IPO. iflix, which launched in Malaysia and the Philippines in 2015, set up Dubai-based iflix Arabia in 2017 and rolled out the service in Saudi Arabia, Jordan, Iraq, Kuwait, Bahrain, Lebanon, Egypt and Sudan.

Though SVOD services in the Middle East are growing, analysts say top-tier services such as Starz Play, which is

now the Middle East market leader ahead of Netflix and Shahid Plus, are getting more traction than lowercost operations like iflix, which targeted a more down-market customer base that is being eroded by increased piracy.

NEWS du discontinues ITV Choice; BeoutQ FLASH! goes off air; OSN and Netflix split ways

10 | www.broadcastprome.com | September 2019

PRONEWS

Weyyak becomes SVODonly service outside MENA

Zee Entertainment’s Arabic VOD streaming application, Weyyak, previously an AVOD service, has been relaunched as a

paid subscription service for all users outside MENA. In MENA, viewers may choose between a free AVOD option or

a paid, ad-free SVOD option. The latter will cost $1.5 weekly and $5 monthly.

The new paid service, which comes in the form of premium monthly or weekly subscription plans, provides adfree, uninterrupted entertainment.

Additionally, there will be a diverse collection of premium Arabic-language, Bollywood and Turkish-language content available to subscribers as an exclusive addition.

La Liga 2019/2020 season returns with 4K and VAR La Liga is back for the 2019/2020 season with some of the world’s best football players, including Lionel Messi, Sergio Ramos and Joao Felix, and the most advanced broadcast technology.

Eleven La Liga stadiums boast state-of-the-art aerial cameras and eight offer 360-degree replays, while 4K cinematic production is now a permanent feature

of broadcasts.

According to La Liga, the last season reached more than 2.7bn fans globally. This season will see the return of VAR, following a highly successful first season in which the league says the correct decision rate in disputed incidents rose from 91.5% to 96.92%.

La Liga 2019/20 is available to MENA viewers on beIN Sports.

System Integration Innovation for Broadcast and Media Environments Project: Virtual Studio and Production Hub – Telia / Streamteam Centralised Remote Production Hub Virtual Studio OB Trucks At Venues Hybrid Approach – IP-Based Signal Transport – Baseband Workflow Result: Live TV production of +450 matches per season

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September 2019 | www.broadcastprome.com | 11

PRONEWS

Advanced Media strengthens presence in KSA with launch of first showroom UAE-based professional broadcast, video and photography equipment distributor Advanced Media made its first foray into Saudi Arabia with the launch of its showroom at Coral Centre, Al Taawon, Riyadh, last month.

The 240sqm showroom will include equipment suited for videography, photography and cinematography.

Alaa Al Rantisi, Managing Director at Advanced Media, said: “We are focused on fulfilling all our customers' needs by offering a complete range of solutions from brands like Sony, RED, Zeiss, DJI, Kino Flo, Hasselblad, Profoto, Manfrotto, SWIT and NiSi. We will also have demo equipment on hand for customers.

Eventually, our target is to be the biggest professional store in the area. Hence, having stock from all the available

The AM showroom in Saudi Arabia also includes a service centre.

brands is essential for us.”

He added that Saudi Arabia’s Vision 2030 programme has created “a huge demand and a wide range of opportunities for equipment supply and support”.

“We are looking to be an effective part of the Saudi Vision 2030 initiative that the leaders in the Kingdom have announced. This will require a well-equipped media store to supply customers' needs

in the field. Our existing customers also asked for us to be there. As a result, we have decided to be close to the Saudi community and extend our successful experience in Dubai.”

The Saudi Service Centre will also be geared to address any services issues customers face, he added.

“We have well-trained engineers. Our service centre in Saudi will have

Unbeatable Fighter, first Emirati martial arts film, to be released in UAE this October The first Emirati martial arts action-thriller, Unbeatable Fighter, will be released in cinemas next month. It tells the story of a troubled champion shunned by his friends after killing a fellow competitor.

Directed and written

by Al Hallawi, Unbeatable Fighter features eight martial arts champions from the UAE and around the world. The plot, which involves an illegal

underground martial arts tournament, is a classic good-versus-evil saga packed with drama.

The film also aims to highlight to teenage viewers the dangers of spending too much time on computers and game consoles. A central thread in the film suggests that youngsters who snub playing a sport in favour of online gaming fail to succeed in life.

12 | www.broadcastprome.com | September 2019

The film’s villains are played by Japanese martial artist Ryo Sakai; Mohammed Al Shebli, head of the UAE national boxing team; Mestre Caxias, a capoeira champion from Brazil; Khanatip ‘Ya’ Champa, a muay Thai fighter from Thailand; Omar Al Mesmari, an Emirati jiu-jitsu fighter; and Sami Al Nuaman, a wrestler from Syria.

a well-stocked inventory of oft-required spare parts. If they need more support, our Dubai Service Centre will step in. The aim is for the Saudi centre to also become an authorised service centre for most of our main brands.”

The showroom will have 12 experienced sales, marketing and service staff.

Samir Ibrahim, Branch Partner and Manager, said: “We will focus on both retail and distribution, and already have a team in place to take on turnkey projects. Our objective is to be recognised in the market for our technical knowledge, customer service and as a destination for high-end equipment. We want to create the first all-in-one pro shop in Saudi Arabia for videographers, photographers and cinematographers, offering the best equipment advice.”

Delivering full spectrum, accurate daylight and tungsten light. With a wide selection of lighting effects, dial in any color imaginable, lightweight, quick-to-rig, and easy to control.

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PRONEWS

Son-Mother set for world premiere at Toronto International Film Festival Son-Mother (Pesar-Madar), a collaborative film – produced by CEO of Dubai-based distributor Advanced Media and Czech company Europe Middle East, Kaveh Farnam, renowned filmmaker Mohammad Rasoulof and Farzad Pak – will premiere at the Toronto International Film Festival, taking place from September 5-15. The story centres around the struggles of a mother and son, and is a telling comment on how families can be the victims of dated social norms.

Director Mahnaz Mohammad said: “The film is based around tradition and everyday life. My friend Mohammad Rasoulof wrote the story, and it took us five years to turn it into a film. The tragedy is what defines a lot of people’s lives in the Middle East; each of us has

Directed by Mahnaz Mohammad, the film highlights the struggles of a single mother and her son.

experienced or keeps experiencing tragic events. Religion and tradition play a big role in that, with people being very orthodox about them. In Son-Mother, I deal with the question of what each of us is able to do in

First Turkish animated series to launch in five countries

The animated series has received traction among younger audiences on YouT ube.

An agreement between MOBY Group and Fauna Entertainment will make Kukuli, Turkey’s first branded cartoon, available in Afghanistan, Tajikistan, Uzbekistan, Pakistan, Ethiopia, Somalia and other MENA countries.

MOBY's first animation feature will be translated

into 13 languages including Farsi, Pashto, Uzbek, Urdu, Amharic and Somali.

The animated series will be broadcast on MOBY Group's TV and digital platforms . It will be MOBY's first Turkish production to be broadcast in Afghanistan and Ethiopia.

14 | www.broadcastprome.com | September 2019

order to stay away from tragedy.”

Farnam also co-produced A Man Of Integrity, directed by Rasoulof.

The film was a winner in the Un Certain Regard category at the Cannes Film Festival 2017.

Kuwait Football Association signs up Mediapro as VAR provider for football The Kuwait Football Association (KFA) has signed a two-year agreement with Mediapro Middle East that will see the Spanish company implement Video Assistant Referee (VAR) technology for all the football competitions organised by the sports body, including its most prestigious competition, the VIVA Premier League.

Mediapro will also provide training courses for the referees in the country for the next two years, with handson practical use of the tool,

as part of this agreement.

The agreement was signed

by KFA Chairman Sheikh Ahmad Al Yousuf Al Sabah and Omar Pleite Guerra, GM of Mediapro Middle East.

Mediapro is also the official provider of VAR technology for the football leagues in Portugal, Greece, Mexico, Chile, the UAE, Morocco and now Kuwait.

It also provides VAR to some of the world’s most important club and national team competitions, such as the Copa Libertadores and the Africa Cup of Nations.

The Mediapro and KFA teams at the signing ceremony.

PRONEWS

Nebras Films invests in Baselight grading Nebras Films, a one-stop production and post house based in Riyadh, recently deployed a Baselight TWO grading suite with the latest v5 software, equipped with a Blackboard 2 control panel from FilmLight. The facility is equipped with equipment to support an entire production workflow, from ARRI Alexa cameras and motion capture camera rigs to a well networked post-production facility, for seamless workflows from editorial through VFX to finishing on Baselight.

The post-production centre is linked throughout using ContentAgent, which allows virtually instantaneous sharing of workflows between suites.

This allows editors to work

EFP and Arab Cinema Centre announce first Arab Critics’ Award for European films The Arab Cinema Centre has joined hands with European Film Promotion to launch a new award for European cinema.

The Arab Critics’ Award for European films will see a jury of 30 renowned Arab film critics, put forward by the ACC, select the best European film from nominations by the European national film institutions that make up the EFP’s membership. The inaugural award will be announced at the 2019 Cairo International Film Festival in November.

Baselight v5 will help Nebras Films streamline its workflows.

at lower resolutions, and lets the finishing artist in Baselight pick up the cut and the VFX and conform the project in 4K/HDR. The complete infrastructure has been built with HDR in mind from the start. Given the unforgiving light in the desert, the ability to build latitude into a shot and create and refine looks in Baselight without losing

detail is an important benefit.

“Unlike Europe and the US, where the media industry has existed for decades with postproduction processes which were once cumbersome, the industry here leap-frogged all that evolution and allowed us to create a completely tapeless, non-linear world,” said Cian Patrick McLysaght, Post Production Supervisor

at Nebras Films.

“That reinforces an expectation of immediacy which is pervasive in the industry here – that things should happen instantly.

Baselight plays into this demand. It is the right system where speed is a prerequisite, and clients can see the processes taking place via an approachable UI. Baselight was integrated into our workflow from day one.”

The latest release of Baselight v5, used at Nebras Films, helps streamline timeconsuming workflows both within the colour grading suite and in collaboration with editing and VFX. The post-production installation was completed

by UK reseller Jigsaw 24.

Bango expands Middle East and Asia presence Bango, a mobile commerce company, has opened a 2bn subscriber market opportunity by launching new OTT partnerships that will reach subscribers across pre-paid mobile, fixed-line, broadband and cable TV platforms.

The new partnerships will enable subscribers in the UAE, India, Spain, Singapore, the Philippines and New Zealand to access streaming media subscription services as part of their existing plans, enabled by Bango Resale technology.

Anil Malhotra, CMO at Bango.

Anil Malhotra, Chief Marketing Officer at Bango, said: “Bango Resale technology supports a wide range

of different offers through multiple channels, enabling leading OTT partners to easily open up new markets in addition to mobile, acquiring customers quickly and at very low cost.”

Providing bundled media packages acquires millions of new customers, creating valuable, recurring revenue streams for OTT players, and at the same time provides all-important market differentiation and loyalty for the channel partners that promote the bundles.

September 2019 | www.broadcastprome.com | 15

PROOTT

SONYLIV'S GCC JOURNEY

Indian premium video-on-demand service SonyLiv made its first foray outside its home country to launch in the Middle East. In an exclusive interview with BroadcastPro ME, Uday Sodhi, Business Head-Digital, Sony Pictures Networks India, tells us about the streaming service’s plans for the region SonyLiv boasts more than 70 popular shows and 1,500 movies (including Hollywood hits) from Sony Pictures India’s content library. It features programming tailor-made for the South Asian diaspora in the region with content in Hindi, Tamil and Telugu with English subtitles. Popular shows include titles such as The Kapil Sharma Show, Taarak Mehta Ka Ooltah Chashmah, Patiala Babes, Ladies Special, and Super Dancer amongst others.

What is your growth plan for the Middle East?

We’ve currently rolled out SonyLiv in six countries – the UAE, Qatar, Kuwait, Oman, Saudi Arabia and Bahrain. Our objective is to offer a large variety of content for South Asians. We’ve started out with Hindi-language shows and will gradually add linear channels on the service, as well as other language content. We’re still at a very early stage of launch and will evaluate our data to see what kind of consumer traction we get and what kind of content consumers are looking for. Based on our findings, we will expand our service offerings.

Why the Middle East?

The Middle East has a high concentration of South Asians and we’re one of the best providers of tailor-made content for this audience segment. Therefore, we decided to

16 | www.broadcastprome.com | September 2019

start with this market first.

After this, we hope to look at Southeast Asia and Europe.

What did your market research show you?

Our service on YouTube indicated significant consumption of our content in the Middle East from people of South Asian origin. We already have our television channels in the Middle East, and this helped us in terms of a strategy. With over 450m unique mobile subscribers, the Middle East has one of the highest number of YouTube consumers in the world.

We already have several OTT players in this market – have you made a late entry?

There’s always an advantage in coming in late. You learn Uday Sodhi forecasts a surge from all the mistakes that the in demand for multilingual others have made, and you content across the world. bring in the best experience for the users. We are well prepared and confident of our positioning in this market.

How is your service different from other streaming platforms?

Our content is not available on any other platform. Shows like Tarak Mehta and Kapil Sharma are unique to our platform. We will also be adding a lot of original content for Tamil, Telugu, Marathi and Bengali audiences, and are investing a lot in content catering to different Indian

PROOTT

We hear you already have a few original productions in the pipeline?

Yes indeed. We will start rolling out original content sometime in September. Right now, we just want to get the service out there, stabilise all our content and get the service available across the Middle East, establish the price points and partnerships. And once that is done, we’ll start rolling out some flagship content. As for our originals, some of them are ready to be unveiled while a lot of shows are still in the pipeline. communities. Besides Hindi, we think we will have a significant advantage in multilingual content.

We expect more consumption on this front. In fact, each of these local languages are representative of very large language communities, and each of these communities is a business by itself. We want to look at these as independent categories and build content for each of these markets.

Tell us more about your investment plans.

Digital is our priority at Sony Pictures right now and we want to build this business strategically.

So we are in an investment phase at present to grow worldwide.

We plan to invest in niche markets in terms of content.

Our aim is to create content for global consumption by South Asians. So, for example, if we create content for the Tamil-language speaking audience, then whether they reside in the Middle East, Southeast Asia, the US, the UK or India, the same content will work across. What this means for us is that the more markets we manage to get a foothold in, the better our monetisation. Therefore, we will be investing in content that appeals to audiences across India.

Additionally, our platform is going to be ad-free but subscription-based.

“We will be adding a lot of original content for Tamil, Telugu, Marathi and Bengali audiences, and are investing a lot in content catering to different Indian communities” Uday Sodhi, Business HeadDigital, Sony Pictures Networks India We think that consumers will be willing to pay subscription for access to highquality content – especially since the content that we’re bringing in is going to be engaging and entertaining content.

Can you share some figures about your uptake in the Indian market?

In India, we have around 70-80m active monthly users. This makes us the second most popular platform in India. On the Google app store, we crossed the 100m download mark recently, which puts us in the same bracket as the top apps within the subcontinent. From that perspective, we’re among the biggest players in India. We intend to bring some big shows to the screen in the coming months, like Amitabh Bachchan’s Kaun Banega Crorepati.

Our original slate will span four languages to start with.

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PROCOVER

Zahra Zayat heads YuppTV's MENA operations and is based in Dubai.

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PROCOVER

YUPP AND COMING STAR

YuppTV came quietly onto the MENA scene two years ago, and has gone from strength to strength under the leadership of Zahra Zayat, VP and Head of MENA. BroadcastPro ME catches up with the vivacious Zayat to find out the secret of YuppTV’s growing success in a crowded OTT space and her own achievements as a woman in this region How did you come to take on your current role as Head of MENA at YuppTV? YuppTV was just launching in the Middle East and I had a catch-up over coffee with our CEO Uday Reddy, who was connecting on a flight through Dubai after a friend had introduced us. Having worked at OSN, I knew the gaps of the existing propositions in the market and knew exactly how to target the audience in each of the Middle East countries. We saw an opportunity here, where over 50% of the population is South Asian. I was reluctant initially to take on the role as I didn’t speak any of the languages, but the thought of building something up from scratch was exciting, and I am so glad that I did. And now I have picked up a great deal of Hindi along the way.

What have been some of your achievements at YuppTV? At YuppTV, we work in a start-up culture, so I basically do things from A to Z with the help and support of our extremely qualified teams. Since our launch in MENA, we have successfully tied up with more than 12 telcos in the UAE, KSA, Kuwait, Qatar, Bahrain and Oman, the most recent being with Batelco in Bahrain. We have also strengthened our presence in the traditional retail market with the likes of Lulu and Carrefour, and we have expanded into the dealer distribution network, selling traditional TV through our box strategy and by offering vouchers. We have also

strengthened our investment in data analysis and marketing tools to target the relevant base better and achieve higher conversion.

To what do you owe the success of YuppTV? People, people, people, culture, leadership, technology and localisation. We are blessed with a qualified, energetic and young team who operate with a start-up mentality, so we are all on the move, juggling different things all the time. Technology, speed and agility are our core strengths; I am truly impressed with how fast our teams can deliver on technology and products.

Being an OTT platform, we target different age groups, with the majority of our target market being in the age group between 24 and 50. As an OTT and e-commerce platform, YuppTV has made sure it is available on all possible platforms and devices around the world, from Android to Apple phones and devices, Xbox, PlayStation, Humax, Amazon, Roku, Nexus… you name it.

What is YuppTV’s objective, and how have you gone about achieving it?

Our objective is to become the only home for South Asian entertainment and to ensure that we combine the best content, technology, partnerships and marketing to reach that goal.

YuppTV is a one-stop shop for subscribers who want to view everything they want on one platform. Our YuppTV offering has

September 2019 | www.broadcastprome.com | 19

PROCOVER

over 250 channels and carries premium networks such as Colors, Star, Zee, Asianet and so on in over 13 languages, in addition to our own channels running our original production. We have so many elements to this service.

Our catch-up service offers subscribers seven days of catchup on all the linear channels. In addition, YuppFlix offers more than 8,000 hours of Bollywood and regional on-demand movies and shows in Hindi, Tamil, Malayalam, Telegu, etc. Our minitheatre is a box office offering TVOD (transactional VOD) fresh-out-of-cinema content.

We will continue to strengthen our original production through Yupp Studios. Today, we run four of our own channels, with our latest Telugu production, Luv Story, hitting 36m views in just two weeks. Our main

“Our subscriber base has doubled every six months.

Our content consumption per user has hit 4.5 hours per day, with over 40% of the engagement coming from non-premium channels” Zahra Zayat, VP and Head of MENA, YuppTV

In terms of technology, we continue to invest in and adopt new technologies such as our new 4K hybrid OTT box, in addition to the catch-up service on linear channels and download feature for on-demand movies that allows offline viewing. We also prioritise continuous investment in data science to refine both our product and our content.

plan is to produce more short-form series for the Middle East as we have seen a growing appetite for this content among South Asians and local Arabs.

