ISSUE 133 | SEPTEMBER 2021
Licensed by Dubai Development Authority
G N I V I R D heights w e n o t y h p a r cinematog e n o r d s e k ercar a t p u r s e a ic h r c t c S y le n e n t Joh che's lates s r o P g in t o o h while s
LAUNCHING IRAQ’S LARGEST STUDIO
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PROINTRO
GROUP Managing Director Raz Islam raz.islam@cpitrademedia.com +971 (0) 4 375 5471 Managing Partner Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 4 375 5472 Director of Finance & Business Operations Shiyas Kareem shiyas.kareem@cpitrademedia.com +971 (0) 4 375 5474 EDITORIAL Editor Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 55 105 3787 Assistant Editor Urooj Fatima 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 & EVENTS Events Producer Paul Godfrey paul.godfrey@cpitrademedia.com +971 (0) 4 375 5470 Social Media & Marketing Executive Gladys DSouza gladys.dsouza@cpitrademedia.com +971 (0) 4 375 5478 Events Executive Minara Salakhi minara.s@cpitrademedia.com +971 (0) 4 433 2856 CIRCULATION & PRODUCTION Production Manager Vipin V. Vijay vipin.vijay@cpitrademedia.com +971 (0)4 375 5713 Data & Distribution Manager Phinson Mathew George phinson.george@cpitrademedia.com +971 (0)4 375 5476 DIGITAL SERVICES Abdul Baeis Sadiq Siddiqui
Welcome The streaming competition is only going to get bigger in the coming years. Those who got onto the bandwagon early with great content and a reasonably good service seem to have an advantage, but for how long? Only for as long as they are continuously innovating, evolving and learning from some of their peers outside their immediate industry. OTT is not unique to the broadcast business, which means there are new and fresh lessons we can learn from other verticals such as banking, retail and e-commerce that we can potentially adopt to make the streaming experience better. Personalising and recommending merchandise based on a person's search, understanding the customer journey through data, enhancing monetisation opportunities, improving reach and using AI to understand user profiles better so as to offer a more customised interface are some of the elements that come to mind, but there are others such as commercial, tech and marketing strategies that are equally important. Having understood this, and based on the feedback we received from our attendees at the previous edition
of the MENA OTT conference, we have decided to host a special panel that addresses this at our next virtual event, which will run on September 20 and 21. We hope to bring together some online entrepreneurs who will share their strategies, do's and don'ts, and we hope the broadcast industry will benefit from that discussion. Last month, we also hosted a fantastic roundtable on CDNs in association with Limelight, bringing together speakers representing media entities and telcos in Turkey, the UAE and Africa. It was so insightful that we have decided to include the recording as part of our next OTT edition. Don't forget to register. In the meantime, we bring you some interesting stories on how FPV drones are driving a new era in cinematography, what to expect at CABSAT this year and the tech highlights of a brandnew studio complex in Erbil. Happy reading.
Vijaya Cherian, Editorial Director
FOUNDER Dominic De Sousa (1959-2015) Published by
The publisher of this magazine has made every effort to ensure the content is accurate on the date of publication. The opinions and views 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 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.
ISSUE 133 | SEPTEMBER 2021
Licensed by Dubai Development Authority
On this month's cover…
Let’s create a vibrant online broadcast community!
DRIVING heights raphy to new takes drone cinematog electric supercar Johnny Schaer Porsche's latest while shooting
LAUNCHING IRAQ’S LARGEST STUDIO
Filming the Porsche Taycan Cross Turismo in action in Liwa, Abu Dhabi and Finland.
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Inside this issue 05 NEWS StarzPlay provides tech infrastructure to support Lionsgate Play’s expansion; Warner Bros. Pictures appoints MAF as ME distributor; Viacom18 secures TV and digital rights for Abu Dhabi T10 series; ARRI combines camera and lighting departments in MENA; what to expect at CABSAT; new appointments; and more
September 2021 MORE TECH SUPPORT FROM STARZPLAY
CABSAT: WHAT TO EXPECT THIS YEAR
18 COVER – CAPTURING
A PIECE OF THE ACTION In conversation with FPV pilot Johnny Schaer, who created some exceptional drone cinematography for a video campaign to launch the Porsche Taycan Cross Turismo
05
17
DRIVING FPV CREATIVITY WITH PORSCHE
LAUNCHING IRAQ'S LARGEST STUDIO
26 NEW STUDIO IN ERBIL! When Al Sharqiya decided to build a studio complex in Erbil, Iraq, it chose a large space, and built and integrated a 1,400sqm HD facility with seven sets and the ability to support a 4K workflow in the future. We bring you the tech highlights
32 TECH UPDATE DR should be part of every broadcaster’s strategy and the cloud offers some fantastic options, says Michael Rebel of Imagine Communications
26
18 DISASTER RECOVERY IN THE CLOUD
JUST OUT ON THE SHELF!
36 WHAT'S NEW New launches in the market
40 GUEST COLUMN Sporting events may look a little different this year, but video clipping capabilities and leveraging content beyond the live event itself will help offer a better fan experience, says Femke Schurer
32
36 September 2021 | www.broadcastprome.com | 3
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StarzPlay provides tech infrastructure to support Lionsgate Play’s expansion StarzPlay will provide tech infrastructure to support Lionsgate Play’s expansion into multiple countries in Asia. This builds on the multi-year deal signed by StarzPlay with Lionsgate Play India to provide endto-end OTT infrastructure. As an extension of this partnership, StarzPlay will support in delivering a fully managed tech platform using its in-house technology to successfully launch the Lionsgate platform in Asia. StarzPlay has a robust inhouse tech infrastructure that will enable Lionsgate India in its B2C and B2B expansion into Asia. Danny Bates, Chief
Danny Bates.
Commercial Officer, StarzPlay, said: “The focus on providing tech platform for Lionsgate India, as it expands to Indonesia, marks the continued growth of our
Rotana Channels Group signs media deal with Sawt Beirut Rotana Channels Group has signed a media deal with Lebanese channel LBC and Sawt Beirut International, which broadcasts a range of Lebanese programmes specialising in arts, music and entertainment. The agreement was signed by Abdullah AlShabana, head of the TV sector at Rotana Channels Group, and Jerry Maher, Executive Director of Sawt Beirut International. The deal includes the broadcasting of Sawt Beirut International talk shows, entertainment, youth and medical programmes on LBC.
partnership. Our cuttingedge technology has been supporting Lionsgate Play in India, and we will continue to deliver our in-house tech expertise to support the company as it expands to other markets. We are committed to bolstering the online video entertainment industry, and partnering with a company sharing the same vision as ours helps to strengthen this industry.” Amit Dhanuka, Executive VP, Lionsgate India, added: “StarzPlay’s tech platform solutions and support will be key to us as we expand Lionsgate Play operations across Asian markets.” StarzPlay has finalised
direct carrier billing (DCB) integration with Indonesian telco players Telkomsel and Telkom to offer easy payment options for potential subscribers. It has also integrated Apple TV+ with the Lionsgate Play platform, so that Apple TV subscribers in Asia can access Lionsgate Play’s diverse library of content. Additionally, StarzPlay has managed integrations with local B2B entities that will enable Lionsgate India to develop bundling options with telecom partners. On the direct-to-consumer side, integrations with Android, iOS and web-based devices have also been developed.
Warner Bros. appoints MAF as ME distributor Warner Bros. Pictures has appointed Majid Al Futtaim Leisure, Entertainment & Cinemas (MAF LEC) as its new Middle East distribution partner, starting with the screening of The Suicide Squad in theatres last month. MAF LEC operates 615 screens across eight markets in the Middle East, and also operates a large regional film distribution business. Ignace Lahoud, CEO of MAF LEC said: “This is an exciting new chapter for us
The Suicide Squad was screened in MAF cinemas as part of this deal.
and underscores our commitment to provide movie lovers across the region with the ultimate entertainment experience and highly anticipated movies from the world’s best
storytellers. I have no doubt that the Warner Bros. films, combined with our in-depth market knowledge and experience, will drive long-term box-office growth.”
