Digital Studio - Feb 2010

([SHULHQFH WKH 5H 'HÀ QLWLRQ RI )LEUH 2SWLF 1HWZRUNV 9LVLW 5LHGHO DW &$%6$7 %RRWK =/

An ITP Business Publication 1 Licensed by Dubai Media City

Vol. 12 Issue 2 February 2010

Build the solution you want.

SEE YOU AT

Flexible, scalable video processing and transport across any network.

CABSAT 2010

STAND ZD - 2 ZABEEL HALL

Format conversion, synchronizing, embedding and de-embedding, routing, JPEG 2000 compression, multiplexing, signal aggregation. These are just a few of the Nevion building blocks supporting content acquisition, production and media transport across fibre overlay, SONET/SDH and IP. Together Nevion’s Flashlink, Ventura and VikinX product lines provide the most scalable and flexible global video transport for any network.

That’s why the world’s leading broadcasters and service providers choose Nevion for customized, costeffective and highly efficient global video transport. We specialize in building solutions around existing equipment or creating new solutions that integrate multiple protocols.

All of this—including standard-setting SP&D and routing solutions—is controlled by a monitoring and management system that puts you in charge of your assets.

Tell us what you have in mind. We’ll be building together in no time. +971 (0)4 3901018, middle-east@nevion.com Come see us at IBC, stand 8.B70 Flashlink — Broadcast solutions • Ventura — Service provider solutions • VikinX — Routing solutions Control and Management — Integrated network monitoring

Formerly Network/VPG

The Americas

•

Asia Pacific

•

Europe and Africa

•

Middle East

Broadcasting Flexibility

“Broadcasting flexibility” - PubliTronic has delivered the industry’s most flexible integrated playout solutions for over a decade, evolving it’s technology to highly automated, function rich broadcast servers which deliver cost-efficient and reliable playout. Work with PubliTronic and you’ll find out why we’ve established so many successful, long-term relationships with major broadcasters worldwide.

COBALT playout automation

NEXUS

Alphatron Broadcast Systems FZ-LLC P.O. Box 500717, Executive Office No. 25, Al Thuraya Tower No. 2, 7th floor, Dubai Media City, Dubai, United Arab Emirates www.publitronic.com

playout servers

Phone: +971 4 428 0753

Mobile: +971 50 939 7372

Email: info@alphatron.ae

Please contact us for more information about our complete range of integrated playout solutions

FEBRUARY 2010 VOLUME 12 ISSUE 02 CONTENTS

14

22

39

5

NEWS Taj TV reveals ambitious media management plans / Orbit Showtime rebrands as OSN from February 1 / Saudi rental house invests in new SD OB van / CABSAT set to defy downturn, says organiser / Vislink confirms 55% growth in ME sales / Harris gains in Jordan

13

VOX POP

14

COVER STORY

22

TECH REPORT — OB VANS

30

INDUSTRY FOCUS

39

SPECIAL REPORT

UAE filmmakers who joined the Abu Dhabi Film Commission trip to the Sundance Film Festival share their experiences.

We go behind the scenes to see the making of a film that was released on UAE National Day.

Digital Studio looks at some of the key factors that drive the OB business in the Middle East.

Even as wireless systems play a key role in live coverage, manufacturers are looking at the benefits of developing integrated camera systems.

A look at some of the technologies that went into the making of Avatar.

42 POST PRODUCTION

Our VFX experts explore the origins and potential of digital matte painting and respond to readers’ queries.

56

50 KITTED OUT

Digital Studio showcases the best kit stocked by Dubaibased Action Filmz, a rental house and studio owned by director of Photography Crispin Dominic.

56 CABSAT PREVIEW

Some of the key technologies that will be at the show, which will be staged in Dubai from March 2 to 4.

64 www.digitalproductionme.com

DATA PAGE 3D and related technologies receive massive boost.

FEBRUARY 2010

1

COMMENT FEBRUARY 2010

LOCAL BROADCASTERS MUST INVEST IN SKILLS In 2009, a number of broadcasters invested in OB vans and other state-of-the-art technology. While it is rewarding to see that media organisations in the Middle East are now acquiring state-of-the-art solutions to cover live sport and other events in the region, it is also simultaneously disconcerting to note that we do not have the skills locally to get the best out of these solutions.