All our original programming content and selective list of movies and TV shows are subtitled in English. As we launched in the MENA region, we have seen a growing appetite among the local Arabs, and for that we have subtitled some of the Bollywood content in Arabic.

Which countries is YuppTV available in at present, and what are your expansion plans?

YuppTV’s largest market is the US, while our fastest growing market is the Middle East. We also have a big presence in the UK, Australia, India, Pakistan, New Zealand and Europe. We will continue to expand into Africa, offering the South Asian channels and movies subtitled in English or local languages

YuppTV presently offers 250+ TV channels and over 3,000 on-demand movies in 13 languages, targeting South Asian audiences.

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PROCOVER

content. All back-office support and technology innovation is based out of our office in Hyderabad, India. Today, YuppTV has more than 700 employees with the majority based in India.

such as Arabic and others.

We will continue to expand into new markets while trying to localise the service as much as possible. For example, we run an ad-supported service in some markets but a subscription-based service in the Middle East and the US. Africa has great growth potential.

Any recent deals you can talk about?

We have done a few consolidations lately, one of which was the acquisition of Lebara Play in the UK, and the other one is yet to be finalised in the Middle East.

Did the closure of Pehla help hike your subscriber numbers?

Yes, we saw an immediate spike in the numbers after July 15, and our direct new subs have been doubling every day since then.

We have boosted our marketing campaigns to raise brand awareness in the region. This is the first time we have seen a significant

“Today, we run four of our own channels, with our latest Telugu production, Luv Story, hitting 36m views in just two weeks” Zahra Zayat, VP and Head of MENA, YuppTV growth during the summer season in the UAE, KSA, Kuwait and Qatar.

How do you address digital piracy?

We try to monitor our service through digital watermarking to block illegal streaming services. We also work with the regulatory bodies across different countries to educate them about the impact of content piracy in the region, which has exceeded $750m.

I believe you have shifted to Dubai Studio City?

Yes, we have just moved from Media City to Studio City. Our Dubai office runs all Middle East operations and focuses on business development, sales, marketing, strategic partnerships and

What are your analytics showing you?

Our subscriber base has doubled every six months. Our content consumption per user has hit 4.5 hours per day, with over 40% of the engagement coming from non-premium channels. The engagement on our catch-up service is 50% higher than on the live linear channels, so we decided to give our subscribers seven days of catch-up TV. Our app downloads in the MENA region have doubled compared to last year, hitting 1.4m downloads with the majority being on smart TV and mobile. Digging deeper into the trend by country, we have seen that the platform engagement on the web is as strong as smart TV in the UAE, whereas mobile and smart TV remain dominant by far in KSA, Kuwait and the rest of the Middle East.

We have also seen that the choice of content (whether it’s comedy, romance or action) differs significantly within the South Asian segments. Some seem to prefer exaggerated and far from reality action, as compared to others who prefer a combo of action, romance and comedy.

I hear you also sell your technology to other operators?

That’s right. Our platform is developed in-house by our team in India. YuppTV now sublicenses its platform separately, and a few telcos and operators in Sri Lanka and Singapore have bought our platform and white labelled it.

What is the big challenge you see in the OTT industry?

Customers will follow the content

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YuppTV is in the process of finalising a deal in the Middle East, though further details are under wraps for now.

and we target them with ads that fit their location, gender, age group and preferences. What OTT can achieve is economies of scale that allow us to offer a better and richer experience at a lower price compared to traditional TV. How has your journey as a woman been in the world of OTT and telecommunications?

I have to say that every deal has taken a pound of flesh out of me to close, but as I grow in this industry, I see a wider acceptance of women leaders. In this industry, I had to learn to put my ego on the side, and accept waiting in meeting rooms for long hours and travelling to find out that the meeting has just been cancelled. However, on the bright side, there is a great sense of satisfaction when deals are closed and we see the company growing.

they want to watch and will not want multiple subscriptions. We can expect more churn, as people will keep moving from one service to another depending on the content.

Eventually people want quality, simplicity and affordability. They want to be able to talk to us in the way they want to, and this requires robust integrations with social media networks, e-commerce platforms and telcos. We want our subs to be able to view and subscribe to their favourite content through Facebook, Instagram, Twitter, and we want to be able to build a robust e-commerce platform that sells and delivers their favourite products and services.

Have technology and data helped you to reduce churn?

Yes. As YuppTV, we know who is watching what, where and when, we analyse the preferences of

“Our main plan is to produce more short-form series for the Middle East as we have seen a growing appetite for this content among South Asians and local Arabs” Zahra Zayat, VP and Head of MENA, YuppTV subscribers through their behavioural trends, and we recommend shows and content that best fit their preferences.

The use of adaptive bitrate has ensured a smooth viewing experience for users varying from high-end to low-end internet bandwidth. We utilise multiple CDNs around the world and have our in-house CDN as well, which helps improve the experience and prevent buffering.

On ad-supported services, we analyse the viewing behaviour of subscribers

22 | www.broadcastprome.com | September 2019

Give us a brief overview of your career in broadcast.

I always had a passion for selling. I got motivated by my dad to start my own business when I was 10 years old, where I had simply put a blanket on the street with some groceries to sell. This evolved to selling my mom’s kitchen ware, which drove her crazy!

I was studying and working at the same time in an audit firm where I was coached by a great woman leader. After graduating, I held various positions in management consulting, investment banking, mergers and acquisitions and traditional media. I had many media clients as part of my consulting role, which motivated me to move from Deloitte to OSN. It was then that I fell in love with the broadcast and media business.

After OSN, I had the opportunity to work with MOBY to launch new channels in challenging markets such as Ethiopia, Afghanistan and Pakistan, and this experience was phenomenal, lovely and unique.

Now, at YuppTV, we are

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PROCOVER

building the service in the market from scratch. And for that, we operate like a start-up.

It is hectic but so rewarding.

What sparked your interest in this field?

The media business is so dynamic and creative. As you get into the areas of content acquisition and production, subscriber management, retention, churn and engagement, marketing, way to market – each one of those requires so much industry knowledge and you keep on learning something new every day. I am a strong believer that OTT services are e-commerce providers, and I am looking forward to launching the next Amazon through Yupp!

Do you see gender parity in the industry?

I believe that a woman has to be doubly qualified and very strong to be able to grow in this industry.

This is the reality of the region, and I have faced this throughout my career. However, this is changing now and there is a wider acceptance of women leaders.

What are the biggest factors that hinder women from entering the OTT and telecom industry?

This is related to culture, as women working in media is still seen as taboo in some parts of the Arab world. The other part is that these industries are demanding, and unfortunately a lot of women have had to let go of their careers after they have kids. This is a right that a woman should not be denied. I remember I attended a meeting one week after giving birth, because I wanted to reflect the image of a woman who can run a family and a business at the same time.

What steps should firms take to decrease the gender gap in the broadcast industry?

We still see women being asked at

Zahra Zayat says women have to be doubly qualified to be able to grow in this industry.

“YuppTV now sublicenses its platform separately, and a few telcos and operators in Sri Lanka and Singapore have bought our platform and white labelled it�

Zahra Zayat, VP and Head of MENA, YuppTV interviews about their plans to have more kids, or their flexibility with travel, as these factors determine their eligibility. Even during layoffs, women get laid off first because of the perception that the male is the provider. In meetings, a woman sometimes needs to speak in a louder pitch or voice to be heard.

Companies should eliminate gender preferences in certain jobs. Companies in the public sector especially should start offering equal benefits to women,

24 | www.broadcastprome.com | September 2019

such as schooling, housing and insurance. The UAE government has implemented some great initiatives in recent years, where women have representation in the government.

What message do you have for women aspiring to working in media?

There is nothing more difficult than running a house, a family and kids.

Women are born leaders and they are naturally empowered; they just need to see the opportunity better. Having women leaders is a must now, and companies have realised that. I encourage all women to have their own identity and be proud of their achievements. Our achievements in the workspace are what make our kids future leaders. This industry is amazing, but it needs more women.

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PROPRODUCTION

TAKING THE XTREME CHALLENGE

Dubai producer Kinjal Tanna took on an extreme challenge: filming wing walking at 1,500ft at 300km/h, to test the power of Vatika Naturals styling gel. Tanna tells Rachel Dawson how he managed to overcome unforeseeable challenges and made the cut How do you break away from all the clichéd men’s hair gel ads on television that portray the same old script? Is there a way to redefine a narrative that has been told to death in various permutations?

Dubai-based producer and CEO of KKDD Kinjal Tanna was recently tasked with such questions when given a brief by his client, Dabur Vatika, to create an action-packed sequence to market its Vatika Naturals styling gel.

The idea was not to add to the existing stereotypes surrounding men’s hair gel; instead, the client suggested wing walking, the act of moving along the wings of

26 | www.broadcastprome.com | September 2019

an airplane during flight, sometimes transferring between planes. It originated as a daredevil stunt in the aerial barnstorming shows of the 1920s and became the subject of several Hollywood movies.

The client was willing to put its product to the test by applying hair gel to the stuntman’s locks and sending him out 1,500ft up. The idea was simple – no dialogue, just pure action.

“The key category driver of a gel category is ‘hold’, and Vatika gel decided to go big on that. We wanted to communicate to gel users that Vatika gel gives you the

PROPRODUCTION

The ad went viral on social media, attracting 12m views, 21m impressions, 300,000 likes, 60% View Through Rate (industry avg 27%) and 15% SER (industry avg 1%).

best hold ever, no matter what.

We created a series of Vatika Extreme Challenges where we tested hair styled with Vatika gel under extreme conditions,” says Prateek Jugran, Senior Product Manager, Dabur International.

“To test the hair gel, we began with a Ferrari at 120km/h challenge, followed by a skydive at 270km/h challenge. For the third edition, we wanted to surpass the 270km/h barrier and do something which has never been tried before by any hair product; hence we decided to go for wing walking and showed that with Vatika gel – your hair remains intact even when you stand on top

“Once we were airborne, we had to get the shots in the best possible manner considering we had a cameraman who was strapped in with limited viewing and movement” Kinjal Tanna, CEO, KKDD of a plane travelling at 300km/h.”

Tanna says this was one of his most challenging projects, the first of its kind, and required thorough research. After speaking to a few wing walking teams around the world, he finally zeroed in on

AeroSuperBatics in the UK. “They had a strong team with a proven safety record. Their airplanes, which we flew, were Boeing-Stearmans built in the 1940s; we actually executed stunts in a 75-year-old aircraft and we shot at Rendcomb World War 1 airfield, which was operational from 1916 to 1919.”

Directing the ad demanded high energy for the extremely intense weather conditions.

A lot depended on the wind and weather on the day, Tanna says, which added to the uncertainty factor.

“We had to have a trained professional who was willing to endure the whole day being mounted on top of a plane.”

He explains: “My approach was very simple, I put together a wishlist of aerial stunts and shots I wanted to see in this video. We then discussed this with Martyn Carrington, Chief Pilot from AeroSuperBatics, and we got onboard aerial shoot specialists Glenn Stanley, Billy Lipsett and Colin Norwood from YDM Aviation, who primarily work on a lot of air shows, which showcase military manoeuvres.”

After finalising several shots, briefing the stuntman was crucial, and the team mounted GoPros on the aircraft to capture all the action. Tanna explains that the schedule was equally challenging in terms of capturing the right shots at the right time.

“Each flight duration lasted 15 minutes, which meant we were under a lot of pressure to deliver.

After each flight, we would go through all the footage captured on the GoPro cameras as well as the on-ground cameras to get an idea of the range of shots, to determine if there was scope to improve.”

In order to capture the best images, the shoot employed six types of cameras – two Canon 5D

September 2019 | www.broadcastprome.com | 27

PROPRODUCTION

Kinjal Tanna of KKDD says filming at 1,500ft required thorough research of wind and weather conditions, among other things.

Mk4, fitted with a combination of Canon L series lenses 24 to 105mm, 70 to 200mm and 100 to 400mm on the ground, for the ground to air images and also some of the taxiing aircraft; three GoPro hero 7+ (4K resolution) on three different specially built mounts on the aircraft; a Panasonic GH5 Leica DG Vario-Elmarit 12-60mm f/2.84.0 ASP, the prime combination used in the air and for some of the ground shots; a 35mm f/1.7 manual focus Prime lens for a few morning shots; and a Canon EOS M3 with an EF-M 18-55mm lens for various extra material.

Additional equipment was locally rented in the UK. Once the team got their GoPro shots, they had to remove the front mounts facing the stuntman, so as to not interfere with the shots of the final video, taken from a second plane.

“We then got prepared for the most exciting part, which was shooting from another plane simultaneously,” says Tanna.

“We actually executed stunts in a 75-year-old aircraft, and we shot at Rendcomb World War 1 airfield, which was operational from 1916 to 1919” Kinjal Tanna, CEO, KKDD Norwood from YDM Aviation had the task of handling this, since it was important to coordinate with ground and air.

“We had to know at all time where the planes would be and both pilots needed to keep their distance from each other,” explains Tanna.

“Once we were airborne, we had to get the shots in the best possible manner considering we had a cameraman who was strapped in with limited viewing and movement.

“It was paramount to ensure that the lens sizes didn’t add weight to the camera, mainly because while shooting at those speeds it’s very difficult for the camera to be in focus at all points. Eventually we did a

28 | www.broadcastprome.com | September 2019

total of four flights, two with one aircraft and two solo flights.”

Executing a simultaneous 360-degree aerial manoeuvre on two planes was one of the most challenging stunts to execute.

Equally hard was shooting the side barrel roll, says Tanna.

A barrel roll is an aerial manoeuvre in which an airplane makes a complete rotation on both its longitudinal and lateral axes, causing it to follow a helical path, approximately maintaining its original direction.

Another challenge was more technical in nature. “We discovered that although both the planes we used were the same in configurations, they had slightly different engine configurations.

The fact that our Hero plane had a man on top with a pilot in the cockpit, whereas our camera plane had two people seated in the cockpit, would have an adverse effect on the weight of the plane and how the winds would affect this shot,” Tanna explains.

PROPRODUCTION

“One of the biggest challenges was to ensure both pilots were in sync when it came to speed, since to get the shot the camera plane had to be a step ahead and know exactly which shot we were taking next, and sometimes we had to get a bit higher or lower to get our shots.”

The team selected the best shots from seven hours of footage; post-production entailed the Apple FCPx for editing, Da Vinci Resolve Studio 16 for grading and Avid Pro Tools Ultimate 2018. This phase took a week.

“It was imperative that we incorporate all the shots which guaranteed the wow effect. On the editing table, we had to ensure the shots gave us a literal adrenalin rush, which was the desired effect of speed. This is what we wanted to showcase,” explains Tanna.

“For the third edition, we wanted to surpass the 270km/h barrier and do something which has never been tried before by any hair product, hence we decided to go for wing walking” Prateek Jugran, Senior Product Manager, Dabur International The producer credits the success of the shoot to the support of Dabur Vatika and his team.

“Our production team comprised eight members: four from AeroSuperBatics UK – Martyn Carrington, David Barrell, Kirsten Pobjoy and Jemma Craigie; Ryan, our stuntman; and the camera team from YDM Aviation – Glenn Stanley, Billy Lipsett and Colin Norwood.

“We also had a lot of support for pre-production from Sanjeev Pahwa, my Associate Producer, and both of our editors – Pinkesh Surtani on post and Ranjeet Raju on sound design and mixing.”

Dabur’s Senior Product Manager Jugran adds: “We shot in some extreme conditions with freezing temperature and high wind speed, but all thanks to the KKDD team and especially Kinjal Tanna for executing this ad.

“The ad has accumulated 12m views, 21m impressions, 300,000 likes, 60% VTR (industry average is 27%) and 15% SER (industry average is 1%).”

The efforts of the team did pay off in a successful shoot.

The Vatika Wing Walking Challenge has garnered 1,523,898 views on YouTube in less than two months.

Prateek Jugran, Senior Product Manager at Dabur International, says the idea was to test the hair gel in the most extreme conditions.

September 2019 | www.broadcastprome.com | 29

PROEGYPT

THE RISE AND FALL OF

THE EGYPTIAN MOVIE INDUSTRY Egypt was hailed as the centre of Arab cinema in the mid-'90s, but production has dipped in recent years. In fact, it is no longer on the list of the top feature film producing countries, according to the UNESCO Institute for Statistics. Rasha Shokr outlines the conditions that favoured the golden era of Egyptian cinema and proposes a solution for restoring Egypt to its past glory

30 | www.broadcastprome.com | September 2019

PROEGYPT

The Egyptian movie market needs to break away from the legacy of the past to witness a cinematic revival, says Rasha Shokr.

The Egyptian movie industry was born in the first wave of cinema at the end of the 19th century.

The first silent Egyptian film was produced in the beginning of 1896, and a full-length feature was released in 1927. Egypt’s geographical location played a key role in ensuring that Cairo remained a hub for the movie industry, and it continued to evolve and flourish.

Cairo and Alexandria were two Mediterranean cultural melting pots, among the few cities in the region considered cities of enlightenment. The openness of Egyptian society at the time led to the acquisition of art, artistic education and skills, as well as the development of a movie-making culture.

The golden era of Egypt’s movie industry lasted from the 1940s to the 1960s, when Egyptian productions mimicked Hollywood movies. In fact, if you mute and watch Egyptian movies from the golden era, they look like their Hollywood counterparts. It was the era of well-known directors Youssef Chahine and Niazy Mostafa, and actors like Omar El-Sharif.

Egyptian films like Shabab Emra’a, El Leila el Akhaira and El Arad shone at the Cannes Film Festival.

The trilogy of Naguib Mahfouz, Nobel prize winner in 1956, and the artistic boom of the 1960s took place while Egypt was ravaged by war. Almost all the renowned actors and actresses of the Arab world emerged in that period.

The Egyptian movie industry model during the ’40s and ’50s was close to the French model.

It attracted talented artists from across the Middle East. Cairo and Alexandria were cult cities.

Their lifestyle made them cultural hubs for Egyptians as well as non-Egyptians. That went hand in hand with a certain lifestyle.

Families thought it prestigious to

“What Egypt needs now… is a reset button… It needs to set a target of 100 movie productions and co-productions each year, to become one of the top 10 feature film producers in the world” Rasha Shokr, writer, movie critic and vlogger send their children abroad, especially to Europe, for an education. That served as a magnet for attracting emerging arts. Upper-middle-class educational exchange trips made it easy for the movie industry to find its way to Egypt, for an easy landing in a culturally open society.

The French model relies on attracting directors, writers and artists from all over Europe, and maintains that role successfully even today.

Many well-known Polish directors, for instance, found their way to France and made it their home. The concept of having culturally sophisticated downtown areas is European. This became part of Egypt’s own profile for art and movie communities.

Egypt adopted the concept of elite art centres and had movie theatres in every major city’s downtown area as far back as the early 19th century.