September 2021 | www.broadcastprome.com | 5
PRONEWS
Viacom18 secures rights to Abu Dhabi T10 series Indian media group Viacom 18 has bagged the exclusive TV and digital rights for the Abu Dhabi T10 series. The cricket series will premiere on November 19, 2021, live on Colors Cineplex SD (Hindi), Colors Cineplex HD (English), Rishtey Cineplex (Hindi), Voot and Jio. The deal was facilitated by Rise Worldwide, a sports marketing company formerly operated as a joint venture with IMG. The series is sanctioned by the ICC (International Cricket Council) and licensed for ten years by the Emirates Cricket Board. The competing teams are Delhi Bulls, Pune Devils, Bangla Tigers, Deccan Gladiators, Maratha Arabians, Qalandars, Northern Warriors and Team Abu Dhabi. Nina Elavia Jaipuria, Head – Hindi Mass Entertainment and Kids
TV Network, Viacom 18, said: “Sporting events have always attracted a wide spectrum of audiences and we have been successfully experimenting with sports content on our network. The Abu Dhabi T10 collaboration is a bold step in further enhancing our sports content mix, and we are hopeful it will help us expand our viewer and sponsor base.” Rohan Lavsi, Business Head – Hindi Movies Cluster, Viacom18, added: “We are excited to bring to our extensive cricket fanbase in India the unique, snackable, high-energy T10 format. It is our vision and constant endeavour to present our viewers with an unmatched entertainment experience that doesn’t require an episodic commitment. Movies and sports fit this vision and in that sense are quite complementary as a
variated content mix. This belief has been validated by both our viewers and advertisers, as we witnessed significant uptakes whenever we have showcased sports, be it the Nidahas Trophy or the RSWS.” Matthew Boucher, CEO of Abu Dhabi Cricket, stated: “Broadcasting the Abu Dhabi T10 to homes in the Indian subcontinent on one of the leading television and streaming channels in the country makes this media agreement truly unique, as global multiplatform viewership is a priority for us as a host destination partner. Together with the Abu Dhabi Sports Council and the Department of Culture & Tourism Abu Dhabi, we are thrilled to continually evolve the Abu Dhabi T10 into an event that drives growing audiences every year, digitally and otherwise.”
Wajdi Maalouf moves from Harmonic to Synamedia
Wajdi Maalouf.
Synamedia has appointed Wajdi Maalouf as Regional Director of Sales for MEA. With extensive regional experience in DTH, OTT and IPTV technologies, he will lead in delivering the company’s video network portfolio and expertise in the region. Maalouf has 18 years of experience in the video technology industry, most of it spent in sales,
6 | www.broadcastprome.com | September 2021
business development and solution consulting and covering the MEA region including Pakistan. He joins Synamedia after nine years at Harmonic MEA. Prior to this role, he held several senior sales positions at Harris Broadcast (now Imagine Communications) and engineering positions at DTH broadcasters Orbit Communications and Rotana.
Ghallab Mohamed.
Ghallab Mohamed joins Assendive Assendive Communications has appointed Ghallab Mohamed as Director of Sales & Business Development for MEA & South East Asia, with a special focus on Broadcast & Media including conventional broadcast, file-based media solutions (FBMS) and BIT, transmission FM, DVB-T2, DAB, satellite transmission solutions, DSNGs, IPTV, OTT and headend solutions. Mohamed has worked in senior positions for leading systems integrators in the region, including Sony Professional Services, Rohde & Schwarz and more recently Technology KAR in Egypt. He has worked across a variety of broadcast systems, including an extensive range of business-critical AV & IT systems, from TV and radio studios to OB vans, DSNG, Earth station solutions, FM & MW systems, teleport & MCR and IT broadcast and OTT/IPTV solutions.
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PRONEWS
ARRI combines departments in MENA as part of new commercial strategy ARRI has combined its camera and lighting business in the Middle East as part of a new strategy to serve its customers in the region better, Christian Richter, Director Sales Camera Systems and Lighting – EMEAI (Europe, MEA and India), ARRI, who was in Dubai last month, told BroadcastPro ME. “We have previously kept these departments separate but see greater benefit in them combining their efforts under one ARRI umbrella now. This, however, is not a new concept. In other regions, we have combined these departments depending on where it has been beneficial to do this,” Richter said. The company has also created ARRI Solutions Group for projects related to broadcast and cinematic operations.
Beyond Rights inks deals in MENA Beyond Rights has secured deals for over 270 hours of scripted and unscripted programming with MEA broadcasters. In the Middle East, OSN acquired a 190-hour package of factual titles and AETN Africa bought seasons seven and eight of Love It or List It (38 x 60), along with two seasons of Filthy House SOS (18 x 60). BBC Africa bought the UK version of Pooch Perfect (8 x 60). CBS acquired two true-crime series for Africa, while Azam Media bought Halifax: Retribution (8 x 60) for its international entertainment channel.
From left: EMEAI Sales Director Christian Richter with Sohail Shafi, MD at ARRI Middle East.
ARRI Solutions Group takes care of the broadcast sector, providing turnkey solutions, including lights, suspension systems, lighting networking, control systems as well as IP-based remote control and monitoring solutions where needed. The team has also worked on cinema-style projects providing everything from the
design and engineering to the installation of mixed reality studio environments. With mixed reality studios gaining more traction, Richter commented that ARRI Solutions Group had recently completed a big mixed reality studio in Uxbridge in the UK. Similar facilities have been established in the US and Germany, he added. “We have a number of clients across the MENA market that we service, including the likes of Gamma Engineering and Action Films on the rental side and Sharjah TV, Sky News Arabia, Al Jazeera, Kuwait TV and the like on the broadcast side, with many more installations in the pipeline. While most of these are traditional setups, we hope to have the opportunity to develop a mixed reality facility in the MENA region as well soon,” Richter added.
BookMyShow announces the launch of the GCC's first cinema ticket aggregator platform BookMyShow, a global out-of-home entertainment company, has become the Arabian Gulf’s first online movie ticket aggregator platform following a partnership with regional operators Roxy Cinemas, Novo Cinemas and Cinepolis. The new service builds on BookMyShow’s UAE success in live event ticketing. Lawrence Harradine, Lead – Business, Middle East, BookMyShow UAE, said: “Having built a reputation for delivering a wide range of entertainment choices since launching in the region in 2019, the
8 | www.broadcastprome.com | September 2021
Lawrence Harradine, Lead – Business, ME, BookMyShow UAE
introduction of movie and attraction tickets to the platform affirms our intent to establish a one-stop shop for multi-faceted consumer entertainment experiences
across the Gulf.” With cinema ticket sales contributing to the core of BookMyShow’s revenue generation in India, where the company was founded in 1999, Harradine believes the regional product evolution is well placed to succeed in the Gulf. “This move extends our appeal to new consumer demographic verticals. In leveraging decades of technical and operational experience amassed by our India operation, we are very excited to roll out a greater pool of entertainment options at the click of a button to our growing regional customer base.”
PRONEWS
Digital content market in KSA to hit $5.3bn by 2030 Saudi Arabia’s digital content market is expected to grow to between $4.3bn and $5.3bn by 2030, according to a report by the Trend Corporation in cooperation with the Riyadh Chamber of Commerce and Industry. An initiative to invest in video content creation aims to attract major companies specialised in visual content, in light of the interest in launching the filmmaker’s programme in partnership between the Film Authority and the British Film Institute, and the launch of the Electronic Games
Accelerator Programme. The investment rate in video and digital content platforms in Saudi Arabia is expected to reach $270-320m. In terms of owning devices and using platforms across the Kingdom, the number of internet users in Saudi Arabia is approximately 33.5m, representing 95.7% of the total population, indicating that the percentage of smartphone users is 98.7%. According to the report, the percentage of computer users is 64.1%, tablets users is 40.2%, smart TV users is 10.3%, and virtual glasses users is 7.7%.
Iran International offers Afghan news channel Iran International news channel has launched an Afghan edition. The channel’s launch comes alongside the Taliban’s takeover of Afghanistan. By broadcasting documentaries, analysis and news programmes, Afghanistan International aims to provide a comprehensive outlook of the events unfolding in the country. The channel broadcasts on the Turkmenalan satellite as well as on social media and radio stations.
In terms of the most used social media platforms in the Kingdom, according to the report, YouTube achieved a usage rate of 89.5%, WhatsApp 80.5%, Instagram 76.4%, Facebook 73.9% and Twitter 71.4%. Video generated $175m in revenue locally, with video streaming $127m, and the expected market size is $262m in 2025. In MEA, video traffic has grown eight-fold, and the region is estimated to have created 169bn minutes of video content every month by the end of 2020.
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PRONEWS
ATG Danmon designs and integrates newsroom facilities for Alaraby TV ATG Danmon has completed a large-scale upgrade to the news production and several news editing suites at the London headquarters of Alaraby Television. Ali Husseini, Director of Broadcast Operations & Visuals at Alaraby, said: “News and documentary programmes form a core part of our output. Key objectives were to advance our news reporting, ingest, production and playout systems to latestgeneration workflow, allowing staff at our headquarters and around the world to operate with maximum efficiency and creativity as a unified team. Our legacy infrastructure remained active until the new system was
Ali Husseini.
fully commissioned so that editors and their production colleagues could transition as easily as possible.” Howard Dixon, Project Manager of ATG Danmon, added: “Alaraby selected
Synamedia buys ContentArmor to enhance video security portfolio Synamedia has acquired ContentArmor, a privatelyheld developer of forensic watermarking solutions for the media and entertainment industry. By adding its technology, patents and expertise to its portfolio of security offerings, including its Synamedia EverGuard anti-piracy services, Synamedia can now meet video service providers’ edge and 5G security demands. Additionally, it boosts Synamedia’s anti-piracy
capabilities for movie studios and sports rights holders across both OTT and directto-consumer (D2C) services. The acquisition will also extend Synamedia’s reach into new markets including post-production, inflight entertainment and enterprise video. The ContentArmor team will continue to be based in Rennes, France, which will form a new R&D hub for Synamedia’s security and video solutions.