Even some of the biggest operators who profess to cover live sport and market their OB vans to the region rely heavily on outsourced operators, directors and producers to run the show. That is a shame. It is imperative that we have trained operators available locally to service the OB industry. International crew cost a fortune as we don’t just pay for their skills but for the entire logistics of bringing them to the country as well.

Presently, we have a few leading manufacturers who host training programmes at their facilities. While these programmes are effective in training local operators, training is limited to the solutions of the manufacturer.

Likewise, in most academic institutions, systems integrators are guilty of primarily deploying solutions for which they are local distributors. Few institutions have technical heads that are savvy and are able to make informed decisions.

We see very few systems integrators who objectively review the requirements of an academic institution and cater to them

accordingly. The same is true for many so-called training centres in the Middle East that are essentially also distributors for specific manufacturers. Students’ training is restricted to those specific solutions.

Ideally, students should be able to train on a range of systems and solutions within a learning environment. Only exposure to a range of industry standard solutions will enable them to make informed decisions about choosing the technology that works best for the application on which they are working.

This should be the next step of investment for media organisations and authorities. No effort must be spared to ensure that students can shadow international producers and directors on live sport productions.

More importantly, this training should be given to students on the basis of merit.

Unless efforts are taken to train those who are seriously self motivated and have the initiative to pursue such options as a serious career move, any investment and effort on this front will be a waste. At the end of the day, the availability of locally skilled people is key and efforts in this direction must be well-guided to ensure success.

Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000, Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP Business Publishing CEO Walid Akawi Managing Director Neil Davies Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Publishing Director Diarmuid O’Malley Editorial Senior Group Editor, Broadcast & Media Aaron Greenwood Tel: +971 4 435 6251 email: aaron.greenwood@itp.com Editor Vijaya Cherian Tel: +971 4 435 6296 email: vijaya.cherian@itp.com Advertising Commercial Director, Broadcast & Media Fred Dubery Tel: +971 4 435 6339 email: fred@itp.com Sales Manager Gavin Murphy Tel: +971 4 435 6369 email: gavin.murphy@itp.com N.American Advertisement Director Michael J. Mitchell Tel: +1 631 673 3199 email: mjmitchell@broadcast-media.tv Japan Representative Mikio Tsuchiya Tel: + 81 354 568230 email: ua9m-tcy@asahi-net.or.jp Studio Group Art Editor Daniel Prescott Designer Martin Staniszewski Photography Director of Photography Sevag Davidian Chief Photographer Khatuna Khutsishvili Senior Photographers G-nie Arambulo, Efraim Evidor, Thanos Lazopoulos Staff Photographers Isidora Bojovic, George Dipin, Lyubov Galushko, Jovana Obradovic, Ruel Pableo, Rajesh Raghav Production & Distribution Group Production Manager Kyle Smith Deputy Production Manager Aamar Shawwa Managing Picture Editor Patrick Littlejohn Image Retoucher Emmalyn Robles Distribution Manager Karima Ashwell Distribution Executive Nada Al Alami Circulation Head of Circulation and Database Gaurav Gulati Marketing Head of Marketing Daniel Fewtrell Marketing Executive Masood Ahmad ITP Digital Director Peter Conmy ITP Group

VIJAYA CHERIAN Editor EMAIL: vijaya.cherian@itp.com

Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K.M. Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service Tel: +971 4 286 8559 Certain images in this issue are available for purchase.

Please contact itpimages@itp.com for further details or visit www.itpimages.com Printed by Color Lines Press Subscribe online at www.itp.com/subscriptions

ON THIS MONTH’S COVER Digital Studio goes behind the scenes of a movie that stirred the hearts of the Emiratis on UAE National Day. Read the full story on page 14.

The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused.The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances.

The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing.An exemption is hereby granted for extracts used for the purpose of fair review.

*BPA Worldwide Audited Average Qualified Circulation 6,023 (Jan - June 2009)

To subscribe please visit: www.itp.com/subscriptions 2 FEBRUARY 2010

Published by and © 2010 ITP Business Publishing, a division of the ITP Publishing Group Ltd. Registered in the B.V.I. under Company Number 1402846.

www.digitalproductionme.com

? ?$3 HITACHI FINAL PDF 0-

An event to remember?

Commit it to memory with the new NXCAM. The new HXR-NX5E gives you totally flexible recording through Memory Card and Flash Memory. It’s the new entry level professional camcorder with AVCHD by Sony. Whether it’s a magical wedding, major function or ground breaking documentary, you can commit it straight to memory for easy editing and fast IT based workflow.