Those areas were considered a window to the outer world and beacons of

cultural trends, instantly attracting anyone who worked in the creative fields. It was also considered part of raising awareness and building an open society. The urban movie theatres led to the popularity of the movie industry in Egypt.

The European film industry model survived, flourished and merged with other markets worldwide. Unfortunately, this was not the case in Egypt. The golden era for feature movie productions was tied to a certain cultural lifestyle. With political shake-up in the country over the years and subsequent changes to society, the movie industry faltered. The formula was not the same.

As the cultural hub of the Arab world with its rich history and know-how, Egypt should have reached the 250m Arabicspeakers in the Middle East. But it fell from grace, slipping out of the top 15 feature film producing countries, according to the UNESCO Institute for Statistics.

No doubt there have been isolated cases of success, but they do not fulfil the goal of creating a successful market. The commercial viability of any film market depends on managing the entire ecosystem and infrastructure within a country, not just individual projects.

What Egypt needs now, therefore, is a reset button; it needs to reposition itself in the market for the new rising Arabic-speaking generations who are also avid fans of American movies. It needs to set a target of 100 movie productions and co-productions each year, to become one of the top 10 feature film producers in the world.

I believe the answer to that challenge lies in drawing on the successes of the Chinese, South Korean and Japanese markets.

These markets have similar challenges, including cultural

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PROEGYPT

and linguistic barriers, yet their reach has been incredible. Their audiences are also recipients of Hollywood movies, as are young Arabic-speakers. These markets are challenged to create content that stays close to the hearts of local people while also being as attractive as global productions.

The Chinese model especially, of bringing all the mega movie producers under one business umbrella, may be a potential solution to help revive the

Egyptian movie market. Otherwise, we may continue to have sporadic productions that give voice to individual Egyptian productions in Arab movie theatres but fail to lift the whole movie market. These individuals or isolated projects are to be applauded, but they are not large or prolific enough to create a thriving commercial market or produce a slate of feature films for big screens.

The challenge in Egypt is that many will have to shake themselves out of living in the legacy of the past. The

past is now an impediment, because the communities that created the Egyptian movie industry in the early 20th century, along with the glamorous downtown mentality, no longer exist and won’t again.

We have a great heritage, but it’s now time to create a greater future by bringing a fragmented industry together and creating a commercially viable ecosystem.

Rasha Shokr is a writer, film critic and vlogger based in Egypt.

The Passage – renewed hope for the Egyptian movie industry in 2019 The Passage, one of the biggest Egyptian movie productions to date, has been enjoyed by both young and old in the Arab world, raking in cash since it launched in theatres in early June. Made for $4.2m, it has already generated more than $3.3m at the box office, bringing hope to Egypt’s movie industry.

Directed by Sherif Arafa and produced

by Hisham Abdel Khaliq, The Passage stars superstar Ahmed Ezz, alongside Tunisian actress Hend Sabri and Jordanian actor Eyad Nassar, among others. It addresses the period after the Six-Day War with Israel in 1967, known as the Setback in some Egyptian history books, and the subsequent War

of Attrition, which continued until 1970.

It challenges the definition of the war as a defeat for Egypt. According to the movie, the military defeat was an institutional failure, not a failure of the army or the people. Set in 1967, it particularly focuses on a special army operation that was concluded with huge success, raising the morale of Egyptian society at a time of loss caused by war.

Over the last 15 years, Egyptians have abandoned poorly developed local movies and plots, in favour of Hollywood productions. The Passage, however, shines a light on Egyptian cinema and is testimony to the huge potential for high-quality productions in the country. It

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reflects a new vision and direction for content while using all the local resources of talent.

There are many reasons for the smashing success of The Passage. The film spans 50 years,

making it easy for all generations, including teens, to identify with it. It stirs emotion around the victories and losses of war, fanning the flames of national pride with high craftsmanship.

The movie reminds me of the movie Dunkirk (2017), directed by Christopher Nolan.

Both films showcase war with a powerful intensity while also celebrating heroism.

For the last 40 years, the Egyptian movie industry has not succeeded in bringing history and war together as it does in this mega production. The Passage has helped the Egyptian movie industry regain the respect of both older and younger generations.

The unprecedented family consensus on The Passage is remarkable, and its timing is also significant, given the political events in Egypt of the last few years. The movie is a big thank-you note to the army and all fallen heroes.

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PROTRAINING

BREAKING THE SOUND BARRIER

Attendees at one of the workshops held by the Deaf Film Lab.

Deaf Film Lab, an innovative initiative in Egypt, is inspiring deaf youth to take up filmmaking. In an interview with Rachel Dawson, founder Waguih El Laqany shares how the initiative is pushing the envelope for inclusivity in cinema “I could never imagine that deaf people could shoot films,” says nineteen-year-old Islam Ahmed, who chanced upon a workshop designed for the deaf in his hometown of Alexandria in Egypt early this year.

Ahmed, who works at a restaurant and has always been passionate about street photography, is one of the young people who have learnt the entire gamut of filmmaking, from filming and colour grading to editing, at Deaf Film Lab – a non-profit initiative founded in 2018 by Waguih

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El Laqany for deaf youth to pursue filmmaking and bring out their creative ability and youthful energy.

“At the workshop, I learned everything about filmmaking, starting with screenwriting and directing,” he enthuses.

“The workshop helped me hone my skills by teaching me how to shoot in both day and night mode as well as external and internal scenes. My skills in photography were basic, but when I joined the Lab, I started to learn professional photography and editing, and now I can

PROTRAINING

Trainees at the Lab are given 144 hours of practical and theoretical lessons on various aspects of scriptwriting, directing and editing.

shoot films on my own.”

Laqany says the initiative aims to enable aspiring deaf filmmakers to use film as a medium to communicate with society, as a tool to express their ideas, dreams and visions.

He is a co-founder of Cinema Everywhere, an initiative that seeks to expand cinemas in Egypt, and the inspiration came to him after a special screening of silent films.

“We screened films without dialogue at deaf associations, organisations and independent gatherings.

“Then, as part of a screening programme I’d conducted with the American Embassy in Cairo, we translated four short films of the American Film Showcase into Arabic sign language through C Film Translation Centre, another initiative of Cinema Everywhere.”

The films were screened at several Egyptian governorates and got a lot of attention in the deaf community.

“We conducted a simple training project in 2017 to measure the extent of a deaf individual’s ability to learn visual arts, by providing them with cinematography training through a project called A Look at the City. This was a training workshop on photography and lectures on human relations in the city, resulting in an exhibition at the Goethe Institute in the winter of 2017; this project encouraged me to think about implementing the Deaf Film Lab initiative,” Laqany explains.

“At the film screenings we conducted through the years, many deaf people made it clear that they wanted to learn and study filmmaking, so when I saw the impressive results of the photography workshop, I learned more about the difficulties they face and tried to address those challenges when I launched Deaf Film Lab.

“We managed to get funds for the project from the Arab Fund for Arts and Culture (AFAC), which covered trainers, equipment rental and the wages of sign language interpreters, and all the expenses of the workshop.”

Laqany wants to enable deaf individuals to enter mainstream cinema as trained professionals.

The goal is to create an environment conducive to learning filmmaking, and to this end, the Lab oversees everything from the training of deaf filmmakers right up to marketing, distribution and special film screenings.

Attendees study various elements of filmmaking, including screenplay writing, framing elements, cinematography, directing and film editing with Adobe Premiere, with all workshop content translated and interpreted into sign language

by Egyptian interpreters. This is all done within a span of 144 hours, over the course of 24 sessions.

The Lab has birthed several film projects, such as The Game, written and directed by Fatma Belal, with Islam Ahmed as the DOP. The film follows a group of deaf people in a park who play a game only they understand.

Other youngsters join in, while two passers-by watch but fail to comprehend. The Game conveys a larger message that addresses ways in which deaf people are misunderstood.

Belal says: “When I first joined the Lab, I found it hard to learn filmmaking, but gradually I began to understand and love it. I learned how to write a screenplay, how to direct, shoot and edit a film.

I learned the basics of principal roles in filmmaking, such as the cinematographer, the editor and the first assistant director. I specialised in scriptwriting and directing.

“I wrote the screenplay of my film and directed it. The film is about a game that only deaf people play.

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PROTRAINING

Waguih El Laqany aims to widen the reach of the Lab to other Arab countries.

“It’s a great and joyful game, all the deaf like and play it – I learned it from my deaf friends. I conceptualised a film on this because it was a real-life experience for me.

“Whenever I saw a normal person watching us play that game, they always had many questions and didn’t understand how it’s played or why we enjoy it.

“So I wanted to put the skills I learned at the workshop into use by making a film to convey to people who can hear that being deaf doesn’t imply being disabled.

“One day I aspire to be a professional filmmaker and hope to teach the art of moviemaking to youngsters.”

While aiming to inspire and empower more young minds like Ahmed and Belal, Laqany says the Lab will also be supporting the deaf in a bigger way.

“Deaf Film Lab is planning to have a permanent training centre fully equipped with training

“We aim to create the first feature-length film that is produced 100% by deaf people behind and in front of the camera, starting from the ideation right through to writing, directing, editing and post-production” Waguih El Laqany, Founder, The Deaf Film Lab

Deaf Film Lab plans to open a permanent training centre in the coming months, with previous trainees serving as instructors.

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equipment and data visualisation tools, and a number of deaf trainees in previous rounds will become trainers in the next round.

“They will also take part in the coordination of the training and production projects.

“We also plan to implement a more advanced training for attendees who have already specialised in the first workshop in film directing, editing, screenplay or cinematography.

“We plan to widen the scope of Deaf Film Lab not only in Egypt, but to include the rest of the Arab region.

“In addition, we aim to create the first feature-length film that is produced 100% by deaf people behind and in front of the camera, starting from the ideation right through to writing, directing, editing and post-production.

“This way, we hope to integrate more deaf filmmakers into the Arab filmmaking market,” Laqany notes.

PROTECH

TAKING BROADCASTING HIGHER WITH THE CLOUD

In a chronically low-bandwidth region like the Middle East, cloud-based encoding technologies offer the best solution for streaming service providers looking to deliver content in HD, 4K, 8K and beyond, says Gerald Zankl The shift from traditional broadcast methods to cloudbased over-the-top (OTT) streaming has been a game changer for the Middle East TV industry. The region is home to more than 182m internet users and 304.5m mobile subscriptions (We Are Social, January 2019), which means mobile is leapfrogging TV to become the first screen, simply because it is the most accessible device for consumers.

Yet despite consumer consumption habits leaning towards streaming content from mobile devices, the reality in the Middle East is that available bandwidth is affecting access to high-quality streaming, slowing delivery and reducing the quality of image on arrival. With such a huge online consumer base now looking to access OTT services, it is essential that users be able to stream the highest-quality content from any device and location.

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There has been much promise of 5G revolutionising streaming by minimising buffering and delays, and while the Middle East is gearing up for the arrival of 5G, it is unlikely to have an impact on the average consumer in the short to medium term. Indeed, the earliest we can expect to see 5G networks is in 2020, and even then only a minority of devices will support it.

For streaming service providers, the most readily available solution for delivering high-definition TV, film, sport and documentary content in a region with chronically low bandwidth is the deployment of next-generation cloud technologies. Cloud-based encoding technologies have the potential to dramatically improve quality of service and have already been deployed by forward-thinking broadcasters like OSN. As a result, they are driving major changes in the

PROTECH

region and underpin a number of trends that are facilitating the cutting-edge experiences consumers expect and deserve.

The move towards a multi-codec world The launch of AV1 has been one of the industry’s hottest topics, due to the promise of being able to process UHD much faster than any other solution on the market.

It’s also royalty-free, effectively levelling the playing field for innovation and allowing more agile players to compete with industry giants. AV1 is likely to be rolled out for premium VoD services first, enabling providers to spread the cost of computer resources while the wider market begins mass adoption of the codec over time. We expect that 2019 will accelerate the trend towards a multi-codec world as all content providers select the best solution for different scenarios.

This bandwidth-saving technology will benefit TV service providers by enabling a player to detect what the most efficient codec is on any browser or platform. AV1, h.264, HEVC, VP9 and VVC have all been designed to suit a specific environment or type of content. By encoding videos into multiple codecs and configuring a player to make informed decisions about which files to stream and to whom, operators can deliver the highest picture quality on existing bandwidth.

Leveraging the power of machine learning Technologies such as per-title encoding will benefit TV service providers in the region by adjusting an encoding configuration to optimise a specific video asset. This leverages the fact that some videos are far less complex than others, and therefore can be encoded at lower bitrates. Cartoons are a classic example – they contain scenes with large areas of solid

“Technologies such as per-title encoding will benefit TV service providers in the region by adjusting an encoding configuration to optimise a specific video asset” Gerald Zankl, Director of Business Development, Bitmovin colour at a low complexity level, which can be compressed much more efficiently than more detailed scenes in blockbuster movies or high-quality nature documentaries.

Per-title encoding relies on performing a complexity analysis on each title before the encoding process begins. That complexity score is used to adjust the bitrate ladder by sending a new encoding profile to the encoder. The result: each video in a library is encoded in a way that best suits the content – minimising the bitrate where appropriate and greatly reducing bandwidth usage.

Quality as high as the eye can see One of the biggest challenges facing the Middle East is low-bandwidth constraints. This can be overcome by delivering streams in the highest quality that can be perceived by the human eye. Technologies like per-scene adaptation leverage the fact that the human eye is unable to register a lot of the information delivered in a video stream. In most videos, many scenes can be streamed at a lower bitrate without the viewer noticing. Per-scene adaptation involves supplementing the adaptation logic that governs viewer behaviour with an additional stream of quality metadata containing information about the visual complexity of a particular segment in the video.

In an adaptive streaming scenario with a standard configuration, the player attempts to download a video file that fits the screen on which it is playing. A player configured for perscene adaptation is alerted to the fact

that an upcoming segment can be played at a lower bitrate without any noticeable loss of quality. The player thus adjusts itself accordingly to reduce the bandwidth consumption – in some cases by 30% or more.

The quality metadata required to control this process is generated by running an analysis on each video as it is encoded, using a variety of perceptual quality measurements, meaning the encoding process is optimised for the human eye.

This metadata is included in the adaptive package and streams to the player in a similar way to subtitles and closed captions.

Future-proofing OTT Eventually, the Middle East will have democratised access to much faster mobile networks, and I welcome that when it comes. But by then more people will be consuming even more content at higher resolutions, and we will find ourselves in the same position if content is not being managed and distributed in the most efficient way possible.

At CES and NAB this year, 8K cameras, devices and complementary technologies were increasingly prevalent. When they become more mainstream, the need for multi-codec streaming, per-title encoding and perscene adaptation will become even more critical, even on 5G networks that come close to achieving the speed and bandwidth availability promises being made right now.

Gerald Zankl is Director of Business Development at Bitmovin.

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PROINTERVIEW

FORGING A NEW PATH AT FIFTY

ASBU celebrated its 50th anniversary this year at the Arab Radio and TV Festival in Tunis, with events planned throughout the year to commemorate the occasion. In an exclusive chat with BroadcastPro ME, ASBU Director General Abdelrahim Suleiman shares some of the organisation’s recent milestones and its technical strategy for the year ahead Congratulations on ASBU’s 50th anniversary. How was this edition of the event different from previous years?

Indeed, it was a fabulous reunion that brought to Tunis all the people who made a difference in ASBU’s history – former employees, professional partners, political figures, artists and various colleagues from around the world. This was ASBU’s way of saying thank you.

The celebration of the 50th anniversary (1969-2019) was launched during the Arab Radio and TV Festival (June 27-30), but will continue all year long. Several events and actions were undertaken and will be organised. They mainly include the production of a video documentary on ASBU’s achievements and the difficulties it had to face during half a century; a book on ASBU’s history; a document exhibition inaugurated during the Festival; and several workshops, seminars and meetings to highlight, discuss and assess what ASBU has achieved or failed to achieve, the challenges ahead, and the programmes and the future orientations in which it is engaged. A number of professional

training sessions are also scheduled to take place in different Arab countries.

How has OTT been received in this market, and is ASBU looking closely at this segment?

ASBU OTT services have been provided on an international level through an agreement with GLArab, which is available on www.glarab.com.

This service may be received on IP receivers, mobile and fixed PC services.

Approximately 47 Arab TV stations are broadcast on the platform. Our audience time has grown over the years to around 2.5m viewing hours, where the majority of audience is in North America, besides Australia and East Asia. On a regional level, our members are starting small networks over the internet, while others are looking into a more cost-effective solution over HbbTV 1.5. The latter requires the availability of smart TVs or IP set-top boxes.

Who were the big winners at the Festival this year?

For the second year in a row, the

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PROINTERVIEW

The 20th edition of the Arab Radio & TV Festival opened with a gala ceremony. The Festival serves as a platform to highlight innovative technologies while also spotlighting the achievements of broadcasters in the Arab world.

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PROINTERVIEW

Festival’s organising committee has chosen to entrust the arbitration of its competitions to an independent jury made up of Arab experts in various fields of radio and TV content production. The impact on the results was enormous.

Competitors were mostly happy with the award distribution, a wide variety of programmes and TV and radio channels won the prizes, most sub-regions in the MENA area and abroad (China, BBC) were present on the podium, and the award distribution ceremony was enthusiastic. The award-winning programme themes mostly focused on TICs and science, new media and awareness-raising content.

You implemented the cloud last year. How has that evolved, and how has MENOS been updated to improve service for members?

MENOS Plus has evolved in a way that allows ASBU to cut its operational costs considerably and utilise its spectrum resources efficiently. At the same time, our members enjoy HD quality and low-latency contribution.

Now, ASBU is looking to upgrade its radio exchange network.

The Arab Radio and TV Festival brought together former ASBU employees, professional partners, notable public figures and industry leaders from across the globe.

In parallel, ASBU has started its cloud services deployment in order to meet the immediate needs of its members for fast and unmanaged internet-based contribution, with free access anywhere, anytime, while building a future-proof IP

“Our audience time has grown over the years to around 2.5m viewing hours, where the majority of audience is in North America, besides Australia and East Asia” Abdelrahim Suleiman, Director General, ASBU

Several awards were presented to the top programmes in the Arab region. Pictured third from left is Khalid Balkheyour, CEO of Arabsat, one of ASBU's key partners.

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platform. There are, however, some challenges to securing the most feasible economical solution, as we have to meet more demands with the same or even sometimes lesser cost. ASBU is providing the service smoothly where about 10% of the news exchange takes place on this platform, although we are slowly widening our reach globally.

What new technical improvements and strategic plans do you have for ASBU? ASBU is facing real challenges with introducing new services and technology to our members.