10 | www.broadcastprome.com | September 2021
us to design, engineer and integrate a complete system from content acquisition right through to presentation. The front end comprises 12 channels of news ingest capturing to a dedicated server with proxy file-generation capability. This feeds through to a 75-client news production platform with full asset management resources, 120 terabytes of production storage and cloud-connected browsing. Studio playout is fully automated and includes a multichannel MPEG gallery playout server. The graphics system provides a range of image generation capabilities including a scrolling text news ticker, virtual studio generation plus a video
wall feed. We were also commissioned to upgrade eight craft edit suites, replacing a third-party installation with latest-generation Avid editors, plus network switching and transcoding.” ATG Danmon worked across the production control gallery and MCR, providing cabling, racks and interfaces where necessary. A new data centre which could be operated alongside the channel’s existing data centre during the transition to the new system was equipped. This included designing and integrating KVM control interfaces allowing newsroom and edit suite operators to switch between the legacy and latest-generation systems.
Saudi Arabia's GEA and MBC Academy launch talent search The Saudi General Entertainment Authority has launched its "Creative Journey Around the Kingdom" initiative in partnership with MBC Academy. The aim is to discover talented individuals from across the Kingdom in order to boost the country’s media and entertainment industry, in line with the goals of Saudi Vision 2030. This initiative is an important development programme for discovering and adopting domestic talent in the media and
entertainment sector, by investing in talent to stimulate creativity and hone knowledge and skills in the local and global entertainment industry. So far, 77 people have been chosen from 1,687 applicants by MBC Academy and the GEA to take part in the scheme. Twenty hail from Tabuk, 18 each from Jazan and AlUla, and seven from Jeddah. The search will continue in Taif from August 16-18, before moving on to Qassim, AlKhobar and finally Riyadh.
PRONEWS
Anghami ties with Addmind for new entertainment lab Music streaming platform Anghami has announced plans to launch Anghami Lab, an entertainment venue, in major cities across the world. The first venue is scheduled for opening in Dubai in early 2022, following which there are plans to launch in Riyadh, Jeddah, Cairo, Beirut, London, New York and Los Angeles. Anghami Lab will combine
both online and offline worlds, bridging digital and traditional entertainment. The venue will feature a lounge, stage and studio where creators can experiment by co-creating music inspired by Arabic and international cultures to be performed in the venue. The resulting music will be made available only on the Anghami app, with its own set
An artist's rendering of Anghami Lab
of features that will enhance both experiences. The cuisine offered at Anghami Lab will be a fusion of Arabic and international dishes, capturing the spirit of Anghami while also delivering a global taste with an Arabic flavour. To introduce the concept, Anghami has partnered with Addmind. Eddy Maroun, co-founder and CEO of Anghami, said: “We are excited to partner with Addmind to create this transformational experience for our users. Addmind is a leading expert in conceptualising and operating hospitality spaces, and this is a great opportunity to further reinforce the value we provide digitally to be converged offline in a unique user-to-guest experience.”
UAE to host first Global Media Congress in 2022 The UAE is set to host the first Global Media Congress, an event aimed at bringing together media organisations to discuss strategic cooperation in 2022. The event, which will run from November 15-17 in Abu Dhabi next year, will be organised by the Abu Dhabi National Exhibitions Company in partnership with WAM. The event will include a media conference and an exhibition, which will enable various media organisations to discuss partnership and cooperation
agreements aimed at developing their messages that will serve humanity and support communities through providing useful and credible content. It will be attended by a range of media leaders and global influencers, in addition to academics and students. UAE Deputy Prime Minister and Minister of Presidential Affairs Sheikh Mansour bin Zayed Al-Nahyan called the country a “global host and an efficient platform for the entire media sector because of its integrated
12 | www.broadcastprome.com | September 2021
digital infrastructure”. It also has a supportive legal and legislative environment, as well as attractive living standards for all nationalities and international companies in the media and cultural industries, he added. The event will serve as a platform for international companies interested in engaging in media markets in the Gulf region and MENA. The Congress is set to discuss key topics such as digital communication, AI and innovation in the regional media scene.
Vislink acquires Mobile Viewpoint in $18.3m deal Vislink has bought Mobile Viewpoint in a cash deal worth $18.3m. The deal comprises a €14.8m stock purchase agreement and the assumption and payment of €700,000 in intercompany debt. The acquisition will help Vislink combine Mobile Viewpoint’s solutions with its own solution set, to make its Connected Edge video transport concept of utilising ubiquitous IP networks and cloud-scale compute across 5G, WiFi6, Mesh and COFDM-enabled networks a reality. With this acquisition, Vislink will have all the hardware and software solutions needed to acquire, produce, contribute and deliver video over all private and public networks. These solutions include live video encoding, stream adaptation, decode and production solutions, remote production workflows, wireless cameras, AI-driven automated production, ability to contribute video over bonded cellular (3G and 4G), satellite, fibre and emerging networks, including 5G and Starlink.
PRONEWS
Saudi Research and Media Group launches Manga Arabia Saudi Research & Media Group (SRMG) has launched Manga Arabia. Stemming from the growth in the popularity of Japanese manga and anime in the region over the last two decades, as well as the demand for localised storytelling, Manga Arabia’s new Arabic content is inspired by Arab cultural values. The content will be inspired and translated from leading Japanese publishers. Manga Arabia will have two offerings: Manga Arabia Kids, catering to 10-15-year-olds, and a second title targeting those 16 and above. Both
Jomana Al-Rashid, CEO of SRMG.
offerings will be available freeof-charge in digital formats and monthly printed copies. Jomana Al-Rashid, CEO of SRMG, said: “The launch of Manga Arabia constitutes a new dimension for Arabic content that has the ability to
Dr Essam Bukhary, Editorin-Chief, Manga Arabia.
provide intellectual, cultural and creative inspiration for the Arab world. Not only will this project produce inspiring content for the community, but it will also create a whole new market segment for our economy,
creating job opportunities, attracting promising talent and exporting our Arabic creativity globally.” Dr Essam Bukhary, Editorin-Chief of Manga Arabia, added: “We have witnessed the rapid growth in popularity and impact of this art with its stories and animations across all generations. Today, we are looking forward to developing purposeful Arabic content for Manga Arabia, embedded with regionally inspired characters that will tell local stories rooted in societal values originating from Arab culture.”
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PRONEWS
Etisalat Group appoints former chief of Yahsat as CEO for UAE operations Etisalat Group has appointed Masood M Sharif Mahmood as CEO for Etisalat UAE operations. Reporting to Etisalat Group CEO, this new position is part of Etisalat Group’s ongoing and agile transformation strategy that targets diversifying and exploring new growth opportunities, accelerating business development in the digital field, expanding geographical presence and maximising operational efficiency. The appointment also marks the company’s efforts to maintain its position in digital transformation and continue providing innovative services and solutions to all customers, while investing in UAE nationals and empowering them. With more than 20 years of experience, Masood has a proven accomplishment record with vast
Masood M Sharif Mahmood.
knowledge in telecom and technology. His expertise in both the operational and financial industry led to developing high performing teams, establishing a creative work culture and setting development strategies that elevated business performance.
He currently serves on the boards of Al Yah Satellite Communications Company (Yahsat), the UAE Space Agency and Etihad Aviation Group. He has held leading positions throughout his career, including CEO of Yahsat for about a decade and Vice President at Mubadala’s Information and Communications Technology (ICT) unit. Additionally, he served on the boards of Emirates Integrated Telecommunications Company (Du), among other expertise gained in positions at Dubai Investment Group and the Executive Office of the Government of Dubai. He has an MBA with a concentration in Finance from McGill University in Canada, and a bachelor’s degree in Computer Systems Engineering from Boston University in the US.
General Entertainment Authority updates licensing regulations Saudi Arabia’s General Entertainment Authority (GEA) has issued a regulation organising licences for entertainment activities and associated suppliers services. The regulation outlines the specifications and documents required for obtaining entertainment licences, the types of licences issued by the GEA that fall within the scope of this regulation, and the obligations of licence holders and the penalties against violators. The regulation includes 19 articles across five sections and identifies 10 types of licences classified
into three categories: Entertainment Venues, Entertainment Events and Suppliers Services. Entertainment Venues includes theme parks, entertainment centres and entertainment event venues; Entertainment Events includes entertainment event permits, entertainment show permits, and restaurant and café live show permits; and Suppliers Services includes artists and talent management licences, entertainment venue operator licences, crowd management and organisation accreditation, and entertainment activities
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ticketing accreditation. Once an investor submits a licence or permit request via the Entertainment Portal, the GEA inspects the application then issues the licence and provides post-licensing services. Through the regulation, it stipulates the guidelines and laws that the licence holder must abide by, most notably in terms of observing Islamic values and the cultural considerations of the Kingdom’s society, refraining from offending individuals or government authorities, implementing security and safety standards
within the entertainment venues or event sites, and implementing guidelines and instructions issued by the authority. The GEA also stipulates the penalties in the event of violations, which range from issuing a warning, shutting down the facility or suspending the activity to withdrawing the licence completely or even including the violator on the banned list. A licence holder is entitled to object to its decisions at the Complaints Department, which shall inspect the objection and take the appropriate action or raise the file to the Grievance Committee.