IP, UHDTV and HDR, as well as accessibility for all members, are on the cards. Artificial intelligence for more personalised content is also on the top of the agenda. ASBU has moved one step forward in producing a guideline to introduce Access service, so as to incentivise our members to serve all of the citizens. As part of this, we are also looking to use a unified artificial intelligence platform to allow speech to text and text to speech, so that our members can depend on the automation process for creating accessible content with minimal human intervention for creating the final product, thus reducing the production cost. Similarly, we are producing guidelines to introduce new IP-based live production in our members’ area.

PROINTERVIEW

“It was a fabulous reunion that brought to Tunis all the people who made a difference in ASBU’s history” Abdelrahim Suleiman, Director General, ASBU

What courses is the ASBU academy offering, and how do they help the community?

Since its launch in April 2017, the ASBU Media Training Academy has worked on two parallel axes to achieve its objectives.

It first focused on designing a comprehensive strategy to improve the academy’s performance, finalise its departments and enhance its impact, by pursuing academic methods based on the most up-to-date training curricula and partnering with prestigious international training organisations.

Secondly, the academy has designed a comprehensive training programme based on the needs defined by member corporations, to keep abreast of the technological challenges in the fields of digital media, and to maintain and improve their role in the media landscape.

We have completed 63 training sessions so far, including decentralised courses from the annual programmes and ondemand, on-site courses to support corporations that lack financial resources. 847 trainees from 28 countries and 76 corporations participated in these sessions.

Most training courses use an interactive method that integrates both theoretical and practical content, as well as the latest technology and equipment.

What is the Chinese connection?

China seems to have a big presence at the Festival every year.

Yes, we have had Chinese participation for the fourth year in a row at the Arab Radio and TV Festival with a large dedicated pavilion, and this represents one of the event’s key highlights. We are all aware of how active the Chinese audiovisual industry is throughout the world. At ASBU, we would like to play a leading role in channelling the overall cooperation between China and the Arab region in the field of

radio and TV. Several cooperation texts have been signed by ASBU and various Chinese institutions, including a Memorandum of Understanding (MOU) with China’s International TV Corporation.

ASBU also participated in the 2018 Belt & Road Media Community Summit Forum, held on September 14-15, 2018 in China. The Chinese pavilion attracts scores of interested Arab visitors, including radio and TV officials, production companies, representatives, professionals and experts. Several joint ventures and cooperation projects were finalised during those visits.

When is the next Festival scheduled to be held?

The next edition will be held in mid-June 2020 at the City of Culture in Tunis.

Abdelrahim Suleiman addresses the gathering at the Arab Radio and TV Festival in Tunis.

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PROFILM

Nada Riyadh is best known for her film Fakh (The Trap), which rose to fame when it was selected to be screened at Cannes Critics' Week earlier this year.

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PROFILM

COURAGE IN ACTION

At the Cannes Critics' Week Competition in May, six of the 10 selected projects were directed by women. Among them was Egyptian director Nada Riyadh’s film The Trap, which sparked controversy for its bold storyline but won critical acclaim. Riyadh shares the highlights of her filmmaking experience with Rachel Dawson Egyptian director Nada Riyadh’s film Fakh (The Trap) premièred in the short film category at the 58th Semaine de la Critique during the Cannes Film Festival 2019 in May, and received a lot of attention as a German-Egyptian co-production challenging societal norms. It features a deteriorating relationship between a man and a woman, while exploring the human psyche from a female perspective.

While Riyadh’s film did manage to make it to Cannes, the journey itself involved more hurdles than she had imagined, she says. Halfway through the film, production had to be stopped due to what the filmmaker calls “resistance”.

“This film is an Egyptian-German co-production, which affected the filming a lot. When we started preproduction, we did not realise that having a mixed team of Egyptians and non-Egyptians would be problematic on a subject as taboo as domestic violence in Egypt.

“People were already wary, and even more because it was an international co-production. We were forced to stop when the lead actress and some of the crew members decided to withdraw from the film halfway through the filming. Even the set was ransacked, and we had to stop everything after spending 70% of the budget. The rental houses that loaned us the cameras and additional equipment decided to retract all leased facilities as well.”

The team eventually regrouped, recast and adopted a new strategy to shoot a second time with a new lead actress.

“Reshooting meant starting from scratch. I’d say we had a paramount financial situation to budget the second shoot schedule. But then we kind of developed a plan B to make this film in a way we believe in.”

Riyadh highlights the support received from producers Eva Schellenbeck and Ayman El Amir, and says the topic of her film was a little unconventional and that because it dealt with a sensitive issue like abusive relationships, it challenged norms.

“Conservatives were not pleased with the film’s storyline and tried their best to create hurdles for the production. The industry is also not very welcoming of women directors.”

The struggle was harrowing for Riyadh, who says she almost lost her drive to make the film because of the backlash.

“It’s not easy to have a clear thought of what motivated me to make this film when production goes through so many problems. With such complications, it was hard to maintain a positive attitude. You have to constantly remind yourself why you want to make films and why it’s relevant to society.”

Riyadh’s story is not unique. She says Egyptian female directors are under-represented in general.

“Out of the 37 theatrically released films made in 2018 in Egypt, only four were produced by female producers and none were helmed by female directors. I think the industry is quite resistant to stories told from a female perspective.

They are more used to films told from a dominant male gaze.”

The Egyptian-German co-production was a result of the Robert Bosch film grant that Riyadh won in 2017 at the Berlin Film Festival. This one-year annual development programme offered by Robert Bosch, extends compensation through various levels of development, and The Trap went through a series of phases before it was made into a film.

“Together with our German counterparts, we decided on the best plan to go on a three year period to make this film. One year was spent developing a strategy and how to finance the project.

“Another year we kind of spent trying to fix the location. Because it was set in such a difficult location, we spent a lot of time allocating production modules.”

To ensure the quality of her film was not undermined, Riyadh chose to shoot on the Blackmagic URSA Mini Pro 4.6K camera and a Zeiss high-speed lens set. Distribution was managed by Italian sales agent Lights On. The film was shot in an old resort in Agami, not far from

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PROFILM The film faced strong criticism and was put on hold temporarily before restarting with fresh crew and talent.

Credit: Pierre Caudevelle

Alexandria. It was a hub of the Egyptian rich and famous in the 1980s and ’90s, a fancy place where they used to spend their summer vacations, says Riyadh.

“It used to be a beautiful place, but in the last few decades it has become a hideout for drug dealers, vice workers and even fundamentalist groups,” she explains. “For me, filming there was a way to capture the decay of the Egyptian society in which we live. From a visual perspective also, the structures are very striking and say a lot about the situation of the country.”

Riyadh is not alone in her difficulties in a largely conservative society. Other notable filmmakers in Egypt are also defying societal norms with television series and movies that deal with modern relationships between men and women and the empowerment of the young.

To support fresh voices and filmmakers in the early stages of their career, she started Felluca Films, her own production house in Cairo. Her goal is to support filmmakers who “want to share an idea that is not

“I think the industry is quite resistant to stories told from a female perspective. They are more used to films told from a dominant male gaze” Nada Riyadh, director/producer, Felluca Films very mainstream or acceptable by the standards of society”.

Riyadh was born in Alexandria and studied engineering before pursuing a career in cinema. To continue her education, she moved to Cairo and won a competition to participate in a

The cast and crew of The Trap at the world première of the movie at La Semaine de la Critique.

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workshop supervised by Egyptian filmmaker Mohamed Khan. There she made her first film, Ifterady (Virtual), produced by well-known producer Marianne Khoury and Misr International Films in 2013.

Three years later, she cofounded a movie and documentary production company with her partner, Ayman el-Amir. She later launched Mahd Film Lab, a programme that supports aspiring filmmakers in the MENA region.

Riyadh is part of a new wave of filmmakers attempting to revive what they call the Golden Age of Egyptian cinema by depicting topics of social taboo. She is presently working on two feature films, the details of which remain under wraps, as well as the fourth edition of Mahd Film Lab. The Trap’s première at Cannes was a surreal experience for the young Egyptian director.

“Until the credits rolled and the curtains closed at the Cannes world première of The Trap, I never realised that the film was finally over. After all the drama, it was such a validating experience and celebration of the hard work that was put in. It was reassuring to meet our German co-producers, our sales agents, actors and DPs; it was a reunion and celebration of all the hard work put in. I was on cloud nine.”

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PROENGINEERING

ENGINEERING CHANGE

Lack of exposure and incentive are major factors that contribute to unequal representation of women engineers in the broadcast field. Pauline Hunter, Senior Manager, EPG Broadcast Management Systems at OSN, shares her insights on breaking into the industry with Rachel Dawson Women in the broadcast industry are under-represented.

This can be traced to either not being given the same exposure as their male counterparts, or not being encouraged to pursue technical careers.

Compared to MENA, there are signs of positive change in the UK based on Ofcom’s 2018 Diversity and Equal Opportunities in Television report, which examined the representation of women across the five major broadcasters – the BBC, Channel 4, ITV, Sky and Viacom (which owns Channel 5) – in the UK and found that overall, women in the TV industry (46%) are represented broadly in line with the UK’s working population (47%).

While there is a small increase in women at senior levels, Sky employs fewer women (38%) as a proportion of its workforce than the other broadcasters. The proportion of women at senior management level across the industry has increased from 38% to 41%. Viacom and ITV have the highest proportion of women in senior management positions at 45%, while Sky has the lowest at 38%.

Men continue to dominate technology and engineering roles, with only 25% of these jobs held by women.

Women are also under-represented to a lesser extent in creative and content production roles (43%). Still, these numbers are much higher in the UK than in MENA. In the MENA region, women engineers in broadcast are a minority. We caught up with Pauline Hunter, Senior Manager, EPG Broadcast Management Systems at OSN, to learn more about her experience working in a male-dominated industry.

Undertaking the role of a broadcast systems engineer is an experience unlike any other, and because of its highly technical nature, most women don’t discover it, says Hunter.

“It’s not one of those traditional jobs like a doctor or a lawyer, so I don’t think you’ll ever hear someone in school say they want to be in broadcast IT or broadcast engineering.”

She explains that only when more women are encouraged to undertake technical roles can the possibility of seeing a balance in the gender scale be realised.

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“This is one of those fields you come across by accident, so what you find is people working on the business side who kind of fall into it. I’m from an IT background and ended up specialising in broadcast systems.”

Hunter works at OSN’s Broadcast Engineering department, where she looks after two distinct areas – the Channel Management/Broadcast Management systems and the Electronic Programme Guide (EPG), which she heads. She is also in charge of ensuring proper metadata for content.

“The CMS is used in many areas of the business, and it follows the life cycle of a programme from when we acquire it to when it is transmitted. So, effectively the planning and scheduling for linear and non-linear media are done via the CMS, and it interfaces with the media management systems and the EPG systems. So there’s a lot of interfaces that we need to look after from all the life cycle stages of that programme,” she explains.

“Once the content is acquired, it goes through the media workflow. All that information needs to be recorded in the system so people know the duration of a show, and then it needs to go through compliance checks. The planners and schedulers create an EPG for it and then they send a playlist of transmission for when it can be played out. We support the business from a technical point of view. We have to make sure that data is enriched to ensure greater content visibility and discoverability for the viewer.”

Of course, none of this is without its challenges, says Hunter.

“At OSN, the CMS hadn’t been upgraded for eight years, so effectively the upgrade meant scaling the system up 60 versions, and that was quite challenging. Together with my team, we managed this upgrade with no hiccups. From a customer-facing EPG perspective, the challenge is to ensure that the EPG for OSN’s 22 channels is correct, up-to-date and fresh. Our goal is to make sure the guide is informative; it tells them enough to pull them to the programme.”

Since the UAE country is so multicultural, it’s imperative for TV to reflect that in terms of serving audiences with

PROENGINEERING

Pauline Hunter, Senior Manager EPG Broadcast Management Systems at OSN, says that while she sees positive signs of gender diversity, women need more support to enter technical fields.

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PROENGINEERING

Prior to her role at OSN, Hunter has undertaken roles in broadcast technology at Sky and Disney.

a diverse slate of content and multilingual programmes, she says.

Hunter first dabbled in broadcast technology at Sky, where she was Head of Support of Broadcast Applications. She then worked at Fox Kids until it was acquired by Disney. Hunter spent approximately 12 years at Disney, where she oversaw the Broadcast systems for EMEA. Hunter admits she never thought she’d be a broadcast engineer in college. Her education did not determine her venture into the broadcast industry.

“I studied Fuel and Energy at Leeds University. I wanted to be a reservoir engineer in 1989. When I finished my undergrad degree, I was working for the local authorities on energy projects. After that, I did something completely different and worked for a branch of the Chamber of Commerce.

There I was helping women set up businesses, particularly from ethnicminority backgrounds in the UK.” Following this, jobs included a venture into medical software, where she was part of the Patients Not Paper campaign in the UK, a national service looking to reduce paperwork. She worked alongside a team that tried to build software that linked hospitals to doctors electronically. Then there was a change in government and the project came to a halt.

In 1997, Hunter bagged a role at Sky – “my first role in broadcast” – as Head of Support of Broadcast Applications, responsible for affiliate channels such as Fox Kids, National Geographic and Nickelodeon, all joint ventures at the time.

“This was my official introduction to the broadcast industry. Sky is an excellent place to work.

It was innovative and in a lot of ways set the benchmarks in terms of their projects.”

Hunter eventually took a position at Fox Kids, later acquired by Disney, and stayed there for twelve years until she moved to OSN. She has worked with both large and medium-

“At OSN, the CMS hadn’t been upgraded for eight years, so effectively the upgrade meant scaling the system up 60 versions and that was quite challenging” Pauline Hunter, Senior Manager, EPG Broadcast Management Systems, OSN sized media corporations, and says both come with challenges and benefits. She describes a bigger conglomerate as a huge wheel that picks up pace as it moves.

“With bigger budgets, you get to do so much. The projects are bigger. But with OSN and Fox Kids, the challenge is to achieve what the mega guys are doing at the same time frames. I must admit these smaller companies manage to keep up, to find innovative ways to achieve the same without the bigger budgets. They become slicker to cut through the chase.”

Hunter has been at the helm of the Broadcast Engineering department for the last two years.

Key achievements include several successful channel migrations.

“One major difference that I’ve witnessed with the pay-TV market in the Middle East, in comparison with

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Europe, is the importance given to TV ratings. In Europe, advertising and ratings are considered paramount to decision-making, whereas it doesn’t seem to be as much in the MENA region, mainly because it’s so difficult to aggregate those, and again because of the diversity – it’s very hard to pinpoint the trends in terms of what people are watching.”

She adds that the cost of data is still considerable here, and as a result people consume data very differently while they commute.

OSN itself has been a leader in implementing technologies whether it has to do with cloud, machine learning or AI and Hunter is part of a team that drives innovation in the network.

“I’m very interested in what other companies are doing and why they’re doing it. This is because eventually you want your company to be able to have an edge, and if you’re behind with technology, you can neither be the innovator nor can you be the first.

That means you’re playing catch-up always. At OSN, we want to be at the forefront of technology, we believe that we lead. Therefore there’s been a lot of investment into technology, to ensure we don’t just keep up but set the trend. We’re working on our

PROENGINEERING

system to make it more efficient; our systems are sorted in terms of supporting the linear business, but the OTT, non-linear business also requires some attention so that we can support that team and have a better turnaround. You want your systems to be cleverer so that you’re just verifying what the systems can do.”

In keeping with OSN's innovative streak, Hunter reveals that an AI component is in the offing. “We will hopefully be working with people who develop AI or bring that into practice. I’m looking at systems that employ AI components to take our OTT element forward.”

OSN is presently looking to consolidate its content offerings, making them cleaner for customers so that they can easily identify and choose the content they want to access.

“We’re constantly on the frontline

“I’m looking at systems that employ AI components, to take our OTT element forward” Pauline Hunter, Senior Manager, EPG Broadcast Management Systems, OSN of things, and I think that’s what I enjoy the most – to be able to innovate and create with the ever-changing trends of technology. That is the most rewarding aspect of my job,” she says, adding that OSN has played a key role.

“OSN tries to recruit the best person for the role, and by ensuring that, it ends up with diversity. When I look around, I see everyone from everywhere, men and women at all levels. I feel it looks for talent and makes sure that the right people are available for the roles.”

Hunter heads a team of seven women and two men, and is

confident in her leadership.

“I try to lead by example and not just dictate terms. What you don’t want to be is a woman leader who tries to emulate men; you want to make sure that you’re capable of showing the attributes of being a woman, rather than pretending that you’re a male leader. I feel this is something women leaders do; they become very hard and that restricts diversity in leadership.

“I think everybody has a viewpoint, and I think you need to make sure you bring that feminine viewpoint to the role, because otherwise it’s not authentic. I think women have a bigger picture approach, we’re able to consider more. I find that men are more direct, they know what they want and why they want it. Women do the same, but they can consider more, and therefore compromise more, based on those considerations.”

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AXIENT STRIKES THE RIGHT NOTE

Axient Digital was several years in the making before its release late last year, with Dubai rental house SLS Productions investing in the region’s first Axient ADX system. In an exclusive for BroadcastPro ME, Dan Dignan, Head of Audio at SLS Productions, gives us his verdict on the wireless system SLS Productions took delivery of the first Axient ADX system in the Middle East late last year, from NMK Electronics. The system included ten ADX2 with KSM8 capsules, sixteen ADX1, four AD4Q quad receivers and four AD4D dual receivers.

I had recently joined SLS over the summer as the Head of Department (HOD) of Audio and was given the challenge of bringing the department up to date. I had some key criteria for any equipment I was adding to our inventory. It had to be future-proof, high-end, able to make a quick return on investment (ROI) and, most importantly, redundant.

Axient Digital was high on my list. I was familiar with the AD series. The ADX had been demonstrated at CABSAT the previous year, and we immediately saw the benefits of such a system. Many companies in the region were waiting for Axient Digital as a suitable, affordable upgrade to their ULXD or UR4D systems. My timing was perfect, as ADX was released just a couple of months after I joined SLS Productions. I felt it appropriate to wait for what proved to be a fantastic product

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that we have used on every major event we have done in the last nine months.

The key selling point of the ADX series is the redundancy it offers. When your AD4Q receivers are networked with an AXT600 spectrum manager and an AD610 showlink access point, you can create a system with your microphones and belt-packs that allows you to set multiple back-up frequencies. The AD610 monitors the room you are in, and if a conflict arises for any reason, the system will automatically switch (if set to) both the transmitter and the receiver’s frequency, with almost no noticeable audible switchover – certainly not one that will be noticed by your audience.

This really appealed to me due to the region we are in and the lack of communication between clients and suppliers on certain high-end events. We often have all sorts of new frequencies coming into an event, with TV outlets and news broadcasters, royal protocol and other event companies all showing up after doors open to the public. The large corporate events in the

PROREVIEW

region do not allow for mistakes. The region often plays host to political leaders and VVIPs on our stages.

The budgets for these events are huge. Issues of any kind are not acceptable for a rental company; you are only as good as your last show.

I used to have to run around the press pits checking what transmitters were there and what frequencies they were operating on, with a list of available frequencies on a sheet of paper if anyone was close. It used to be a source of unnecessary stress in what is often a highlystrung atmosphere on comms already. The redundancy of ADX is a highly sellable item for clients for this exact reason, along with obvious back-ups such as a UPS on the power and a redundant loop on the consoles and the system. To be able to offer a microphone that can’t be interrupted has been a fantastic selling tool to some of our clients and a great relief from unwarranted

“With the rate of growth in Saudi Arabia, SLS is dealing with international artists so regularly now that my purchase decisions have become heavily rider-driven” Dan Dignan, Head of Audio, SLS Productions stress for my crew and me.

The 2018/19 season has seen the exponential growth of the Saudi Arabian market. SLS Productions, with its partners at 360 Productions, has been at the forefront, catering to many of the country’s first and largest events. From corporate events talking about future cities and Vision 2030 to international artists playing all over the country, Axient Digital has been used at all these events – and 90% of the time, along with PSM1000 and the P10+ IEM system, this has been the rider’s choice product.

With the rate of growth in Saudi Arabia, SLS is dealing with international

artists so regularly now that my purchase decisions have become heavily rider-driven, and there isn’t another wireless product more rider-friendly on the market. I am impressed with how Shure has managed to fit onto the back of the AD4Q with analogue, AES and Dante options. We often run Dante and analogue, allowing the use of all four channels with a secondary source.

With Dante running over our Luminex network, we have the option of taking the lines into a different rack than the analogue lines. Over the past few months, our ADX system has been used by the likes of Mariah Carey, Pitbull, Shaun Paul, Deadmau5, Tiesto, Martin Garrix, Marshmallow, Tyga and Rick Ross, as well as Arab superstars like Balqees and Amr Diab.

Another impressive feature of the Axient system is Quadversity. This allows me to have four antennas per AD4Q. This does limit the number of channels on the receiver

Over the last few months, SLS has used its ADX system for several events featuring both international and regional artists.

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to two, and you do need to have an appropriate distribution amplifier if you want to use more than two channels, but in certain scenarios it proves extremely useful.

One case study is when we used Quadversity back in February, to great effect. Local property developer Meraas was announcing a new large construction project at its City Walk complex and needed coverage of about 1km of roadway for a Brazilian-style carnival where instruments needed to be picked up on the move. Our solution was to use four professional wireless HA 8089 helical antennas, placed fairly centrally and high in all directions of the crossroads – the centre point of the carnival. We had also purchased a professional wireless quad 4x4 antenna distro, which allowed us to have eight channels of Quadversity with four AD4Q in our rack.

I was astounded by the results. The belt-packs were set to high power,

“When your AD4Q receivers are networked with an AXT600 spectrum manager and an AD610 showlink access point, you can create a system with your microphones and belt-packs that allows you to set multiple back-up frequencies” Dan Dignan, Head of Audio, SLS Productions but I was nearly 300m away from the antennas and still had clean signal.

I see future applications with SLS and Quadversity, and we are currently looking at options of RF over fibre for sporting events where we need full RF coverage over stadia. We will run antennas long distances from the racks over fibre and place them in corners for effective coverage. This will complete our current plans with wireless microphone systems, unless an event comes in where we need to increase

Engineered for professional productions, Axient Digital is a wireless system that promises signal stability and audio clarity in the most complex and congested environments.

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our reasonably sizeable inventory.

ADX also brings in a green element to the product, removing the option to use throw-away batteries. So far, the batteries have performed well. Out of the 20 ADX2 batteries that came with the system, 19 are still going strong, and we have had no failures on the 32 ADX1 batteries. The batteries last for an average of seven hours depending on use and power settings, and the charging stations are convenient and quick. Even if I had to replace half of them once a year, that would still be cheaper than the cost of AA batteries.

We aren’t necessarily a green industry, but the world is moving that way quickly. There is no reason why we shouldn’t be following suit where we can. Thousands of batteries each year per company is certainly a decent start.

There are also items that I haven’t used yet but see a need for in the future. We aren’t as challenged for spectrum space in the Middle East

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Dan Dignan sees great scope to use the Quadversity mode for future applications.

as in other parts of the world, but the high-density feature certainly allows for a squeezing of this, which I am sure will happen in time. Also, the bandwidth Axient has access to is certainly helpful in the matter of the future.

Another feature I haven’t used yet but am sure I will soon is the encryption option you can place on the transmitted digital data.

I see this as a sellable item for events that require an element of confidentiality and security, such as government discussions.

Lastly, I see the need for frequency diversity in large corporate events and those that require sensitive handling.

This doubles up the belt-packs needed but allows a redundancy to a secondary pack carrying the same signal if there is a transmitter failure.

I believe the ADX2FD is coming out in the region shortly, with two transmitters on a single handheld.

I like this feature, as people often tend to hold the transmitter at

“We aren’t as challenged for spectrum space in the Middle East as in other parts of the world, but the high-density feature certainly allows for a squeezing of this, which I am sure will happen in time” Dan Dignan, Head of Audio, SLS Productions the bottom, which can cause issues.

A secondary transmitter near the top of the transmitter solves this.

It’s hard to find flaws in the system. If I was to mention one, it’s that the mini belt-pack doesn’t have a TA4 connector.

I understand why – there simply isn’t room for it. But it restricts its use, so I’m not looking to purchase the micro belt-pack at this stage. Arguably, it’s not for rental houses anyway and is designed more for theatre applications.

However, when there is a presenter, it’s always handy to have a mini without the obvious clip-on point or pocket,

where you end up having to clip it to the back of a dress. I’m also looking forward to a UR3 replacement, which I hope is in development.

Axient Digital is a major upgrade from the ULXD and the UR4D systems, and a much needed replacement from the first Axient system, hitting the correct price point and bringing all the modernday features I expect from a Shure product, along with some unexpected extras I didn’t know I needed. The product is beautifully crafted and looks the part on any stage or any TV, especially with the KSM8 on top. The chrome option is a flashier alternative, as used by Mariah.

The whole product has obviously been thought about in great detail, even the smaller things like the locking IEC connectors supplied.

The RF links are also now on one side to allow easier access to patch.

All these little details add up to a very well-conceived product.

To summarise, there isn’t another product in this area that I would purchase at this time. It is priced very well, and I believe we have already received our ROI within nine months. There are obviously competing products that are very reputable, namely the 6000 series from Sennheiser, which is the only other product I see on riders. But for me it was difficult to consider a switch, as all my microphones have TA4 connectors.

Axient Digital ticks all the boxes. I haven’t spoken at all about audio quality, but I think this is an expected prerequisite. It does sound fantastic though. I am a big fan of the KSM8 also, as long as it’s held correctly or is on a mic stand. No microphone likes being cupped, and the KSM8 is no exception.

As we continue to expand over the coming years with Saudi Arabia and Dubai Expo 2020, Axient Digital will be the only wireless microphone product I purchase with SLS. That is the biggest accolade I can give.

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PROREVIEW

USHERING IN A NEW ERA WITH THE URSA

With an updated Super 35 4.6K sensor featuring 15 stops of dynamic range at 3200 ISO, high frame rate recording up to 300 fps, an expanded control set and additional recording functionality, does Blackmagic Design's URSA Mini Pro 4.6K G2 digital cinema camera tick all the boxes for the new-generation filmmaker? Dubai-based independent filmmaker and postproduction expert Jac Mulder gives us his verdict The age-old practice of cinematography consists of the craft and practice of creating visuals that result in storytelling, and the unfolding of the evolution from film to digital has led to experimentation and excitement. In order to roll with the punches, this evolution has led manufacturers to set their sights on quality, resolution and picture quality.

This review is not a comparative study of ‘what’s better’; rather, I treat the new URSA the same I would any other camera. Pick it up, throw a lens on, slam a battery on the back, aim it in the right direction and play. Put it on a set of heads and legs, push the depth of field, slide through the frame, pull focus and see the peaking, see the detail and push the camera some more – in natural light and in a studio.

For those of you who require super technical specs, the information is out there. The 15 stops of dynamic range, no need to transcode, a 4.6K sensor with an HDR image sensor… this is all a good start.

Then the question is: does it feel like a Super 35?

My background as a technical director turned action director has its merits here. My love of post-production and storytelling means I scrutinise camera choice as I have done on my previous feature films. The love of picture, texture, dimension, framing and more comes into play when tasked with testing new gear.

Let’s start with what I like. The PL mount is easy to operate and if you slide a lens in, the clamping is both accurate and sturdy. I love the weight of the camera, and Blackmagic Design’s choice of body materials seems accurate. The options for mounting all forms of peripherals make the camera very likable on first viewing. The buttons

are easy to access and understand, and the interactive LCD screen is very responsive. From the front, the camera has a very space-age look, but the side view could potentially have gained from consultation with an industrial designer, as it is a little cumbersome and, although well balanced, looks bulky.

The following features got me very excited, because planning all steps of your workflow is necessary. Imagine being able to plug in a USB-c SSD HD with zero regard to transcoding or transferring the copious amounts of footage captured, coupled with the ability to load your own LUTs – scrubbing through your choices, because it probably took a long time for you to prepare the .CUBE files. Select the look, light it accordingly and enjoy the shoot. It all just works and is simple; you can edit on the same HD footage you recorded too.

The recoding card options are a dream; never having to concern yourself over stopping to record is a great feature.

This rarely happens in my world as a filmmaker – I guess the ‘over shooting is a sign of a bad director’ mantra will always steer my thought process when it comes to planning and blocking.

Each individual has an opinion, a specialised idea of what makes a camera better, good, acceptable and worthy of choice for a production, a shoot or a run-and-gun guerrilla episode. For me, the viewfinder is a little too inconsequential and the small LCD screen that pops out takes me back to the Handycam days. I want my monitor on top, big, with explicit, vivid and incremental options. Here, while it is bright and clear, a larger version would still be incredible.

The built-in ND option, although quick and simple to use, is not a feature I appreciate, especially since I love the

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matte-box/prime/filter combo, but the convenience is beneficial.

Then I got to play with the footage in DaVinci Resolve. That was quite a treat; a simple upgrade of the software gave me full access to the .BRAW file. Initially, I just dragged and dropped the files into the timeline. After looking at what I had shot, I first went to highlights and blacks to see noise and detail in the darks and to see how far I could roll off the highlights.

I peaked the colours and was surprised – it was rather impressive.

However, being thorough, I decided to climb into the colour science.

A colour-managed YRGB was my starting point, and I again looked at

“The love of picture, texture, dimension, framing and more comes into play when tasked with testing new gear” Jac Mulder, Filmmaker the picture with the typical Rec.709. I tweaked, pushed and played, and then I went into the camera RAW segment and discovered more detail. What I love about the LOG option is the LUTs, either created or purchased online, do have variety between RAW and pre-coloured image. This is where you truly have to use a high bitrate monitor to perceive the quality of the image.

In the RAW options, I felt the footage

The URSA Mini Pro G2 features independent controls for direct access to the most important camera settings.

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leaned towards an ARRI Mini look.

I pushed the depth of field with the Xeen lenses at a 1.5 stop, and applied the built-in ND filters. I framed both a subject and a scene.

Inside, with natural daylight filling the scene, all the surfaces held a fair amount of texture. As for the global illumination of the scene, the blacks were a little washed out, but could be controlled nicely in the grade. The saturation levels never peaked when I pushed them too far; the highlights could simply be controlled and swung in any direction I liked. Even the teal/ orange look worked beautifully.

As for the human subject shot in a white studio, a warm kino filled

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Jac Mulder says the URSA Mini Pro G2 is a great choice for upand-coming filmmakers.

in the details. What I needed to see was the high-speed capabilities and how the compression dictated the quality of the picture. Compression does factor into any and all formats, whether it be ARRI, RED, Phantom or Sony, so it was only fair to test this. I did notice an overall softness, and if I truly pushed the picture I could see the artifacting, but this is pretty much standard with most formats and I was completely happy with the results.

The look I loved was this breakdown: Set DaVinci Resolve 16 to Log on the .BRAW file, and in settings, decode using Project.

Enable Highlight Recovery. In the colouring panel, first look at your image and decide what monitoring options you have, because this will ultimately be your output. Now, since the image is set to LOG, browse through your LUTs, or simply create one.

I went with a Lutify grade option – in the Generic, I applied

“The G2 does slot in higher than I expected, above broadcast and close to independent level, and is most certainly playful enough to push boundaries” Jac Mulder, Filmmaker the Heulandite Log file. I stopped at that look and loved it instantly. But what surprised me was the next step – all the noise was gone. I pushed the levels, tweaked the blacks, and I have to confess that noise in the blacks was not an issue. This allowed me to focus on the roll-off, the blending, the softening and sharpening. A power window was created; this process is more for isolating specific areas and truly making beauty shots shine.

I was immensely impressed with the speed the .BRAW file tracked at – my masking window blasted through the image almost as fast as it played in real time. This was exciting for me, as I usually use 8K footage

to grade. It was a delight – quick and accurate, the two things that are important when grading.

The G2 does slot in higher than I expected, above broadcast and close to independent level, and is most certainly playful enough to push boundaries. It made me consider this camera for a production-value TV show, or even a somewhat more technical TVC. Blackmagic Design has proved its worth – it has built whole systems covering every step of the way and keeps pushing the sensor, the price and the options.

This is a lovely camera, one I would certainly like to have in my arsenal. That Super 35 feeling does come through. With the right mindset, up-and-coming filmmakers now have a choice – other than a DSLR where a little record button on the side makes you think you’re a cinematographer.

With the URSA G2, you’re not a videographer anymore; it’s one step closer to film.

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PROCASESTUDY

EGYPT SCORES WITH AFCON 2019

This year, the African Cup of Nations in Egypt made history with special 4K coverage of 10 of its 52 matches, based on a 24-camera set-up. In an exclusive interview with Vijaya Cherian, Egyptian systems integrator Technology KAR explains how it pulled this off within a very tight timeframe The 2019 CAF Africa Cup of Nations (AFCON 2019) was the biggest football event ever held on the African continent, and required a lot of meticulous planning, infrastructure deployment, and production and transmission expertise to ensure seamless live production and transmission for television. Although initially scheduled to be hosted in Cameroon, delays in infrastructure delivery resulted in the tournament being shifted to Egypt at the last minute. It was successfully hosted and televised from June 21 to July 19, with 52 matches taking place in the cities of Cairo, Suez, Ismailia and Alexandria.

Egypt is no stranger to AFCON. The country also hosted the Cup in 1959, 1974, 1986 and 2006, and has won the tournament seven times, more than any other country.

One of the big aspects of any sporting event today is sophisticated TV delivery, and AFCON was no exception. The Egyptian government bodies – the Local Organising

Committee (LOC) and the Technical Research Department (TRD) – involved wanted to raise the profile of the 2019 event. To that effect, they mandated that the opening and closing ceremonies, as well as some of the matches in Cairo – the main site – be produced and broadcast in 4K for the first time in the history of AFCON. Egyptian systems integrator Technology KAR was tasked to be the main service provider for TV production, and to select international partners to help bring the best viewing experience to football fans.

“Technology KAR has been working on a number of government and national television projects, as well as projects within the private sector. We have installed and implemented many TV studios, playout centres and end-to-end TV station projects in Egypt, so we were a natural fit to run this project,” explains Khaled Raouf, Chairman, Technology KAR. The systems integrator roped in sports production specialist Mediapro Middle

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PROCASESTUDY

Snapshot Tech overview: 4K/HD OB vans, 24 cam set-up each Key kit used: SONY HDC 4300 camera for 4K and slow-motion camera FOR-A FT-One highspeed 4K camera LAWO MC2 56 audio mixer LSM EVS XT 4K • IP Director Package Managing • X File O4S MiniCam X5A system with in-goal mount Omnicam4Sky bird’s eye view Skycam system wTVision for tracking, analysis and graphics Jimmy jib 12m Satellite uplink facilities: Fully redundant Ku-band uplink at all venues Additional 4K uplink for opening and final matches

September 2019 | www.broadcastprome.com | 61

PROCASESTUDY

East to undertake the production of the event, and chose Globecast for transmission. Globecast had provided a range of services for several previous editions of the tournament.

“The TRD were charged with supervising the whole project in terms of the technical infrastructure and producing the sport for TV,” clarifies Raouf. “They in turn requested that we go beyond the traditional CAF requirement for HD production and broadcast and include 4K TV production of the games in the main tournament stadium, and broadcast the opening and final games in 4K.” There were several mandates for this event from different bodies, some of them firsts. For example, the opening match and the final were broadcast in 4K using HEVC encoding.

“The CAF, for instance, stipulated the need for 1 +1 redundant satellites and a minimum of six HD OB vans

“We were not just looking for someone who could provide the equipment, but also someone who could bring their expertise to the event” Osama Kotb, Sales and Business Development, Technology KAR with 24 cameras for each match; the TRD and the Egyptian government wanted to ensure 4K production and transmission for some of the matches,” explains Osama Kotb, Sales and Business Development Director, Technology KAR. The tournament took place in six stadiums in four cities – three in Cairo and one each in Alexandria, Suez and Ismailia – so Technology KAR had its work cut out for it. TV production, after all, was a massive chunk of the project. The company worked with local entities whom TRD engaged to

Mediapro brought five HD OB vans and one 4K truck to cover the tournament. The 4K truck was stationed at Cairo International Stadium.

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lay out the infrastructure, including Mantrac Egypt for power and Egypt’s Ministry of Communications and Information Technology – through its TE Data & Telecom Egypt companies – for the telco infrastructure.

“After signing the contract, we had to work with the other integrators to ensure that the production and broadcast infrastructure in all the venues, including the broadcast cameras network, the power network and telecoms infrastructure, were all in place. We had to ensure that they were compliant with the TV production specs given to us. The TRD assisted with supervising and guiding all integrators working on the project,” explains Ayman El Rouby, Project Manager at Technology KAR. The systems integrator was also responsible for ensuring that Mediapro and Globecast met the requirements stipulated by the sports bodies.

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PROCASESTUDY

It provided the entire logistical expertise and liaison with the LOC for the international companies that came on-site, adds El Rouby.

Spanish company Mediapro, which had worked on several previous editions of AFCON, was already familiar with the scope of work and brought in six OBs from Turkey, Spain, France and Italy to be stationed in Egypt for the duration of the event. It also brought 500 people from the Americas, Portugal, Spain, France, Italy, Turkey, Tunisia, Morocco, Egypt, Kenya, Lebanon, Palestine, Cairo and the UAE to work on event coverage, with 80 to 100 crew dedicated to each match.

“Mediapro is involved in television production services and sport events around the world, and they were our choice because they possess one of the largest fleets of HD and 4K mobile units in the world, fully equipped with state-of-the-art technology to meet the production news. They also have a vast roster of technical and operational crew for their OB vans and cameras.