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Great Expectations at CABSAT 2021 Thomas Löffler, Assistant VP of Exhibitions, Dubai World Trade Centre, offers a quick brief on what to expect at the show this year What are some of the key focus areas at CABSAT this year? CABSAT is set to reunite the region’s content and broadcast communities in person once again for its 26th edition at Dubai World Trade Centre (DWTC). CABSAT 2021’s Content Congress conference will engage a cross-section of senior industry stakeholders with up-and-coming influencers to share insights on how to adapt traditional broadcast models, the benefits of disruptive thinking and the future of worldwide broadcasting. Content Congress will tackle the toughest challenges that the industry now faces, including the survival strategies of smaller OTT players, the future of linear TV, how to capitalise on Gen Z’s changing consumption of content, and how cinemas will adapt to the rise of stay-at-home viewing. CABSAT will also explore the impact of artificial intelligence in the broadcast, content and satellite sectors via the ‘4 C’s’ of AI – how artificial intelligence will understand the citizen, content, context and container (device) used. Together with Dubai Studio City, CABSAT will launch a new content marketplace, NextGen Content, which is set to attract content creators and sellers who will present their readyto-be-released content to content buyers in an exclusive, 200-seat cinema at Dubai World Trade Centre. NextGen Content caters to a mix of expert content buyers from across the region who are looking to acquire content across a range of platforms and genres including TV, film, serial dramas, documentaries, comedy, kids entertainment and animated entertainment. NextGen Content will provide a unique platform to showcase content, explore production and co-production opportunities and spark industry networking.
artist, actors and writers, will share their success story, while Karim Rabie, ICT Chief Architect, NEC Corporation, Saudi Arabia, and Yusuf Al-Butti, Head of Technology and Engineering at twofour54, will discuss what 5G and AI will mean for the future of the E&M industry. There will be a strong presence from Nigerian broadcast experts at CABSAT, and visitors will hear from Aduku Armstrong Idachaba, Director General of the National Broadcasting Commission of Nigeria; Augustus B. Ajibola, Director of the Department of Entertainment and Creative Services, Federal Ministry of Information and Culture in Abuja; and Mo Abudu, CEO of EbonyLife TV, along with other African experts.
Thomas Löffler.
Can you provide some details of new speakers who will be part of the show? Despite the pandemic grinding film and TV production to a halt, the UAE was one of only a few global entertainment centres to have overseen over $100 million worth of productions in 2020. Majed Al Suwaidi, Managing Director of Dubai Media City, Dubai Studio City and Dubai Production City, and Hans Fraikin, Film and Television Commissioner, Abu Dhabi Film Commission, will discuss how this was possible in such a testing time for the industry. Henry Windridge, Senior Director: Marketing, Digital & Creative, EMEA Pay TV & Global Brands at Discovery, and Madeleine Noland, President, Advanced Television Systems Committee, will discuss next-generation terrestrial broadcast systems and the global convergence of IP data networks. Twitter's Director of Media Partnerships for MEAT, Kinda Ibrahim, will discuss how content creators monetise their content on the platform. UAE-based startup ScriptDoor, which gives an equal launching pad for businesses, directors, producers,
What can we expect at the SATExpo Summit? With the global satcoms market expected to be worth $53bn by 2027, the value of the satellites in the distribution chain is clear, with it remaining one of the most reliable means of communication. Satellite operators have seen a significant increase in demand for capacity. In collaboration with GVF and the European Satellite Operators Association, CABSAT 2021’s SATExpo Summit will host leading satellite operators who will be exhibiting at the show, including Nilesat, Arabsat, Eutelsat, Russian Satellite Communications Company, Gazprom Space Systems, Azercosmos and Turkmen Hemrasy. SATExpo’s hard-hitting conference agenda will tackle the most pressing topics in the industry, including how enhanced satellite communication technologies are helping to fight the spread of Covid-19, what’s next for the UAE’s space exploration efforts and what they mean for the country, as well as the ways that satellites are impacting the maritime, transport and government sectors.
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G N I V I DR Y T I V I T A E R C
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Porsche MEA recently celebrated the launch of its all-electric Taycan Cross Turismo with a video that shows the car being pushed to its limits in two remote locations with contrasting climatic extremes. FPV (flying first-person view) pilot Johnny Schaer worked with Emmy-winning film director Nicholas Schrunk to create some exceptional drone cinematography capturing epic driving moments, extreme landscapes and compelling human performances. He shares his experience with BroadcastPro ME September 2021 | www.broadcastprome.com | 19
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Two identical racetracks, one in the sandy desert in Liwa (the UAE) and the other on a snow-blanketed frozen lake north of the Arctic Circle in Levi (Finland), served as the locations for a project titled Drive2Extremes which saw the Taycan Cross Turismo power between two contrasting worlds. Porsche MEA CEO Dr Manfred Braeunl called the launch video “innovative, exciting and bursting with Porsche DNA”. Taking the viewer on this visual journey was the FPV drone videography of Johnny Schaer, lauded as one of the world’s top drone pilots and better known as Johnny FPV. Schaer and Nicholas Schrunk linked seamlessly with professional racing driver and Porsche driving instructor Jukka Honkavuori to create the edit, captured between the biting cold
of Levi and the blistering heat of Liwa. Johnny FPV answers our queries. What is your relationship to cars? I got into cars through filming with the FPV drone a few years back and have been really interested in them ever since. During the filming for the Drive2Extremes campaign, I was lucky to get an extra shot of adrenaline when I tested the Taycan Cross Turismo on the ice track in Finland. That was such a crazy moment and so much fun!
“For me, the most important focus was that my gear would be capable of withstanding the extreme weather conditions. It was uncharted territory for me” Johnny Schaer, FPV pilot
Drive2Extremes was a project of many extremes and firsts. This is the first time you have cooperated with a motoring brand for a film project, and it is also the first production in the industry to be solely filmed using FPV drone cinematography. What interested you in this project? I love to challenge myself, and something this bold caught my attention straight away. I love to film cars that are immersed in nature and spitting up material, whether they’re drifting on ice in Finland or on sand in Liwa. Creating some amazing content is what I’m after, and it was definitely one of the most incredible projects I’ve ever worked on. What were the biggest challenges with regard to filming in Finland and Abu Dhabi? Working in the cold where your
The world’s first electric crossover utility vehicle, the Taycan Cross Turismo, on a racetrack in Liwa, Abu Dhabi.
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PROCOVER
Johnny FPV designed and built new drones that were more powerful and bigger so they could carry cinema cameras for this project.
itself was a fresh custom design that was created just for the project. It was cut with CNC machines in Canada, and shipped in for further build-up and testing just some weeks before the project. I’m quite proud of how it all turned out and what the equipment was able to do. I will definitely be using the same tech in my future jobs.
fingers are frozen was tricky, but we were lucky to have an incredible support team that provided us with portable heaters! Also, the equipment would get hit with ice which would then again melt, causing the drones to have some electronic issues. Filming in the desert also presented some challenges, like getting hit by rocks and pebbles that were shooting up from the car as it drifted. We were breaking a lot of propellers at the start because of this, but then switched to more durable ones eventually. All in all, I would say that Finland was slightly tougher than Liwa, but they were both challenging in their own ways. Under extreme weather conditions and environments, the Porsche Taycan Cross Turismo drove over 1,000km on both tracks, which you were tasked to capture in the most creative way. What special preparation was required? What drones and cameras did you use? For me, the most important focus was that my gear would be capable of withstanding the extreme weather conditions. It was uncharted territory for me. The car was spraying up a lot of material and hitting the drone with either sand or ice, because we were filming so close. So my preparations were as simple as just
bring many drones and spare parts, so we wouldn’t be stuck in case of a crash. This type of project was a first for me. Traditionally with FPV drones, they would be used exclusively with tiny action cameras like a GoPro. For Drive2Extremes, I actually designed and built new drones that are more powerful, a bit bigger and able to carry cinema cameras. We used the new RED Komodo cinema camera, which is quite a compact one. It really took the videography to another level from a technical and filmmaking standpoint. Agility is quite challenging with bigger drones, but mine performed really well. The chassis for the drone
This project involved filming a fast-moving car driven by Finnish GT3 Cup champion Jukka Honkavuori. What were the biggest challenges, and how did you work together to solve them? Jukka’s driving skills are incredible, and it was really impressive to see how easily he adapted to the different tracks, which made my job easier. He drove the car extremely well with a lot of passion. When the subject looks cool, it makes my job a lot easier. There were some challenges from the technical side of things, including keeping the equipment working when it was getting hammered by the sand and the ice, but Jukka was very patient and drove flawlessly. Thankfully, we had practice days at each location.