We were not just looking for someone who could provide the equipment, but also someone who could bring their expertise to the event. We evaluated many companies and then went with Mediapro Middle East. Besides, they have experience covering many of the AFCON tournaments, including the one in Gabon, so they were a natural choice,” explains Kotb.

From left: Khaled Raouf, Chairman; Hossam Kandil, Technical Manager; Ayman El Rouby, Project Manager and Osama Kotb, Sales & Business Development Director, Technology KAR.

“42 matches were produced in high definition, while 10 matches, including the opening and final matches, were produced and broadcast in 4K” Hossam Kandil, Technical Manager, Technology KAR Mediapro came armed with five large HD OB vans and one 4K OB van; the latter was used to cover matches in Cairo. Six full production crews were on different sites to cover the events. A 24-camera set-up including four super slow-motion cameras, two ultra slow-motion cameras and three MiniCams were part of the inventory.

“42 matches were produced in high definition, while 10 matches, including the opening and final matches, were produced and broadcast in 4K,” explains Hosam Kandil, Technical

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Manager at Technology KAR. To give an idea of the scale of the project, Omar Pleite Guerra, GM of Mediapro Middle East, says: “Each OB van required a team of around 50 people for just operations. These included the ENG crew, the graphics experts, tracking specialists and camera operators especially for the Skycams, which were provided for all the matches in the Cairo stadiums.

We provided three Skycams for three stadiums. We also produced the silhouettes for all the African team players and had 15 ENG systems working on-site. If you include the logistics team, the drivers and the producers, each match required around 80 to 100 people.”

One interesting addition from Mediapro was a flying camera system based on four stabilised axes, with the camera head passively stabilised by gyroscopes and actively stabilised

Cairo International Stadium is an Olympic-standard multi-use stadium with the capacity to seat 75,000 people.

PROCASESTUDY

Mediapro Middle East employed more than 500 people on site for the tournament with 80 to 100 people covering each match.

by electronic IMU devices. The maximum speed for this is 10m/s, with six function controls: pan, tilt, Dutch roll, zoom, focus and iris.

Perhaps the biggest challenge was time. With the contract not awarded until February 2019, the Technology KAR team had to move quickly to ensure that the sites and venues had the infrastructure to host the games.

Technology KAR and Mediapro worked on OB van production plans for the match venues. There were periodic inspections of the venues, the OB vans and the TV compound set-up to review further requirements such as camera platforms, commentator positions, cabling and broadcast infrastructure.

“Egypt took the role of hosting this tournament only in February, so aligning all of this production with Mediapro and inspecting all the OB vans took a lot of time. We did all this with our own local team,” explains Kandil. “In addition, a lot of redundancy and back-up needed to be prepared in advance.”

For Mediapro, the bigger challenge was the location of the stadiums. Crew had to be posted in Alexandria, Cairo, Suez and Ismailia, as travel between them would have been cumbersome, so different technical teams accompanied each OB van to different

“After signing the contract, we had to work with the other integrators to ensure that the production and broadcast infrastructure in all the venues, including the broadcast cameras network, the power network and telecoms infrastructure, were all in place” Ayman El Rouby, Project Manager at Technology KAR

sites, with 15 producers working on planning, booking and coordination.

Mediapro also set up a temporary office to coordinate logistics, freight, transport, flight booking and so on.

Several entities were involved in the project at different levels.

Lagardère Sports, the sports and entertainment agency subsidiary of Lagardère Group, was responsible for handling the event’s rights management with the broadcasters, as well as providing satellite distribution of the multilateral feed and unilateral feeds for all 52 matches.

Globecast helped distribute the signal to Europe, the Middle East, Asia, Africa, and North and South America. Terrestrial broadcasting for the whole tournament in Egypt was managed by Lagardère Sports and Egypt’s LOC. The matches were free to watch in HD in Egypt on Time Sports, a new channel owned by Egyptian Media and transmitted through ERTU’s recently upgraded terrestrial transmission network. Time Sports launched with the broadcast of AFCON and is now a regular sports channel. It operates on ERTU’s terrestrial network in Egypt and as a satellite channel on Nilesat.

Outside the country, the event was available through rights owner beIN Sports for the MENA region – it featured the 4K matches on its dedicated 4K channel. Globecast also sent 4K to its centre in France, from where the 4K signal was distributed across multiple platforms including VOD, IPTV and cable TV. Globecast, which has a longstanding relationship with CAF, provided a range of services for the tournament, including contribution, distribution, and VOD content preparation and storage. It worked closely with local partner and satellite service provider IRIS MEDIA to provide for the six stadiums. Iris Media provided SNGs as well as additional technical support, and played a key role on the project.

At each stadium, Globecast supplied two flyaway SNGs. The

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Mediapro Middle East supplied three Skycams in three venues to capture all the action from above.

PROCASESTUDY

“The new contract we have taken up will ensure that Egypt will soon have its own 4K OB vans” Khaled Raouf, Chairman, Technology KAR

AFCON stipulated a 24-camera set-up to cover each match.

first helped uplink the main feed, while a second feed with additional pre-match footage was produced to build more involvement in the event.

Full redundancy was provided by the second SNG. The primary feeds were received at Globecast’s Paris teleport and then turned around for onward distribution, and the backup feed was received in London.

To increase ROI and viewer engagement, VOD content was prepared by Globecast using its Content Marketplace service, a module of its Digital Media Hub content processing suite. Signals were transcoded into multiple formats and resolutions, including full broadcast quality, clipped and metadata-added. Each broadcast affiliate using the system then received new content notifications to promote download. wTVision, a major real-time data and graphic service provider, was contracted to provide live statistics and a tracking system, to provide rich, informative graphics during and after the matches. The data was used by different sport statistics and portal companies.

Needless to say, the project went smoothly and the systems integrator is now working closely with TRD to supply state-of-the-art 4K OB vans for similar events in the future.

“We have worked with the Egyptian government for several years and have the experience to undertake big turnkey projects. The new contract we have taken up will ensure that Egypt will soon have its own 4K OB vans,” concludes Raouf, promising to keep BroadcastPro in the loop.

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PROCLOUD

THE POWER OF

THE CLOUD

In the countless discussions held about the cloud, no broadcaster has ever questioned its power to streamline efficiency or be cost-effective.

Perhaps the bigger question for most is even more fundamental. Where do we begin, and what areas of the workflow do we surrender to the cloud first? In this edition, we speak to a selection of solution providers in various parts of the chain about where broadcasters stand in terms of cloud deployment, where it is already prevalent, upcoming trends and the solutions they offer within the chain 68 | www.broadcastprome.com | September 2019

PROCLOUD

Every media and entertainment company is moving to virtualised deployments, with the ability to spin up and down infrastructure as necessary across multicloud environments, ready to deliver across public and private networks and to multiple CDNs. The cloud is helping media companies to eliminate the need to move assets between locations, as well as to organise seamless internal and external workflows, complete with robust network security, data encryption and access management. These deployments allow the use of AI and the monitoring of video quality for possible degradation, which enables instantaneous troubleshooting to provide the very best quality of viewer experience.

OTT especially is a CDNdriven delivery, and the cloud has allowed virtualised computing and distribution.

These master central broadcast workflows must be translated into virtualised cloud deployments, so that content owners can much more easily customise and distribute their programming to multiple delivery partners.

As the next generation of consumers move to

mobile, social media and apps, the broadcast industry has to adapt in order to maintain revenue streams from legacy cable and satellite packages.

More than 50% of broadcasters, including about 30% in Tier 1, have deployed or are proactively developing cloud strategies, and 70% should have production workflows by the end of 2019.

The choice doesn’t have to be either cloud or in-house; in some cases, the best solution is a combination of both.

The challenge is selecting the right vendors and services that will maximise ROI from a cloud budget.

Media and entertainment companies already understand the migration of content, computing and storage. As they think about linear and OTT, one of the big challenges is live transcoding – delivery to any device anywhere in different bitrates and protocols simultaneously – which is very, very difficult.

Another big challenge to implementing cloud is the skill sets within an organisation, where technical and operational rationalisation of IP and broadcast has to occur.

This is murky because the lines of master control and digital are now blurred. It is difficult in complex end-to-end supply chains to adopt and apply diverse solutions from a variety of vendors that meet information security, broadcast quality

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and uptime requirements.

They are also having the same kinds of technical challenges in other verticals: How do you tie together disparate databases? How do you deliver programming at the least expense while opening yourself up to as many new revenue streams as possible?

The key hurdle to address today is orchestration and monitoring. In order to scale distribution into hundreds or even thousands of channels, the streams must sit on a management abstraction layer that offers a control plane for the platform. Zixi’s ZEN Master control layer is a cloud product where distributors can move from a point-to-point or pointto-multi-point distribution scenario, to a full end-to-end workflow with the quality that the industry demands.

With the control plane, you can view hundreds of inputs and outputs, control pieces of the supply chain, monitor video at the ingest point, view thumbnail sketches, perform CPU analysis and receive notifications based on system performance levels.

The master control system can handle acquisition, origination in the cloud and delivery to a CDN. We are witnessing several trends today. The industry continues to rapidly consolidate and streamline with mergers like DisneyFox, AT&T-Time Warner, Comcast-Sky and DiscoveryScripps Interactive, and this will likely continue into 2020. The adoption of IP workflows, led by satellite replacement as a primary use

case, is accelerating and will continue as 5G and low-orbit satellite internet use becomes more pervasive, with more and more multi-cloud and multi-CDN deployments.

Already, content creators are increasingly taking advantage of virtualised infrastructure, the open internet, flexible costs and software platforms to customise and deliver content in a very quick, robust and secure manner.

They are achieving broadcast levels of quality using pure internet and IT sets of tools and infrastructures.

Zixi touches all points of the end-to-end workflow from origination to delivery with the Zixi platform, and the Zixi control plane (ZEN Master) can manage, configure and orchestrate the entire supply chain with maximum flexibility, allowing media houses to strategically evolve their cloud strategies.

With the better quality and more immersive nature of 4K/8K video, bandwidth and bitrate demands will become larger and larger, and will require protection as well.

We have seen statistics that state the worldwide market is growing at a rate of about 20% a year – over $200bn in 2019, $240bn in 2020 and $280bn in 2021. The top five countries in terms of preparedness are Japan, Australia, Germany, the US and France. Our customers are deploying global systems across infrastructures in all regions of the world.

Eric Bolten, VP of Business Development, Zixi

PROCLOUD

The global public cloud computing market is set to reach $258bn in 2019, according to Statista.

Cloud adoption in MENA is taking place slowly but surely.

Several large broadcasters and content owners are beginning to move their live news and sports contribution headends, as well as 24x7 live linear channel playout, to the cloud.

We have just delivered a cloudbased contribution solution to a broadcaster in Africa. The Zixi cloud broadcaster deployment enables this broadcaster to uplink daily live news broadcasts from four studios via internet to the cloud. The feeds are then selectively downlinked via the internet to the playout servers located at its satellite teleport operator location, and uplinked for DTH delivery to several million subscribers. The solution

is more cost-effective, flexible, secure, scalable and manageable, compared to leased lines.

Michael Poppler, Director of International Sales, Zixi

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PROCLOUD

The biggest challenge for media houses today is the economics. Things like egress fees can be astronomical.

That is leading to the trend of hybrid cloud, multi-cloud environments and leverage tools to maintain flexibility to adapt to new services and

changes in cloud pricing.

Cloud requires a new set of skills. With the trend being towards hybrid cloud, IT teams now have to maintain a wider variety of skills to keep their own private clouds up and running and leverage public cloud services. The cloud brings a lot of benefits, but without the right tools it

can also add complexity.

The positive news is that cloud is very competitive.

Amazon, Microsoft and Google are all investing heavily in their cloud services, and that means rapid innovation. The big three are also investing in media, adding media-specific services and, in some cases, offering favourable pricing to large media companies.

Signiant plays a big role in cloud-native SaaS. Our SaaS business grew by 46% in 2018, so I’d say the cloud is essential to our business.

At IBC, we will showcase Signiant Jet, a brand-new cloud-native SaaS solution for automated high-speed transfers of large data sets between locations around the globe. Built on Signiant’s SaaS platform, it promises enterprise-grade capabilities to small and mid-sized organisations with multiple locations, or that regularly exchange large data sets with partners, customers and suppliers.

The move to IP video transport, along with IT-centric video products that use networks to communicate and interact, has increased adoption of cloud technologies.

Simultaneously, AI implementations using aspects such as machine learning to engage the robust computing power of the cloud have sprung up, linking the two trends.

For OTT, cloud-based CDNs distribute large numbers of media streams all over the world. Cloud-based closed captioning services that use speech-to-text AI are also very common in this space. Many parts of MENA rely on satellite and cellular distribution, and any movement to increased IP media transport will require a matching rise in cloud connectivity for wide-area distribution.

Broadcasters have just begun to use the potential

of the cloud, with less than 25% penetration overall.

Closed captioning, asset management and archiving are areas where broadcasters are now increasing their use of the cloud. However, they usually need some level of on-premise functionality.

AI for image and facial recognition that automatically generates metadata is another area where broadcasters can leverage the power of the cloud.

Generally, broadcasters are comfortable with local cloud solutions and understand that virtualising much of their software applications pays big dividends. Using the cloud to stream video for final delivery, approval workflows and internet file sharing services are the areas seeing increased adoption rates.

Moving high-bandwidth video streams and large files up and down from the cloud is a big problem for even the developed world. Using

high-quality and efficient compression, softwaredefined networks and network accelerators, along with ever improving internet infrastructure, is the key.

While IT professionals have a solid understanding of legacy network parameters, they can be reluctant to embrace the new requirements of adding media to the mix. Conversely, some media organisations struggle with transitioning from SDI infrastructures they have come to rely on.

As many of the obstacles to cloud services are being solved, you may start to see large-scale live production in the cloud, giving broadcasters the ability to expand and contract production assets with their changing business needs, and to have staff in different geographic locations collaborate remotely.

NewTek is at the forefront of this transition to IPbased video production and IT-based media

solutions. We continue to produce streaming, network storage, internet video calling and production systems that use some aspects of cloud functionality for pre-production, live production and postproduction workflows.

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Jon Finegold, Chief Marketing Officer, Signiant

Brian Olson, VP of Product Management, NewTek

PROCLOUD

The first generation of cloud adoption started with a few pioneers building their own workflows that used the cloud predominantly as a discrete function – for example, transcoding or playout – but use cases have evolved to become more end-to-end. In the early days, the challenge was mostly around getting legacy applications to interface with cloud elements, resulting in a lot of blood, sweat and tears! For many early adopters within broadcasters and media companies, this was a huge learning experience.

Modern platforms are now much more service-led, with a full stack offering that is not just an alternative to on-premise or inhouse options but, in many ways, a more compelling solution in terms of flexibility and global scale.

Perhaps the most significant pain point left is trust.

Cloud platforms are maturing fast, and the last hurdle can sometimes be deciding to make a big shift toward the cloud.

As more and more media and entertainment businesses take advantage of the cloud, the use cases and benefits become ever more apparent. Cloud platforms are by their nature more flexible than solutions based on proprietary hardware platforms. Use cases where the ability to scale up computing, storage and network connectivity are where cloud computing can really show its strengths.

This is most evident in tasks related to processing and distributing OTT content to an increasingly global audience.

Another area of strength is content

aggregation, especially as content starts to straddle multiple formats such as gaming, video and VR/AR (plus as yet undiscovered hybrids). The ability to scale up resources, for example in support of a major sporting event, is an incredibly powerful capability and a natural strength of cloud-based platforms.

One of the biggest challenges facing media and entertainment businesses is delivering content to a global audience. By 2022, video will account for 82% of all consumer traffic. The sheer amount of video traffic and consumer demand for high-quality streams means media companies can no longer rely on a single CDN to deliver content to a global audience.

Verizon Media has taken a multi-CDN approach.

By spreading traffic over more than one CDN, broadcasters are protected against slowdowns and downtime; if one provider’s network experiences an outage, traffic can be routed through another network. Also, harnessing servers in more geographic

Verizon Media’s Smartplay technology Verizon Media’s Smartplay technology will be showcased at IBC. This technology gives advertisers the ability to create fully tailored advertising experiences for every viewer, and is

one example of how the integration of partner technologies will enhance the Verizon Media Platform.

The company’s new partnerships will enhance Smartplay’s capabilities by enabling metadata

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enrichment and content recommendation to deliver a highly personalised online experience for every viewer on any device, thereby enabling truly smart TV experiences.

locations guarantees that content loads as fast as possible, regardless of the end user’s location or device. As more content owners start to adopt a multi-CDN approach, consumers around the world will be able to enjoy the best-quality streams with minimal latency.

Another trend we have seen is the growing number of partnerships between service providers. We’re preintegrating selected thirdparty technologies to make it simpler for broadcasters and content owners to deliver cutting-edge viewing experiences to consumers.

We recently announced a partnership with Microsoft Azure that will see Azure Media Services, Microsoft AI and Microsoft machine learning technology integrated with the Verizon Media Platform. We also announced key partnerships with THEO Technologies and IRIS.TV, helping us bring great playback capabilities and personalised services to every viewer on any device.

Ariff Sidi, Chief Product Officer, Verizon Media

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PROAR/VR

UNDERSTANDING CREATIVE ROBOTICS AND AR More broadcasters are looking to tell better stories with VR and AR, but they first need to address technical hurdles that prevent their AR presentations from appearing as realistic as possible. Neil Gardner looks at some innovative approaches

The difference between AR and VR is a topic of much confusion in the broadcast industry.

Think of VR as the concept of virtually placing someone – a news anchor, a reporter, a presenter – into another setting instead of the physical one they’re actually in.

One of the most common renditions of this for news programming is the virtual set, in which the presenters sit or stand in front of a green screen, but viewers see an elaborate background or a different location.

AR, on the other hand, is the idea of placing a virtual 3D object nearby or even in the hands of the presenter. The trick is to allow presenters to interact with the AR object in the same way as they would with a real physical object,

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realistically enough for viewers to suspend their disbelief.

Therein lies the challenge. This type of realism requires millimetre accuracy and precise calibration between the camera tracking the presenter’s movements and the virtual graphics engine generating the AR object. This precision is usually achieved using a set of advanced encoders built into the camera support system, such as the robotic head and the camera lens.

Achieving this precision is relatively easy with a seated presenter, as the camera and lens are largely fixed, but becomes more challenging when the presenter moves around the studio. A free-roaming robotic camera pedestal has a much wider range of movement that must be accurately tracked. By

PROAR/VR

“The tracking camera can be fitted to the top of the studio camera, but a more robust approach is to integrate the tracking camera within the robotic head, removing extra cables and equipment from the main camera package” Neil Gardner, Global Product Manager, Vinten Robotics & Automation VR and AR requires more precision.

Manufacturers may use a positional acquisition system that relies on a laser scanner that constantly scans the studio for targets and then triangulates the pedestal’s exact location.