At 25, Johnny Schaer has already made a name for himself as a globally renowned FPV pilot.
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Two identical race tracks were built in Finland and Liwa to show how the car fared in both worlds.
The first day was all about figuring out how the car would drive and how fast it would go. After doing that, I synced the speed of the car with the drone speed, as long as Jukka’s driving was consistent – and he was always consistent! What did you learn from the project? Technical things, mostly, like how to adapt to extreme conditions when filming and having an excessive amount of drones. Going into the project, I didn’t expect to be in the action so much, and with that I mean just getting blasted with a lot of sand or ice basically every second of the shoot. I had to make sure I had enough drones to withstand the pressure. I also realised how important the production planning was. Everything was super organised and everyone was on the same page, so I really just had to plug in my drone, take it in the air and start shooting the Taycan. Compared to past projects,
“We used the new RED Komodo cinema camera, which is quite a compact one. It really took the videography to another level from a technical and filmmaking standpoint” Johnny Schaer, FPV pilot what made this one special? The production team literally built a racetrack in the desert, and to film it was such a special moment. It was a project to remember, and one that is very hard to top. What advice would you give to aspiring creators? The most important thing you can do in the creative field is doing something unique, even if it’s a slight change to something someone else has already done and putting your own signature on it. That’s the best way to stand out, get recognition and expand your opportunities. Utilise
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social media and get in front of as many eyeballs as possible – and if you’re lucky it’ll become a monster on its own, with fans sharing your content. Social media is a powerful tool any content creator should take advantage of. Where’s the best place to look for advice and guidance as a drone pilot beginner? What’s the best way to start? The best thing is to absorb as much info as possible. For example, if it’s FPV drones you want to know about, make sure you consume all FPV drone material on YouTube to see the different types of drones, how to build your own one, how to pilot them and so much more. Immerse yourself in that world and with so much content out there on the internet, you can easily master something quite quickly. Then practise as much as you can to develop your skills, start off with simulators online to avoid crashing, and then get into the real flying of drones.
PROCOVER
The Taycan Cross Turismo is an allrounder among electric sports cars.
You are no stranger to the UAE – your drone dive video of the Burj Khalifa has received over two million views. What were the challenges of recording at one of the world’s most iconic buildings? With the Burj Khalifa video, Dubai Film approached me to see if I’d be interested in shooting it. Diving or flying down the sides of tall skyscrapers has always been a key part of FPV. A few years ago I used to fly around skyscrapers in Miami, and it’s one of the unique things I’ve become known for. I was fortunate to have been invited by the Dubai Film team to film for Sheikh Hamdan. It was a tough shoot because drones don’t have unlimited range. In the case of the Burj Khalifa, we had to calculate the altitude and distance that a drone can go, keeping in mind other aspects such as the wind. Shooting in the harsh lighting at that
time of day when we had all necessary approvals was also a challenge, but we’ve managed to get incredible shots which I’m very proud of! What is the one piece of tech you take wherever you go, and why? I guess the simple answer is my
cell phone. But from my work as an FPV drone pilot and heavily inspired by Drive2Extremes, it would be a wicked slow-motion camera for epic shots. During the project, we were shooting with 4K, 400fps, which is pretty remarkable. It makes a huge difference.
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With drone technology continuously improving, Johnny Schaer (r) expects more disruption in this space.
more unexpected. It’s all good for the growth of the industry. So I encourage people to do amazing things with their FPV drones.
What about the growth of the drone industry over the last three to five years? How has it developed, and where do you see its future? The FPV development has been rapid; everything from how smooth the drone flies to how it moves. If you told me that I could have a cinema camera in an FPV four years ago, I wouldn’t have believed it. Camera technology is getting more efficient and better in general. It’s hard to predict the future in drone development, but I guess batteries will improve, meaning drones will fly for longer. Seeing how drones play a role in the real world, for things like inspections, search and rescue or agriculture, will also be really interesting. Where do you see yourself in five years, as you reach your thirties? I’ve always wanted to be part of a Hollywood filming production, and luckily for me it looks like these opportunities are starting to happen. In five years, one of my biggest goals is to make some real contributions to the film industry – so not just to shoot a small bit of a movie but to really film an entire scene, like an amazing intro of a movie that really captures the audience’s attention. Those sorts of things that are really memorable. And then, beyond filming, I’d also like to build my
own drone company where people can buy my drones. Let’s see. How do you see your competition evolving as an FPV filmmaker? Being a professional FPV filmmaker is something new. When I first started filming about two years ago, it was something different, something niche. Maybe it was just myself and maybe one or two other people. Now fast forward, now there are definitely a lot more people doing it on a professional level. So the industry is definitely growing. I guess it’s my job to try and deliver even better work, try and do something that is even
Johnny Schaer on-site.
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What would you consider a dream project? I love filming fast cars in wild environments where the car is spitting up material, it just helps in creating amazing images. So a dream project might be to fly a drone down a pyramid and then carve a way and catch a legendary race car, maybe from Formula 1, drifting in the sand or something like that. That said, every project has its unexpected greatness that is unveiled through the process of filming and trial and error. I think there are legendary moments in all kinds of projects, independent of their size. The Drive2Extremes video is available on Porsche’s official YouTube channel and on the Porsche newsroom. Beyond the video, a series of behind-thescenes videos take viewers deep into the distinctive production, with a wide range of content that will be launched soon.
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A NEW DIMENSION
Iraq’s Al Sharqiya Group, known for its news and general entertainment channels, recently built and kitted out a brand-new TV studio complex in Erbil. In an exclusive interview with BroadcastPro ME, Al Sharqiya’s CTO Ahmed BinAfif and systems integrator Wave Media Solutions share the technical highlights of this project Al Sharqiya, Iraq’s first privately owned satellite channel, widely popular among both Iraqis and the Arab diaspora, has opened a brand new 1,400sqm studio facility in Erbil. Designed with modern open spaces in mind, this facility is now home to Iraq’s largest studio and is the group’s seventh. The Erbil studio complex was kitted out and integrated by systems integrator Wave Media Solutions in conjunction with local partners and the media house’s local engineering department, headed by CTO Ahmed Bin-Afif, who manages the group’s tech operations across Dubai, Amman, London, Baghdad and now Erbil. “The group owns and runs over 4,000sqm of broadcasting centres in London, Dubai, Amman, Erbil, Baghdad and Basra,” explains Bin-Afif. “We invest millions of dollars to upgrade to the latest technology and uplift Al Sharqiya’s studio sets and environment, with state-of-theart video walls and new and advanced presentation technology that includes a mix of virtual and augmented reality solutions. We operate with the latest broadcast technologies and offer the highest image quality from production, transmission and delivery to our viewers
across all our platforms including our websites, OTT, online streaming and official social media channels.” Al Sharqiya has traditionally enjoyed wide popularity in Iraq and with the Arab diaspora in Europe, the Middle East and North Africa. Al Sharqiya Television produces a lot of different content including drama, entertainment, factual, informational and educational programmes. Over the years, the group has produced over 200 Iraqi dramas with major producers and directors in the television and production field. As a result, it has continuously upgraded its facilities to retain its top position in the market. “We have a very competent engineering department that has been closely involved in all our studios’ build,” explains Bin-Afif. “The Erbil studio complex is a fine example of the team being involved in the project all the way from design to complete build. Wave Media Solutions has been a long-term systems integration partner and they have worked with us on our projects in Dubai, Baghdad and now Erbil.” “It has been a pleasure working with the Al Sharqiya team on all their projects. As an integrator with deep roots in the Iraqi market, working on the Erbil project
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PROCASESTUDY
Al Sharqiya's CTO Ahmed Bin-Afif manages the group’s tech operations across Dubai, Amman, London, Baghdad and Erbil.
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Snapshot Location: Erbil, Iraq End user: Al Sharqiya Television Systems Integrator: Wave Media Solutions Key suppliers: Ross Video, Barco, INFiLED, Avid, Sony, RTS, Autocue, Quicklink, TVU Networks, MediaKind, Philips Strand Lighting. Objective: To build and integrate a state-of-theart studio complex for Al Sharqiya TV in Erbil, Iraq
has been a matter of pride for Wave Media Solutions,” explains Zaid Wattar, WMS Managing Director. At the new Erbil facility, there are a few technical highlights that make it stand out, says Wattar. Besides being home to the largest live TV studio in Iraq with seven different studio sets featuring different themes, the facility also has the first installation of Barco XT LED screens in Iraq and the first deployment of the Ross Xpression Tessera systems in the Middle East. “The main challenge with the Barco video walls is its curved shape. In addition, we had to integrate this with Ross’ Xpression Tessera graphics seamlessly to get the cutting-edge
“We invest millions of dollars to upgrade to the latest technology and uplift Sharqiya’s studio sets and environment, with state-of-the-art video walls and new and advanced presentation technology” Ahmed Bin-Afif, CTO, Al Sharqiya Group look and feel of the video walls,” he says. The studio is equipped with six Sony HXC-FB80 camera systems, JVC 4K cameras, Fujinon lenses and a 12m crane, as well as the latest LED
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lighting technology. Although the camera systems are currently operational in HD, they have been chosen for their ability to support a full 4K workflow in the future. The studio currently houses seven sets to ensure parallel production. Each is kitted out with RGBcontrolled LED, which allows the entire studio to be used as a whole or for different programmes in parallel. For now, two large LED video walls, including two large Barco XT Series high-end LED screens, line the studio walls managed by Barco Infinipix NP100 LED video wall controllers. In addition, the studio has been fitted with three vertical curved
PROCASESTUDY This facility sees the first installation of Barco XT LED screens in Iraq and the first deployment of the Ross Xpression Tessera systems in the Middle East, says Zaid Wattar.
video walls from INFiLED, and five more will soon be distributed inside the studio and fed by Ross Tessera Video Wall Graphics engines. The studio is primarily controlled through a Ross Carbonite 4K UHD switcher, along with Avid Maestro Live On-air graphics. All video walls are fed by multi-engines of the Ross Xpression Tessera realtime video wall graphics systems. While Al Sharqiya’s Dubai office primarily supports Al Sharqiya TV and its London office looks after the group’s news operations, the Erbil complex will cater to the production needs of both channels, producing daily shows as well as news bulletins. All studios for the group are connected through satellite uplinks and IP streaming, as well as a dedicated fibre link. The team was fortunate to work on a greenfield project in this case, with no legacy equipment to hinder a state-of-the-art deployment. The complex includes a large production gallery, a brand-new newsroom integrated with the Avid iNews NRCS and the Avid Media Composer edit suites, a graphics department, a technical department including CAR, offices, conference and meeting rooms, and facilities for staff and guests. Some of the key suppliers are Ross Video, Barco, INFiLED, Avid, Sony, RTS, Autocue, Quicklink, TVU Networks, MediaKind and Philips Strand Lighting. Al Sharqiya Group covers several different types of content, from current affairs and general entertainment to people and daily human interest stories. “Because we have a dedicated news channel, news gathering is priority and we use different methods including DSNG and IP news gathering to ensure it reaches our viewers on time. For this, we have deployed a large number of TVU Networks’ packs and set up its network grid to share the content between our stations instantly.
“As an integrator with deep roots in the Iraqi market, working on the Erbil project has been a matter of pride for Wave Media Solutions” Zaid Wattar, MD, Wave Media Solutions As a result, Al Sharqiya Television is usually the first to carry footage from an event. Fibre connectivity is another way we ensure connectivity between our stations. The ability to collaborate on each show between our different stations has been made possible by the reliable technology and connectivity in the market,” says Bin-Afif.
Al Sharqiya reaches out to its audience in several ways to listen to their views, including through its mobile apps, with the information then gathered in the Sharqiya Centre for Polls and Statistics and distributed to its stations, explains Bin-Afif. Likewise, the Avid Newsroom with its Media Central Cloud UX plays a major role in live news production. “News departments across our stations in different regions can share news between each other easily, and this makes the whole news production process within the group faster and more effective, with any modifications reflected instantly to everyone from the newsroom to transmission.” Bin-Afif adds that the graphics automation built into the Ross Tessera makes it “easy to operate complicated tasks, including hosting multiple presentations at the same time with minimal effort from operations”. Wave Media Solutions supplied the complete broadcast systems, including cameras, complete control rooms for studio, news and edit, SAT uplinks and downlinks, two Barco large LED curved video
The Central Apparatus Room at Erbil.
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walls and INFiLED LED video walls with the Ross Xpression Tessera Video Wall Graphics system. “Specific training was provided to staff for the Avid Maestro Video Wall Graphics, the Avid Media Central Could UX newsroom system, the Ross Xpression CG and Xpression Tessera, the Ross Carbonite Vision Mixer, the Ross router and Dashboard unified control system, as well as the Barco XT series video wall,” adds Omar Hussein, Technical Manager at Wave
Media Solutions. He was the project technical lead and supervisor in Erbil representing the systems integrator. The project, which began in January 2021, was delivered five months later despite the logistical challenges posed by the ongoing Covid-19 pandemic. “There were considerable delays in shipping. The lockdowns in Erbil meant the team could only work during the daytime. There were also strict health and safety measures as well as social distancing rules
to follow, and this slowed down the implementation process considerably,” explains Wattar. Designed for scalability, Al Sharqiya’s plan is to expand the technology at Erbil to integrate further systems and solutions. Media asset management, media archive and cloud integration for collaborative team workflow with other Al Sharqiya stations and studios in Dubai, London, Baghdad and Amman are all in the offing, concludes Bin-Afif.
Al Sharqiya upgrades Dubai operations In parallel, Al Sharqiya also undertook a major upgrade and renovation at its Dubai operations. This included the deployment of an additional Barco LED curved video wall, Avid Maestro Graphics and new lighting sets and control from Strand Lighting. This was also supplied and integrated by Wave Media Solutions. The Dubai studio upgrade included a major set change which created more open space. “The special set design, the refreshed studio sets with video walls and interactive touchscreen wall, have given us the opportunity to do multiple configurations for the studio production as well as the upgrade of graphic engines, including the Avid PowerWall engine that controls all video walls in a single application with enhanced 3D graphics elements and superb real-time render,” explains Bin-Afif.
A curved Barco LED video wall is part of the upgrade at Al Sharqiya's Dubai facility. The studio uplift included increasing the number of camera chains from five to seven. “We added some studio cameras from Ikegami and upgraded the studio lighting system to the
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latest LED technology from Philips. This and the set LED lights with wide colour range and powerful LED strips are controlled centrally by DMX. The PCR saw some big improvements as well, with large monitoring screens and new control and measurement tools added. We also added new playout servers from imagine communications in the MCR area.” Al Sharqiya Group announced back in 2019 that it was going to establish Al Sharqiya Academy, a training ground for the young new generation in the television industry. The Academy was launched in 2021 despite the pandemic and several training courses have been hosted successfully. With the Academy, the group hopes to create and train new talent for the region’s television market.
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PROTECH
DISASTER RECOVERY IN THE CLOUD Every major broadcaster acknowledges that it has to consider disaster recovery. Apart from meeting audience expectations, if a channel is off air, it cannot transmit commercials. Without commercials, it has no income. Getting the station back on air is clearly vital, says Michael Rebel
In today’s world, with reliable technology available, a large investment in replicating the primary playout centre could be seen as wasted money: a lot of hardware (and real estate) that will never go to air. How then do we ensure business continuity through a disaster recovery site that gets the channel on air in the shortest possible time, can be operated from anywhere and involves the least amount of engineering support? The answer that broadcasters are increasingly turning to is the cloud. Start-up costs aside, it can be extremely costeffective to keep a standby system in the cloud, ready to start when you need it, dormant when you do not. For many, cloud-based disaster recovery serves as a good, practical first experience of media in the cloud.
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Whichever provider you choose, what you buy from them is access to effectively infinite amounts of processing power and storage space. We have worked extensively with AWS and other cloud suppliers, but AWS also offers some mediaspecific services (through its acquisition of Elemental) like media processing, transcoding and live streaming. It is important to bear in mind that moving to the cloud is not an all-or-nothing, irreversible decision. The very nature of the cloud means it is simple to flex the amount of processing you put there, so if you decide to back away, it’s simple to do so. The cloud is an element within the IP transition. You decide when and how to make that transition, and when and how much to use the cloud. For many broadcasters,
PROTECH
“Disaster recovery is fundamentally a business issue, a strategic decision. Using the cloud can deliver the best total cost of ownership, but it can also be a valuable stepping stone in a broadcaster’s transition to IP connectivity and outsourced hosting”
You may have collaborative postproduction by hosting content and decision lists in the cloud. Content – programmes and commercials – can be delivered direct to the cloud. Playout, archiving, post and traffic may be managed as separate departments, but if you combine them, content is only delivered to the cloud once. It is then available for playout without the high egress costs, and is securely stored at significant cost savings.