In another approach, a tracking camera references small, star-like reflectors on the ceiling to determine the pedestal’s exact location. This provides an absolute reference that is drift-free and removes the need for ongoing calibration in any number of studios. The tracking camera can be fitted to the top of the studio camera, but a more robust approach is to integrate the tracking camera within the robotic head, removing extra cables and equipment from the main camera package.

and large, VR/AR engines require inputs that give them an absolute camera position and pose (where it is pointing, zoomed and focused) within the studio. Therefore, the onus is on the camera support system – the dolly or pedestal and head – to provide the calculation.

Precision is key While encoders and floor targeting are perfectly suitable for standard robotic pedestal motion control,

Complex curves Not every studio floor is suitable for robotic pedestals, perhaps because of an uneven surface.

In that situation, many studios have moved to track systems that keep the camera movements smooth and steady.

As long as the track system is straight, it’s a fairly straightforward process (a simple X-Y axis calculation) for a high-precision encoder to calculate exactly where the camera is along the track. But for curved track systems, the challenge becomes much more complex. The encoding system must be able to measure not only the length and distance travelled, but also the shape of the

track (considering both curved and straight sections), to determine an exact camera position.

Man in the middle Since each studio has a unique track configuration that might consist of any combination of straight and curved pieces of different lengths, it’s impossible for pedestal and dolly manufacturers to provide a standard solution for a curved robotic track. Instead, one effective approach is a ‘man in the middle’ software algorithm that takes the raw positioning data from the robots, uses the pre-configured physical layout of the track to translate the encoder data into an X/Y position, and communicates that position to the VR engine.

A win-win for broadcasters and viewers As adoption of AR/VR picks up speed and the technologies continue to mature, one thing is certain – both broadcasters and viewers will reap the benefits. Camera support solutions that can easily adapt and provide high degrees of accuracy for the VR/AR engine will enable broadcasters to create fresh, engaging content and help them to grow their distinct brand identities; and viewers will be dazzled by stunning, hyper-realistic AR elements that bring them into the story in powerful and engaging ways.

Neil Gardner is Global Product Manager for Vinten Robotics & Automation.

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PROESPORTS

ESPORTS: CHANGING THE GAME

With esports becoming increasingly important, how can broadcasters today meet the growing production needs of esports companies and venues? We ask three manufacturers about the role technology plays in supporting esports broadcasting

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PROESPORTS

The global esports market will exceed $1.6bn by 2021, according to Newzoo, a global major in games and esports analytics.

Esports is a billion-dollar industry and is growing rapidly, with tournaments and leagues increasing their presence across the globe.

As the industry continues to grow, it’s important that media companies have a grasp on the challenges and opportunities of covering them. Broadcasters are faced with many production challenges delivering live esports events, including replicating the truly immersive experience for viewers at home.

For instance, creating a cohesive broadcast is difficult with so many cameras covering the players and the action inside the arena, as well as the fast-paced in-game signals. Producers need to be able to switch between the live in-game action and the real-world players as well as provide in-game replays – crucial to production as they help bring live storytelling to life for audiences and fans, making them feel like they’re a part of the game. Also, despite the pressures and technical challenges of bridging the gaming and broadcast worlds, the expectation from a predominantly techsavvy audience is that quality will be high.

When we look at technologies, slowmotion replay is

an obvious requirement.

One solution that’s ideal for first-person shooter games is to add an observer PC into the game, which acts as a camera. Feeds from these are recorded in the PC’s native 120Hz, ingested by the EVS server and slowed down to the broadcast-standard 60Hz, creating a native 50% replay. This is an industry first in-game replay, designed by leading esports producer ESL. ESL has been using EVS technology as the backbone of its live production infrastructure for the past four years. Together, we’ve put together a live video workflow that uses cuttingedge production technology in a way that delivers the most engaging content while being perfectly adapted to the unique needs of the esports world. It provides in-game replays that create the immersive experience demanded by viewers, creating output similar to what would be delivered to fans watching any football or basketball game.

TDs use a single EVS Dyvi switcher to cut together content for the live programme and to

trigger the delivery of in-game content across the screens showing the action to fans within the venue. The software-defined architecture of the switcher provides producers with unprecedented creative capabilities and is easily adaptable to the complex, multi-layered nature of esports productions. A producer can instantly split up traditional MEs into sections, meaning that the esports assigned buttons controlling the views of one team can be placed in one quadrant, while the corresponding sources for the other team are in another quadrant. This has been a game-changer for fast-paced and complex live esports events.

Esports has a dedicated social media fan base through platforms such as Twitch and YouTube, making it crucial to have an implemented workflow to facilitate the creation of social content as much as possible. EVS’ MultiReview application provides a synchronous view of all feeds ingested by the servers, allowing a production team to select and quickly turn around key moments during an esports show. The team can then distribute the created clips instantly onto ESL’s different social channels, including Facebook, YouTube and Twitch, using the new digital publishing add-on of the IPDirector, EVS’ live PAM system.

Sébastien VERLAINE – Marketing & Communications Manager, EVS

September 2019 | www.broadcastprome.com | 79

PROESPORTS

Esports companies are very interesting to work with because they don’t generally see themselves as broadcasters – they’re content creators who are completely agnostic when it comes to the delivery mechanism.

They share the same goal as traditional broadcasters in the sense that they want their content to be as engaging as possible, but their

Many vendors will be able to draw on their experience of working in traditional sports, remote and live production environments. Esports has much in common with mainstream live sports productions; both require a mix of live-action commentary, close-ups and interviews with players and live replays. However, there are crucial differences.

Esports is a spectacle with its roots in the online world and a truly global fan base. In 2018, four of the world’s biggest esports events accumulated 190.1m hours of live streams (NewZoo). Therefore,

language and expertise are both very different from the more traditional ‘television’ customers we have historically served.

Our goal as a manufacturer must be to help esports producers use our solutions efficiently and effectively; the ability to configure and control systems through customisable touchscreen panels has been a very important development, because it enables operators and

a key requirement of esports productions is flexible technologies that can scale to meet individual requirements.

The hugely dynamic nature of esports, and the diversity of competition size and formats – which range from events such as BlizzCon that attract around 10m online viewers to small local events targeting a few hundred fans – mean production workflows have to quickly scale up or down as needed. Agile solutions that can adapt to the requirements of headline tournaments, leagues and venues are of critical importance.

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technical directors who don’t have a broadcast engineering background to quickly build up their skills and master broadcast workflows.

Additionally, we’ve seen many esports companies embracing visually creative technologies such as virtual studio and augmented reality technologies, because of the possibilities that both offer. I’ve also seen esports producers incorporating large LED walls or unusually shaped displays into their studio coverage, and that obviously requires products that can accurately render graphics across different canvas sizes.

More generally, esports is becoming an increasingly

competitive market segment. It’s a business in flux because it is still getting to grips with what its audience wants and likes, and the production models will look quite different in five years’ time. That may mean an expansion of the existing in-house capabilities or may involve specialist third-party production companies handling a variety of different esports events. Either way, the amount of content is only going to increase and that means even more business, creative and technical challenges to be solved.

Another requirement of mainstream sports is to provide consumers with stunning quality images; this is also true for esports fans. As viewers expect more high-quality, richly immersive video experiences, the pressure is on esports companies to meet increasingly complex production requirements and deliver best-in-class images.

Vendors such as Grass

Valley that have been enabling live sports coverage for decades can help revolutionise the esports production environment, optimising it to meet the insatiable consumer appetite for live sporting content.

Stuart Russell, Senior Communications Manager, Ross Video

Robert Erickson, Advanced Technology Director, Grass Valley

PROIBC2019

IBC2019 – IN CONVERSATION WITH MICHAEL CRIMP, CEO, IBC Every year, IBC brings new elements to the table to keep the show fresh. We catch up with Michael Crimp to learn more about what’s new this year We hear you have recently renewed your agreement with the RAI, which means IBC will continue to be held in Amsterdam?

Yes, we have signed a new three-year contract with RAI Amsterdam and its partners, and I am very pleased we have. I am all too aware that there is pressure to consider other venues, and I would like to assure everyone we take this matter seriously, continually monitoring our options.

But RAI, and the city of Amsterdam, remains the right venue for IBC. The RAI allows us to stage the entire event under one roof, with spaces that are flexible enough as our requirements change, and which have the functionality we require. In Amsterdam, we have a host city that is committed to media and technology, and which works well with us to meet all our requirements. It is well connected

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by air, sea and train, and provides us with a friendly, welcoming environment which people enjoy visiting.

Our new agreement allows us to look to the future to continue to provide for the needs of our delegates, visitors, exhibitors and sponsors, reflecting developments in the industry and maintaining our position as the one global meeting point for the industry.

We hear the conference and exhibition dates have been aligned this year? What else is new at the show?

That’s right. We have brought the IBC conference and exhibition back into alignment, instead of starting and finishing the conference a day earlier. This means that our invitation-only Executive Forums will take place on Thursday (12 September),

PROIBC2019

clear of the rest of the event, allowing us to focus all our attention on these vital top-level summits.

We have also added two new honours to our prestigious IBC Awards programme – we will be honouring a Young Pioneer and significant projects in social responsibility. I have had a sneak preview at some of the entries for these two new awards, and I can tell you that there are some remarkable stories in there. We have also redesigned the IBC Award itself, using fully sustainable materials.

On Tuesday, we are converting the RAI Auditorium into an esports arena, with live tournaments as well as conference sessions around it.

The IBC Esports Showcase is a new venture supported by market leader ESL along with Lagardère and EVS. I would also like to point to the Media-Telecom Convergence Catalyst, an exciting new collaboration between IBC and the TM Forum.

At IBC2019, we will be showing the results of three of these projects.

The three are very different in application, but use technological innovations coming from both industries to solve real-world issues.

The three projects are: • a 5G-enabled tourism experience, championed by Aardman Entertainment and BBC R&D, and developed with Bristol University, Cambridge Communications Systems and Zeetta Networks • AI indexing for regulatory content management, championed by Associated Press, Al Jazeera and RTÉ, with technical participation from Metaliquid, QCRSI, Tech Mahindra and V-Nova • mobile news gathering using AI-powered compression, again championed by Associated Press, Al Jazeera and RTÉ, working with V-Nova.

These three projects really show how collaboration across our industries can transform both businesses and consumer experiences.

“We will certainly see more developments in ultra HD 8K as well as 4K, with the Japanese launch of consumer super hi-vision channels ahead of next year’s Tokyo Olympics.

As well as resolution, that means growing interest in HDR” Michael Crimp, CEO, IBC How will your esports showcase add to the overall IBC experience?

Esports have rapidly risen to become major global media events, calling for comprehensive coverage and with a unique set of technical and editorial challenges. We are also of the view that you need to see something to understand it, so we have always strived to make the IBC conference experiential. A dry debate without appreciating the extraordinary excitement of esports would be very dull.

So as well as conference sessions – which include the participation of the players emerging from the world of esports like Ginx TV, Twitch, Riot and Blizzard, as well as developers like EA Sports – we will host a live demonstration.

Two professional teams from ESL’s National Championships in Germany

and Spain will go head-to-head on Counter-Strike. We think this is going to be an extraordinary afternoon, so we are hosting this in the RAI Auditorium, our largest space, which we will be kitting out with all the technology an esports championship demands. Everyone is welcome, and we anticipate a big audience.

What’s new at the conference?

This year, each day has its own theme: • Friday is create and produce: creating disruption, which includes a look at new technologies including immersive experiences and beyond 4K resolutions • Saturday sees manage: automating media supply chains, which looks at how emerging technologies like blockchain and AI can transform the media business • Sunday, we will look at publish: embracing the platform revolution and how the move towards new business models is disrupting the industry • Monday’s theme is consume: engaging consumer experiences, and in particular what is going to engage • Tuesday is monetise: scaling

The IBC2019 show will feature IBC Content Everywhere, a premier event for specialists who create, manage and deliver entertainment and news content worldwide.

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PROIBC2019

IBC2019 will feature 50,000sqm of exhibition space, over 1,700 exhibitors and over 55,000 attendees – innovators, key decision-makers and press.

audiences and revenues, looking at how brands can lead to new models of advertising.

The lounge talks programme – more informal chats about key topics – will be back too, looking at topics which are harder to fit into the formal programme. That includes corporate social responsibility and inclusion.

What technical trends do you expect to see at IBC2019?

One of the sea changes in our industry over the last decade or so is that we used to be in the broadcasting business, where technology defined what we can do. Today, we are in the media business, and audiences are demanding the technological solutions that will connect them to the content they want, on the device they want, when and where they want to see it.

To meet this torrent of consumption, media producers and distributors have to find innovative, practical and secure means of monetising their IP as well as making and storing it.

Technical trends, therefore, are very much pulled through the industry by the demands of consumers. We will certainly see more developments in ultra-HD 8K as well as 4K, with the Japanese launch of consumer super hi-vision channels ahead of next year’s Tokyo Olympics. As well as resolution, that means growing interest in HDR. The march from bespoke hardware connected by SDI towards software

“On Tuesday, we are converting the RAI Auditorium into an esports arena, with live tournaments as well as conference sessions around it. The IBC Esports Showcase is a new venture supported by market leader ESL along with Lagardère and EVS” Michael Crimp, CEO, IBC applications running on standard IT kit and connected by IP is well advanced.

These applications enable the key challenges, like delivering to multiple platforms quickly and efficiently.

On top of these software-defined architectures, we will see major developments in AI and machine learning, again aimed at managing the massive amount of content we now generate and delivering it to the audience that will enjoy it, whether they know about it or not. Monetisation is the final part of the chain. Media businesses can only create, curate and deliver content if they make a fair return on their investment.

This is such a key issue that it gets its own full day at the IBC Conference.

What are the top things to do at IBC2019?

This year, we have a great programme of keynote presentations in the conference, including leaders like Cécile Frot-Coutaz, Head of YouTube EMEA; Arnaud de

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Puyfontaine, Chairman of Vivendi; and Max Amordeluso, EU Lead Evangelist, Amazon Alexa. We are bringing back the IBC Global Gamechangers Stage again this year. This hosts the biggest business, creative, technical, news and future-facing talent making waves around the world, to talk about what is going to change the game for us in the media industry. Already signed up to speak are Gary Shapiro, President and CEO of the Consumer Technology Association; Jane Turton, CEO of All3Media; and Lisa Opie, Managing Director, UK Production, BBC Studios.

Don’t miss our 15 exhibition halls, the Awards Ceremony on Sunday night, as well as our movies and screenings. This year, attendees also have the chance to see a complete battle-strewn episode from the final series of Game of Thrones on the giant screen in the Auditorium in 4K and HDR. And there is so much more!

How do you ensure the content stays fresh year on year?

IBC’s in-house content team works with a carefully selected group of industry leaders, the Content Security Group. Chairing the group this year is Claire Hungate. The CSG meets monthly to discuss the key issues around the industry and how IBC should be covering it. So the CSG does not just bring topics to the table, it brings solutions, as well as some impressive address books to ensure we get the best possible speakers and panellists.

And finally, tell us more about the Executive Forums.

Our three Executive Forums are invitation-only events aimed at a C-level audience. In the Leaders’ Forum, the Cyber Security Forum and the Telco and Media Innovation Forum, we bring together the most influential and visionary people at the top of the industry, giving them an opportunity – behind closed doors – to talk about the strategic issues facing us.

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Robe to illuminate IBC2019 with bright beams

A stellar showcase from ARRI at IBC2019

Robe will light up IBC with the T1 Wash, the latest fixture in Robe’s T1 LED series of products specifically designed for theatre, television and touring.

Like its T1 Profile and T1 FS counterparts, a closed optical system prevents dust and dirt.

CMY colour control and

ARRI will be showcasing the latest version of its Stellar lighting control app, the final link in a complete ecosystem of advanced lighting control products from ARRI. The SkyPanel features Art-Net, sACN, DMX and RDM implementations for a wide range of control options.

Combined with SkyLink, a large rig of SkyPanels can be controlled wirelessly.

Stellar brings all these pieces together with intuitive controls that work with the SkyLink, SkyPanel and L-Series hardware, creating a complex lighting network that is easy to manage.

data swatch filters include a selection of pre-programmed colours accessible via the nextgeneration RCC (Robe Colour Calibration) algorithm, and 2700K to 8000K CCT control.

The product meets the needs of theatrical lighting via the new L3 Low Light Linearity dimming system. For television, there’s a green channel, while the implementation of Cpulse flicker-free source management will ensure that the T1 range is a source for all vision systems, including HD and UHD cameras.

The product features a +/-90° rotatable individually controlled internal barndoor system. The zoom range is 7°-50°, with a beam shaper tool and a graduated scrim with 180° rotation.

Stand 12.B64

With Stellar, it is possible to switch between control modes so that a colour can be chosen with an interface best suited for that mode.

Stellar can import a lighting plot image so that fixtures can be laid out in a two-dimensional space.

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Photonia to light up the floor with Fresnel LED studio range Photonia will launch its MY2020 range of LED Fresnel lights at IBC2019. Included in the firmware upgrades will be the ability to exercise greater control over how

the PWM fan is controlled.

The existing solutions will be enhanced, allowing DoPs and gaffers to select from five different fan management modes, depending on their

operational context, from a high-temperature outdoor shoot to a quiet indoor TV studio recording.

Firmware upgrades to the MY2020 range promise to

also enable improved colour matching ability, faster bootup, quicker beam focusing and a new range of pre-set effects – again working to increase the versatility and ease of use that lighting professionals have access to.

Photonia’s display of LED Fresnel lights at IBC includes the Radiate, Zenith and Chromos models. These lighting systems deliver a range of wattage, CCT and spectrum options, including tunable white and RGBWW, and can also be integrated with several additional add-on items, including Photonia’s battery plates and Wi-Fi controllers.

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PROIBC2019

Cyanview maintains control wth Cy-Stem

Cy-Stem is a new solution from Cyanview that brings new levels of capability and flexibility to live production.

The IP-based Cy-Stem range comprises a RCP control panel and a series of small hardware modules that address four key areas in broadcast production: control and matching of mini and specialty cameras on sports

events, reality TV, game shows and so on; wireless or remote production with ENG and small camcorders; integration via the RCP of colour correctors with advanced processing for camera matching; and digital cinema cameras for live recording such as concerts or game shows.

The range of mini cameras that can benefit from the Cy-Stem control system now includes units from Blackmagic, CIS, Dream Chip, IOI, Marshall and Toshiba, as well as PTZ cameras from Lumens, Marshall, Panasonic and Sony.

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Ikegami to demo 4K media-over-IP gateway Ikegami will focus on the new 4K mediaover-IP gateway for the UHK-430 studio camera at IBC. The module allows 4K UHD video and additional signals such as intercom, returnvideo feeds to be exchanged between the CCU-430 and a local IP network hub along a lightweight optical fibre instead of requiring multiple SDI cables, enabling lowlatency signal distribution Uncompressed video can be transmitted via an optical interface using either one 25GbE or two 10GbE SFP modules. Redundancy can be

implemented by installing additional SFP modules. The MoIP interface module can be combined with an HD output option to deliver 2160p, 1080p and 1080i over IP and/or SDI simultaneously.