Michael Rebel, Director of Solution Architecture, Imagine Communications
Outsourcing security Broadcasters have traditionally sought very high availability from the technology delivering premium channels. ‘Five nines’ used to be regarded as the gold standard – 99.999% up time. Even that, though, is equivalent to about 5 ¼ minutes of dead air a year. AWS offers its broadcast clients unimagined availability, up to maybe nine nines – effectively zero downtime. And it achieves that without any maintenance effort on your part: no disk replacement, no routine cleaning of air conditioning, no continual updates of operating systems and virus protection. If the disaster is that your building has to be evacuated because of detected cases of a communicable disease, playout operators can work from home with exactly the same user interface and functionality as if they were sitting in the MCR. If you want hot standby (complete parallel running in the cloud for almost instantaneous failover), then the technology allows it, if you choose to pay for the processing time. Alternatively, pick your own level of cold or warm standby, confident that even from cold, loading and booting the channel playout instances can be accomplished in just a couple of minutes. Cyberattacks are becoming
operators scrabbling around trying to make sense of an unfamiliar system. That does not mean the primary system and the disaster recovery site must be identical. But with a well-designed cloud solution, you should be able to emulate the same user interfaces. This makes it easy for the operators to switch back and forth between the two different environments. It also means you can set resilience and availability by channel. You might want your premium channels to switch over to disaster recovery in seconds, for example, while some of your secondary channels can be left for a while. That is a business decision.
disaster recovery is an excellent way to try out cloud services. Keeping it familiar With today’s software-defined architectures, systems should perform identically whether they are in dedicated computers in the machine room, virtualised in the corporate data centre, or in the cloud. Consistent operation is especially important in disaster recovery deployments. If disaster strikes, the last thing you want is
Content is still king One of the common misconceptions about cloud playout is that synchronising content between premises and the cloud demands a lot of bandwidth and potentially high costs. This need not be the case. Faced with the imminent obsolescence of video tape libraries, and wary of the eternal cost of maintaining an LTO data tape library, many broadcasters are looking to archive in the cloud. You load the content once, confident that all the technology migration and maintenance will be carried out flawlessly by someone else.
September 2021 | www.broadcastprome.com | 33
PROTECH
Routine rehearsals of business continuity mean operators learn how similar the performance of the cloud and on-premises systems are, and how the user interface seamlessly switches from one to the other.
an all-too familiar headline. Other industries have seen crippling incursions and software systems held to ransom. Developing a business continuity strategy that protects from such attacks is paramount. Again, the cloud is the right solution. A good cloud provider delivers better data security than you can. AWS has thousands of staff with the word ‘security’ on their business cards. While no organisation can be perfect, a good cloud provider gives you your best shot at complete protection, because that is its business. The alternative is to build your own data security team: an unnecessary overhead and a challenge to develop, recruit and manage. AWS is even used by the US intelligence community, which suggests that it is probably working. Doing it live One comment often heard is that you cannot run live channels or live content from the cloud. This is not true. You can implement primary playout systems that feature live content. The biggest requirement for sports television, however, is that live should be absolutely live: no one wants to hear their neighbours cheer and wait to find out why. Minimum latency
“It is important to bear in mind that moving to the cloud is not an allor-nothing, irreversible decision. The very nature of the cloud means it is simple to flex the amount of processing you put there, so if you decide to back away, it’s simple to do so” Michael Rebel, Director of Solution Architecture, Imagine Communications is also critical for the big money business of sports books. As consumer preferences move from broadcast to streaming, what happens after the master control switcher becomes ever more complicated in preparing the output for all the different platforms? That level of signal processing is better done in the cloud, especially with transcodingas-a-service providing highperformance, affordable delivery. Stepping stone to next-gen playout Disaster recovery is fundamentally a business issue, a strategic decision. Using the cloud can deliver the best total cost of ownership, but it can also be a valuable stepping stone in a broadcaster’s transition to IP connectivity and outsourced
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hosting. The technical and operational teams gain experience and confidence in the cloud as a suitable broadcast platform. Routine rehearsals of business continuity mean operators learn how similar the performance of the cloud and on-premises systems are, and how the user interface seamlessly switches from one to the other. This experience gives confidence to move on towards a completely cloud future. Pop-up channels can be created in minutes not months, so it is easy to service sports events or music festivals, while only paying for processor time when you need it. The cloud is infinitely scalable, so you can add channels or services, support new delivery platforms, and test market 4K and HDR. The direct link between the cost of delivery and the revenue won makes for easier business management. As the legacy playout network reaches life expiration, broadcasters know what the cloud can do and have built up solid information on the costs of operating in the cloud. That knowledge will be invaluable in evaluating proposals for the next generation of playout.
Michael Rebel is Director of Solution Architecture at Imagine Communications.
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PROPRODUCTS
Blackmagic Design 4K studio cameras promise better live production Blackmagic Design has launched a new family of Blackmagic studio cameras for live production. The new range includes design features such as carbon fibre-reinforced polycarbonate and large integrated 7" viewfinders, so they are very lightweight, making them easier to transport and set up than large traditional studio cameras. With digital film camera dynamic range and colour science, they are designed to handle difficult lighting conditions while producing cinematiclooking images. The sensor features an ISO up to 25,600 and advanced features like talkback, tally, camera control and built-in colour corrector. Although designed for live production, these cameras record Blackmagic RAW to USB disks, so can be used in any situation where customers use a tripod. The large
7" viewfinder is designed for chat shows, television production, broadcast news, sports, education, conference presentations and even weddings. The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time. The Blackmagic studio camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO), so is optimised to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The gain can be set from the camera or remotely from a switcher using the SDI or Ethernet remote camera control. The 4K sensor combined with Blackmagic generation fivecolour science gives the same imaging technology used in digital film cameras. The cameras are
compatible with a wide range of affordable photographic lenses. On-screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. Customers can even apply 3D LUTs for monitoring shots with the desired colour and look. This range includes several connections for connecting to
both consumer and broadcast equipment. All models feature HDMI with tally, camera control and record trigger that fit with ATEM Mini switchers. The advanced 4K Pro model is designed for broadcast workflows, with 12G-SDI, 10GBASE-T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection, for much faster set-up. The cameras come with builtin microphones that are shockand wind-resistant. To allow quick mounting onto tripods and faster set-up, all models include a tripod mount with a machined metal design and quick mounting plate. The Blackmagic studio camera is available immediately from resellers worldwide, from $1,295. www.blackmagicdesign.com
Shure adds ADX5D portable receiver to Axient Digital wireless system Shure has introduced the Axient Digital ADX5D portable receiver, a dualchannel, portable wireless slot receiver that claims superior RF performance, spectral efficiency and transparent audio quality. The ADX5D is designed for environments like sports/ events broadcasting, electronic newsgathering (ENG), film/ episodic television and electronic field production (EFP), all of which rely on quality location sound. The portable receiver supports the demand for a remote wireless solution that ensures the message is clearly delivered. Whether a crew is
broadcasting a weather report, off-site at a film shoot or capturing the big game, the ADX5D provides clear audio. Professionals in film,
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TV and ENG now have access to the same audio quality and RF performance that live sound professionals have trusted for years. Additionally,
it is equipped with industryproven RF technology, digital diversity reception and advanced digital audio technology – all packed into a portable slot form factor. Features include audio quality and RF performance, portability and convenience, remote control and accessibility, and the complete Axient Digital ecosystem. Shure’s Axient Digital wireless system continues to serve clear audio, RF spectrum stability, workflow control and scalability. The ADX5D was designed to translate the Axient Digital line into a portable option. www.shure.com
PROPRODUCTS
LG announces professional monitor for post-production experts The LG UltraFine Display OLED Pro is a state-of-the-art 65-inch professional monitor, designed to meet various workflows related to content production, post-production and distribution. This new edition (model 65EP5G) builds upon the capabilities of LG’s OLED displays, recognised by a Technology and Engineering Emmy award. The screen is tailored for post-production experts and offers high-colour accuracy and work efficiency. Its advanced calibration functionality enables the display to achieve better picture quality for enhanced viewer immersion and productivity – enabled by LG’s proprietary software (SuperSign for White Balance), the 1D & 3D LUTs and
multiple colour-accurate profiles for rapid transitioning between calibrated modes. This product includes a range of input interfaces, including HDMI, quad loop-
thru SDI (BNC) and IP (SFP + & RJ45). A number of IP formats, namely ST-2110 and ST-2022-6, are supported by the product. Keeping in mind the increasing demand
for broadcast and virtual production applications, the display is also set with a Genlock input interface. For greater convenience and usability, the control panel provides shortcuts to frequently used functions and profiles, featuring different monitor settings and picture quality options – making editing, colour grading and programming seamless. In addition, the control panel gives easy access to frequently used functions and profiles. Here, profiles refers to presets featuring customised monitor settings and picture quality options. The LG UltraFine Display OLED Pro is available from September in the UAE. www.lg.com
Clear-Com introduces FreeSpeak Edge base station
Clear-Com has announced its FreeSpeak Edge base station, an IP base station that supports the full range of FreeSpeak digital wireless intercom solutions including 1.9GHz (both E1 and IP transceivers), 2.4GHz and 5GHz, as well as third-party Dante devices. By offering another base station option to the community of FreeSpeak users, Clear-Com provides an accessible IP solution to a broad range of its customers. It provides a stand-alone solution for FreeSpeak Edge 5GHz systems, as well as
support for FreeSpeak 1.9GHz IP transceivers via AES67 connections, previously only available through Eclipse Digital Matrix systems with an E-IPA card. The single 1RU device supports up to 16 total beltpacks and six IP transceivers (ten E1 transceivers), with the flexibility to mix and match bands as well as up to eight ports of IP interoperability with thirdparty Dante connections. With a mixture of IP, twowire and four-wire audio ports, the FreeSpeak Edge base station can integrate a variety
of systems, including ClearCom Encore partyline and even two-way radio systems with an intelligent GPIO interface. The FreeSpeak Edge base station is configured through Clear-Com’s browser-based CCM software, redesigned from the ground up to improve the configuration experience through intuitive menus and functions. The new CCM software offers at-a-glance system monitoring, reducing the potential for downtime. Designed to be quick to deploy, users can be up and running with a transceiver
and two beltpacks in less than five minutes. Other features include a default system set up right out of the box, the ability to add transceivers on the fly right from the front panel and the ability to add beltpacks via USB. The 1RU station features two full-colour high-resolution touch screen displays with four rotary encoders allowing four talk and listen channels, enabling the station operator to communicate with the wireless beltpacks. www.clearcom.com
September 2021 | www.broadcastprome.com | 37
PROPRODUCTS
GatesAir introduces weatherproof outdoor transmitter GatesAir has introduced Maxiva PMTX-1, a selfcontained, modular outdoor transmitter series that integrates a low-power UHF TV transmitter or transposer/ translator for use in a variety of applications, including filling coverage gaps and delivering focused broadcast content as a spot transmitter. The Maxiva PMTX-1 is housed in a rugged, telecom-grade enclosure, making it impervious to weather. Due to its sealed protective shell, the transmitter can be adapted to any climate or outdoor environment. The one-piece design from the company’s Europe-based engineering team removes all moving parts and air filters, thereby removing most maintenance requirements. Its metal housing efficiently removes heat from the transmitter’s internal circuitry and helps to ensure it performs
well in extreme temperatures and humidity. This heat management approach maximises efficiency and reduces utility costs. The PMTX-1 also uses an integral mask filter to reduce external components and make maintenance nearly non-existent. A variety of mounting
scenarios are supported, including one of the first polemount configurations in the industry, which is useful for hilltops and remote locations where there is no building or tower. The PMTX-1 also mounts securely to building structures and traditional broadcast towers, providing broadcasters and network operators with endless outdoor installation scenarios. This makes the transmitter wellsuited for single-frequency network (SFN) configurations for DVB-T2, ISDB-Tb and other digital TV networks, where multiple transmitters operate on the same frequency to maximise signal penetration. The PMTX-1 is also available for analogue TV networks (100W), with a fieldupgradeable path to DTV (50W for ATSC 1.0, DVB-T, DVB-T2 and ISDB-Tb). Broadcasters can add optional inputs to
support DVB-S/S2 receivers and IP transport streams, and accept broadcast content and data from alternate sources. The PMTX-1’s optional RF receiver input supports flexible options for translator and transposer configurations and reliably regenerates content for very targeted coverage areas at low power levels. Built-in GatesAir RTAC technology for real-time adaptive pre-correction ensures a fully compliant solution for any broadcast standard and keeps the broadcast signal within its required spectral limits. GatesAir plans to expand the PMTX-1 series, with VHF TV and DAB radio capabilities expected later this year. The series will also be upgraded to support other digital TV modulations, including ATSC 3.0 and DTMB, in future product generations. www.gatesair.com
Ross launches Interstellar streaming gateway Ross has launched Interstellar, a new browser-based remote production platform. Ross touts Interstellar as a complete remote production platform that enables content creators to blend their traditional working methods and onsite personnel with remote talent and contributors. Interstellar enables highquality production values and combines the convenience of a web browser interface and professional feature set with extremely low latency. A key element of the platform is the Interstellar Streaming Gateway, a 1RU hardware solution that provides
connectivity between SDI and WebRTC transports. Once configured, the Streaming Gateway is fully controlled by the Interstellar UI, making it simple to use. Supporting 720i, 1080i and 1080p, the streaming
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gateway can receive and decode four WebRTC streams, sending these out over SDI and then receiving and distributing one incoming SDI stream to the four contributors. The hardware can manage up to 16 audio channels
per stream and supports the OPUS and H.264 codecs. Interstellar is currently available in three editions, based on the number of remote studios, concurrent users and SDI inputs. One streaming gateway is currently required per remote studio, and customers currently have the choice of Interstellar Express – 1 remote studio, 5 concurrent users, 4 streams; Interstellar Prime – 2 remote studios, 10 concurrent users, 8 streams; and Interstellar Standard – 5 remote studios, 25 concurrent users, 32 streams. www.rossvideo.com
Date
From 20 Sept
Venue
Online
VIRTUAL
Key technologies, strategies and business models – how to take your streaming service to the next level 20 – 21 Sept 2021, Online
About the
2nd Annual MENA OTT Conference With the easing of lockdowns and international travel resuming in most parts of the world – it is apparent that OTT and streaming services is now becoming the firm favourite in home mainstream entertainment.
Insightful
Discussions The event will bring together the industry’s leading minds for insightful discussions and presentations, all of which you will be able to follow from the comfort and safety of your own home or office.
Key players such as Netflix, Starzplay and Amazon Prime are now becoming established leaders in the region, but with several broadcasters and boutique media houses picking up the pace with their own platforms, the pressure for market share has never been more intense.
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PROGUEST
“The onus is increasingly falling on broadcasters to provide a memorable experience for viewers at home, using the latest technologies to facilitate the highest quality real-time streams”
Capitalising on the summer of sport The 2021 summer of sport is finally upon us. Witnessing key moments in person, however, has proved difficult as restrictions remain in place. Examples include the Tokyo Olympics, with no spectators allowed, and UEFA Euro 2020, which reduced the number of spectators allowed in stadiums. These restrictions, in addition to the fears and anxieties many feel in travelling to well-attended events, has left people looking for an alternative route to consuming sporting events this summer. The onus is increasingly falling on broadcasters to provide a memorable experience for viewers at home, using the latest technologies to facilitate the highest quality real-time streams in HD and 4K to expectant viewers. For next-level fan engagement, however, live-to-VOD clipping capabilities can bring viewers closer to these large-scale events, and even facilitate interaction between fans. The biggest sporting moments can be over in a flash. For blink-andyou’ll-miss-it scenarios, bespoke VOD highlight reels have become increasingly important. This is where clipping software can be a useful tool for broadcasters, allowing frameaccurate clips of the live stream to be cut and stitched in real time. With sporting events defined by time sensitivity, consumers streaming events expect to have real-time access to those key moments; by enabling that, broadcasters will be able to keep fans on top of the action as it changes. Multiple clips can even
be cut and stitched together into a larger highlight reel for fans, and clipped assets can also be supported with a variety of language options to cater to a global audience. Sports fans are also more engaged with real-time stats than ever before, with 80% of viewers saying they use a computer or smartphone to check key facts and figures during an event. Broadcasters can now integrate these insights into their live and VOD clips using metadata, providing data such as a specific player’s number of passes in a match. Beyond the immediacy and engagement opportunities offered by stream clipping tools, sports broadcasters also have several options when it comes to pivoting a live match or event to a VOD service. A common option is to upload content in full upon the completion of a live event, facilitated via a separate workflow. However, in line with the on-demand expectations of viewers, broadcasters are increasingly exploring more dynamic live-toVOD options, with sections of a live stream automatically segmented in the one workflow and frame-accurate VOD assets created on the fly. For live sporting events with a global audience, SCTE-35 markers allow broadcasters to remove or add region-specific adverts as needed, to avoid rights issues. This enables further monetisation of content as part of an ad-supported VOD service, and using one workflow for both the live stream and the creation of the VOD asset means broadcasters can reduce
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fiscal cost and complexity in their setups, and enhance flexibility. Additionally, broadcasters need not worry about losing their digital rights management (DRM) arrangement when converting content to VOD, as this technology can be carried over seamlessly into clips to protect valuable content. Obviously, DVR is vitally important to enable viewers to access the beginning of an event after it has already begun. This appeals to sports broadcasters, since for fans the appeal of watching an event diminishes once the outcome has been announced via other platforms. Another option for broadcasters is rolling buffer technology, which allows them to automatically archive and record timed ‘chunks’ of a live stream in lowcost storage that can be used for VOD later on. This approach can be used to provide a longer-term catch-up facility, allowing viewers to go backwards in the EPG for a week or more. Rolling buffer technology can also assist broadcasters that need to keep a recording of their content for compliance purposes. High-profile sporting events look a little different this year. By using video clipping capabilities and leveraging content beyond the live event itself, broadcasters can bring the unique experience of a major sporting event to the homes of viewers and facilitate engagement between fans online. For broadcasters, the opportunities have been numerous, with creative experiences available to fans over the summer. Femke Schurer is Head of Product at VUALTO.