For easy workflow transition, 2 x 12G SDI is therefore included as a standard. Ikegami's UHK-430 is a 4K-native studio camera system with HDR/SDR processing.

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InSync goes live with FrameFormer at IBC2019

Telestream OptiQ promises better monitoring

InSync will launch FrameFormer Live, a real-time software motion compensated standards conversion using CPU-only architecture.

It is a professional grade software standards conversion solution that offers live, realtime conversion of SD, HD and 3G content, using CPU-only processing with cross-platform support. The software can run in any IT environment, on

Telestream will introduce its second OptiQ live service at IBC. OptiQ Monitor creates efficiencies in capital and operational expenditure whilst assuring Quality of Service and Quality of Experience for broadcasters, service providers and network operators worldwide.

OptiQ Monitor targets customers that have put in place the infrastructure required to support their live streaming channels but have no monitoring infrastructure, especially post-CDN. OptiQ Monitor enables users to integrate a high level of video monitoring without needing to modify anything in their delivery

premise or in the cloud, and can be accessed as a standalone app or an integrated service.

FrameFormer Live gives users the complete freedom to choose which server to run their conversion on or, in the case of cloud-based deployments, the flexibility to scale the service up or down with the ready provision of CPU-only compute resources.

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chain. Building on this through OptiQ Channel, Telestream can provide all the packaging, encoding, ingest environments to help customers build live channels. A key feature of the OptiQ framework is the ability to deploy Telestream technology in any public cloud data center.

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AJA to demo KUMO 32x32 12G-SDI router

ChyronHego's CAMIO performance at IBC

AJA Video Systems will showcase the KUMO 3232-12G compact router, featuring 32x 12G-SDI inputs and 32x 12G-SDI outputs in a portable 2RU profile for flexible and cost-efficient 12G-SDI routing.

Designed for use in broadcast, production and ProAV environments, it supports large-format resolutions, high frame rates and deep colour formats.The KUMO 3232-12G compact router reduces cable runs when transporting 4K/

ChyronHego will showcase CAMIO, an all-software solution for multiplatform news content creation and delivery. The CAMIO Universe drives template-based, unified news workflows and places scalable storytelling tools at producers' fingertips. At the heart of the CAMIO ecosystem is ChyronHego's CAMIO graphic asset management system.

At IBC2019, ChyronHego will highlight CAMIO's flexibility for news producers. CAMIO 4.7 includes new features for the CAMIO interface, such as the ability to save items, swap templates and create streaming proxies.

ultra HD over SDI. KUMO 3232-12G offers network-based and physical control and mirrors the form of AJA’s production-proven KUMO 3232 routers, with the additional benefit of a new USB port for configuring IP addresses via AJA’s eMini-Setup software.

For emerging 8K workflows, KUMO 323212G is also equipped for multi-port gang-routing.

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Pliant Technologies to focus on CrewCom

CrewCom is a new wireless intercom system from Pilant Technologies. The newly released CrewCom firmware update includes numerous system improvements as well as the incorporation of new Oceania 900MHz models.

CrewCom is based on a technology platform that offers the wireless user counts, range

and scalability for a range of broadcast, live sound, installation and industrial projects. CrewCom wireless products offer the ability to easily put dependable RF coverage where needed, while employing a consistent user interface throughout the system. This enables the system to adapt to the RF challenges facing production and industry professionals. Unlike a matrix-based architecture, CrewCom is based on a decentralised network platform that puts system resources where they are needed.

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CAMIO now delivers enhanced support for playout using PRIME Graphics, the company's graphics platform. The CAMIO interface includes new PRIME features such as XMP, autofill, layers and GTC movies, and the CAMIO Rundown now enables PRIME Graphics scene playout on screens of all sizes and shapes, including studio walls.

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Bridge Technologies boasts bigger stand at IBC At IBC2019, Bridge Technologies will have its largest stand to date in the main entrance of Hall 1.

The stand will feature demonstrations of NOMAD, a portable all-in-one monitoring and analysis solution.

The larger stand area provides Bridge Technologies with the opportunity to showcase its end-to-end monitoring and analysis solutions. The firm will be

discussing with visitors the success of its VB330 network probe with its support for Remote PHY/L2TP. This makes the VB330 suitable for unpacking and monitoring multicasts targeted towards remote PHY CCAP nodes. Thus, this is a suitable probe for cable operators looking to maximise the quality of experience they offer customers.

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VISIT US AT IBC - HALL 12 BOOTH B64

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Marshall Electronics to roll out HD POV cameras

Marshall Electronics will present four new POV cameras at IBC, representing the next evolution in its HD camera solutions and a new offering for UHD and 4K workflows.

The upgraded camera line incorporates larger sensors, upgraded processors and improved industrial design.

POV camera users will notice a step up in colour and clarity, improved signal strength and low noise output.

A frontrunner in Marshall’s HD camera line is the new CV506 HD miniature camera, which offers 3GSDI and HDMI options and flexibility in a tiny form factor. The CV506 delivers HD video up to 1920x1080p at 60/59/50fps and interlaced 1920x1080i at 60/59.94/50fps. With interchangeable lenses and remote adjustability for matching with other cameras, the CV506 is suitable for a range of workflows, as it can capture detailed shots without sacrificing versatility.

OnLoops has released an SaaS second screen platform that helps in targeting, engaging and involving the viewers of a live show.

Recently, OnLoops enabled Play Sports channel to involve viewer participation in live broadcasts, with the use of single polls.

In less than a month, it was able to start the integrated campaign. After the first steps of integration, OnLoops

provided on-site client training.

The on-premise proxy application collected all incoming votes from the OnLoops voting interface and forwarded the aggregated data to the graphics engine (Vizrt).

This resulted in displayed realtime updated live 3D objects (created by Boost Graphics and Videohouse) on screen.

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Vizrt and NewTek to present first joint stand at IBC

Following the acquisition of NewTek by Vizrt earlier this year, IBC2019 will play host to the newly combined group’s first joint presentation. The acquisition, which is five months old, brought together two major companies in IP-based, software-defined visual storytelling.

NewTek, Vizrt and partners will be using NDI, the most

OnLoops generates live viewer participation

widely used IP video standard throughout all the exhibition halls at IBC. Vizrt will be promoting the latest updates to its core platforms and product ranges, including the Viz Engine 4 being launched at IBC2019, following its preview at NAB. The Vizrt Stage will also premiere a range of disruptive thought leadership presentations, as well as fresh content for the renowned feature presentations.

This includes The Big AR Sports Show, which will show audiences how Vizrt Sports software can be used for easy-to-use AR, play analysis and monetisation of sports and live event content.

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Fujifilm enables premium 4K video production Fujifilm has added the portable lenses “FUJINON UA18X7.6BERD” (hereinafter “UA18x7.6”) and “FUJINON UA23x7.6BERD” (hereinafter “UA23x7.6”) to the UA Series of 4K-compatible broadcast lenses which will be on display at their booth.

The UA18×7.6 and UA23×7.6 are 4K-compatible broadcast lenses with compact design and advanced portability. The use

of optical technology promises to deliver image resolving power and rich tonal gradation.

Both have versatile focal lengths, with the UA18x7.6 covering focal lengths from 7.6mm to 137mm (18x zoom), and the UA23x7.6 covering focal lengths from 7.6mm to 175mm (23x zoom).

Fujifilm will launch the UA18x7.6 this month and the UA23x7.6 in October of the same year, expanding its broadcast lens lineup to 13 models in total in support of 4K video production.

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PROIBC2019

GatesAir ascends to new heights with Intraplex

GatesAir has added a new application to its Intraplex Ascent transport platform, which will be unveiled at IBC2019. The application’s video support also brings Ascent into the television market, with a value proposition for national broadcasters feeding many destinations.

Ascent will now provide transparent support for any realtime, IP-based broadcast video protocol, with applicability to ATSC 3.0 and DVB-T/T2. Designed for

centralised control and maximum interconnectivity, Ascent is compliant with the AES67 standard, today’s leading AoIP networking solutions and most Intraplex audio over IP codecs.

At IBC2019, GatesAir will demonstrate how the Ascent SRT Gateway supports encrypted transport of video content in both point-to-point and pointto-multipoint configurations.

Vionlabs has developed an AI-powered content discovery platform which analyses video in detail and combines this with the viewer’s watch history.

The AI engine learns what matters and how changes in these fingerprint timelines are connected to the content viewers enjoy. The company has also trained an AI engine to analyse a viewer’s watch history. Finally, it has an AI engine that takes the outputs of the

other AI engines to provide the content discovery platform.

The content discovery results produced by the Vionlabs platform are available through a cloud-based SaaS model integrated with the operator’s back office systems. The Vionlabs platform is already deployed and is generating uplifts in VOD buyrates and viewer engagement for its operator customers.

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A BBright UHD-channel media platform at IBC

BBright has announced that its new UHD-channel media platform is now available for use cases such as ultra-HD channel playout and video production servers installed in OB vans, studios and master control rooms.

The UHD channel can be controlled by the operator with compatible nine-pin remotes or its web GUI for sophisticated actions. For playout, UHDchannel file playback is typically triggered by an external automation, using

Vionlabs builds AI content discovery platform

VDCP or REST API protocols.

The UHD channel supports the Quad 3G-SDI standard for inputs and outputs, as well as the ST-2110 baseband over IP format through a 25GB/s network interface. Live input and file playout can be reprocessed with graphics/ channel branding as well as upscale and frame rate conversion. Secondary video output also provides preview features for live 4K production.

Tedial gets into the game with Smartlive The latest version of the Tedial Smartlive solution includes a number of multi-sport configurations, which allow users to generate automatic highlights or auto-clipping for any genre of sport quickly.

Visitors will see an increase in the number of highlights that Smartlive can generate automatically, due to the significant expansion of sports genres. This is a key addition to the solution’s

fast-growing capabilities.

In addition, Smartlive and Tedial’s Evolution MAM now include a new module that allows all types of content to be published to any social network in just one click.

Enabled by the system’s ability to create social publishing campaigns directly inside the MAM, content includes clips, highlights and historical media.

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Quicklink adds life in real time with commentator IP solutions provider Quicklink has announced that it will display its remote IP commentary solution at IBC. The remote commentary solution enables the addition of audio commentary to production in real time, incorporating ultra-low latency audio from any location with an internet connection. It has already been adopted

by Fox Sports, Red Bull Media House, Swisscom and

several football clubs.

The remote commentator can view HD-quality highmotion video content in a standard web browser and have commentary inserted as the live audio track in the studio. This solution can achieve the same quality of audio as using traditional ISDN or any voice-over-IP only system.

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More thunder from ATTO technology ATTO Technology will showcase its ATTO 360 tuning, monitoring and analytics software, a tool for Ethernet network optimisation designed for creative professionals who want to unlock the potential of ATTO FastFrame and ThunderLink adapters.

ATTO FastFrame NICs are available in single-, dual- and quad-port configurations.

FastFrame has been proven to deliver high-performance

I/O connectivity and lossless Ethernet support, for improved iSCSI block storage access and optimal network traffic.

ATTO FastFrame NICs make it possible to set up virtual networks across a campus or a data centre.

Using optical fibre and a transceiver (SFP+), Ethernet packets can now travel up to 400m without sacrificing speed and data quality.

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Facilis Hub for demanding media workflows

At IBC2019, Facilis will debut its HUB shared storage system. Built as an entirely new platform, Facilis HUB represents the evolution of the Facilis shared file system, with the block-level virtualisation and multiconnectivity performance required for demanding media production workflows.

Additionally, version 7.2 of the Facilis system software and FastTracker 3.0 are now

available and included in all HUB systems.

The company will preview HUB version 8. Scheduled to ship in late 2019, it will include new methods of data protection including software-defined multi-disk parity, hybrid performance management, advanced volume spanning capabilities and portable drive groups.

Facilis HUB version 8 is available for any HUB or TerraBlock system under a valid support contract at the time of release.

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Quantum F-Series offers support for 4K and 8K

Quantum will debut the Quantum F-Series, a highly available NVMe storage array for editing, rendering and processing video content and other large unstructured datasets.

Designed for performance, availability and reliability, it uses NVMe flash drives for ultra-fast reads and writes – up to five times faster than traditional flash-storage/ networking systems – to deliver

real-time editing and rendering of 4K and 8K quicker than all other previous competitive solutions.

By using cuttingedge RDMA networking technology, the F-Series delivers consistent lowlatency performance over IP networks, eliminating the need for expensive, complex fibre channel SANs. Any studio, post house or broadcaster working with high-res content at high frame rates and looking to move from fibre channel to IP-based infrastructures will want to learn more about the F-Series.

Stand 7.B07

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Pixit Media bridges workflows with PixStor

Pixit Media, a data solutions provider, will unveil new features on its PixStor storage platform.

PixStor provides a scalable environment that sits across and controls all commodity hardware, apps and systems in a workflow.

It provides a unified view of all data in the global namespace – be that on-premise, multi-site or in the cloud – with consistent

guaranteed performance at point of use for all types of workflow.

Visitors to IBC will see PixStor in action across a range of broadcast, post-production and VFX workflows based on recent customer use cases, delivering efficiencies from ingest, processing, staging and production to archive.

The live demo will connect the company’s booth in Hall 7 to the Pixit Media Lab in High Wycombe in the UK, where a complete real-world production environment has been created, featuring a full complement of technologies including NetApp E-series storage and Mellanox networking.

VSN and Object Matrix deliver MatrixStore Object Matrix and VSN will display MatrixStore, a storage solution recently integrated with VSN’s media management and workflow automation platform, VSNExplorer – a modular and easily integrated platform designed to meet content management demands in the broadcast industry.

MatrixStore is a mediafocused hybrid cloud solution built on object storage technology from Object Matrix. It allows media

companies to keep content secure, while ensuring easy access and discoverability.

Together, using the MatrixStore Samba interface, VSNExplorer MAM can scan and use MatrixStore vaults for content preservation and storage. This joint solution has already been implemented for a customer in South America that needed to securely manage and store all its media files.

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Ross Video creates a smart intuitive SmartShell

Rohde & Schwarz makes the case for 5G at IBC2019

New from Ross Video for IBC2019 is version 5 of the SmartShell robotics control system, which will include the new MotionDirector firmware update for all Furio robotics products.

SmartShell is an intuitive control system that combines a touchscreen interface with an joystick control panel, enabling customers to operate their Ross robotic systems through a single control platform using a centralised Ethernet-based architecture.

Version 5 of SmartShell contains MotionDirector, a new motion control algorithm that provides superior smoothness and more precise control,

Rohde & Schwarz will present what it calls the world’s first complete 5G broadcast transmission solution. This consists of the core network functionality provided by the new R&S BSCC broadcast service and control centre and R&S Tx9 transmitters, which support FeMBMS. This solution covers all entities from the content provider to the consumer and is fully compliant with 3GPP release 14, and enables broadcasters to contribute their assets for distribution of video to the future 5G ecosystem, reaching smartphones and other devices.

As part of Bavarian research project 5G Today, Rohde & Schwarz is investigating TV

helping Furio deliver the most natural-looking camera movements, even in demanding dynamic environments.

As well as improving the look and feel of moving shots by always ensuring smooth start and stop movements, MotionDirector offers even greater flexibility by providing the ability to make manual camera adjustments and duration changes (time dilation) via the joystick panel while the dolly is in motion.

Stands 11.B08, 11.C10, 11.C23

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broadcast in FeMBMS mode.

Using high-power high-tower (HPHT) transmitters allows broadcasters to distribute video over 5G networks in downlinkonly mode. This provides the high quality levels known from HDTV broadcasting, live content, spectrum efficiency and wide coverage.

Stand 7.B21

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“A robust cloud-based solution ensures digital assets are not only protected but also reusable for the future”

Cloud - Our best bet for archive footage Archive footage is hugely important in the world of broadcasting, allowing producers to build previous events and interviews into new programming to create a more compelling story.

In the build-up to any Grand Prix, for instance, broadcasters often use historic content from previous Formula One events to add to the excitement, create a narrative, provide context and, sometimes, to ensure the programme is long enough to fill the time allocated to it.

However, there are challenges when trying to access archive footage saved in different places across disparate systems, or just being unable to find it.

The challenges of historic content With so much new content created daily, the quantity of archive material held by broadcasters is only increasing. While they may be able to overcome the issue of storing that footage, finding it again presents a whole new series of problems.

This is worse when broadcasters have facilities across multiple locations, making storing and sharing content among themselves and with other organisations, as well as with numerous users, a problem. Databases or file-sharing platforms are frequently in use, and content can’t be found easily. This content may then be impossible to recreate, or if it can be, it’s at a large cost to the business.

Similarly, with employees for an organisation often spread out across

the globe, there are ineffective systems in place to store and share content.

Once a person leaves the business, they also take their knowledge of where content is located with them. So how can broadcasters overcome these issues and calm the headache caused by the storage of archive footage?

Finding a solution The answer lies in a robust cloudbased solution that ensures digital assets are not only protected but also reusable for the future. While this will require a small initial investment of time and money to implement, it is a low-risk, high-reward approach that will allow broadcasters to safely store, search and share content internally, and has the potential to provide significant benefits.

The best cloud-based SaaS solutions are built to scale as the situation demands. This eliminates broadcasters having to take on expensive capacity management fees during quieter periods, but can easily cope with peaks in demand too, as costs are based on usage and consumption. On-premise installations can also be scaled, but they involve capital expenditure that cannot be scaled back when demand returns to normal levels.

However, even in cases such as this where the amount being stored only ever goes up, there are real savings to be made. For instance, if a broadcaster has an entire catalogue of media which it needs to re-process to make modern new renditions for the latest video

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codec or image format, in the cloud it only pays for the time it takes and the parallelism. If it takes X hours with onpremise equipment and needs to be done twice as fast, twice as much equipment is required. But if it’s urgent and needs to be completed 1,000 times faster, the user needs 1,000 times the equipment, which isn’t going to be possible.

However, in the cloud, 1,000 times the processing power can be gained at the click of a button, and assuming the user only needs it for the duration of the task, it will only pay 1,000 times more for the duration, one thousandth of the fee it would otherwise be. It’s therefore not only scalable, but also highly economical.

Cloud infrastructure vendors and cloud-based SaaS platforms can take care of everything, from hygiene factors such as stable power and physical security, to hardware maintenance, patching and software security.

Additionally, implementing a video management platform presents the opportunity to monetise content.

A wealth of programmes or footage stored online creates the potential for VOD services. The BBC, for example, added a ‘From the Archive’ section to its BBC iPlayer on-demand service.

Although most broadcasters don’t have an extensive back catalogue like the BBC, moving to a single digitised catalogue of content allows them to create platforms showcasing their content on a smaller scale and therefore create new revenue streams.

Tim Jobling is CTO of Imagen.

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