Giving you time to capture more great events for more satisfied customers.

Leaving you to fast forward your creativity with images that live long in the memory.

To see more of our new professional tapeless camcorder NXCAM, visit our website.

www.pro.sony.eu/nxcam

HXR-NX5E

NEWS REGIONAL UPDATE

TAJ TV REVEALS AMBITIOUS MEDIA MANAGEMENT PLANS Dubai-based Taj TV will undertake significant improvements to its broadcast infrastructure, post-production studios and archive this year, Dominic Baillie, vice president of Taj TV’s engineering, operations and MIS told Digital Studio.

“We conducted a full evaluation of the existing system and have identified every component that is not performing to the required level both in terms of functionality and support. Some products or integrations are just not working as well as they should. We will address these and put in place the building blocks for the future,” he stated.

The VP of engineering added that the TV station is also looking “to bring together a range of broadcast and IT technologies to build an ‘essence engine’ central to all our systems”.

“The popular term in the industry is media asset management but that doesn’t work for us. We’re looking at something that is a step ahead. The idea is to have any of our assets anywhere and at any time without being limited by specific formats. We want to open up the assets we have in the archives and make them available to all our customers. We are talking about enabling unprecedented collaboration between both internal and external customers and contributors. We will combine our sports assets with rich data in multiple dimensions so that the metadata doesn’t just provide a description of the content but also provides us with information about its physical and logical presence within our systems and workflow. We aim to develop broadcast intelligence software and bring all aspects of our business online,” commented Baillie.

Essentially, the vision “is to combine powerful search, browse and editing of data with delivery,

IN BRIEF UK TRAINING CENTRE BRINGS TRADE MISSION TO UAE

Taj TV will seek to integrate IT and broadcast applications very closely, stated Baillie.

tracking and management”, according to Baillie.

“This kind of a system will provide engineers, operators and heads of departments with essential information of both essence (video data) and systems, enabling effective planning and pre-emptive intervention. It will report, detect and manage issues before they impact performance,” he added.

According to the VP, there is no one solution in the market that can help the company achieve this ambitious goal. Instead the team will have to look for various technologies in the market and combine this with customised solutions created in-house to meet this need.

Although this is a long-term project, Baillie believes that the station has the right engineering skills in place now to execute this vision.

“Melvin Saldanha (director of engineering) and I have put together a new team and we will start in 2010 with improving our archives, production and post production segments. This is an ambitious project but something that hasn’t been attempted before,” he stated.

The Bridge Training, a UK-based centre that provides technical and business courses for the creative industries, has been awarded a contract by UK Trade and Industry (UKTI) to deliver a film and postproduction trade mission to Dubai and Abu Dhabi during CABSAT. The mission will seek to demonstrate what the UK can offer by bringing a delegation of technology, facilities and services companies to the Middle East.

“The UAE represents an important growth market for the UK both in terms of doing business in the region and also, at home,” commented Triston Wallace, business development director of The Bridge Training, UK. “Dubai and Abu Dhabi are not only significant media centres; they also act as important hubs for most of Africa and the Middle East.

This trip will showcase the breadth of talent, expertise, knowledge and services the UK has to offer,” he added.

Seminars, round table discussions, meetings and briefings will be organised by UKTI and The Bridge during its visit to the UAE.

ORBIT SHOWTIME REBRANDS AS OSN FROM FEBRUARY 1 Pay TV operator Orbit Showtime has re-branded as OSN, short for Orbit Showtime Network from February 1.

Along with its re-branding exercise, the pay TV operator has also announced the launch of eight new channels, of which three — OSN Movies HD, Discovery HD and Nat Geo Wild HD — will be in high definition.

OSN Movies HD will show movies in HD, widescreen and with Dolby 5.1 surround sound

www.digitalproductionme.com

while Discovery HD and Nat Geo Wild HD will feature premium content from both channels.

“When Orbit and Showtime merged in 2009, we promised to deliver the best pay TV platform in the Middle East and North Africa,” stated Marc Antoine d’Halluin, CEO of OSN. “In less than six months, we have launched the region’s first HD bouquet and the region’s first Western channel fully dubbed into Arabic.”

He added that HD will continue to be a key

part of the pay TV operator’s offerings in the Middle East in 2010. The HD channels will only be available on OSN’s HD receivers, which will be rolled out to subscribers from this month.

FEBRUARY 2010 5

NEWS REGIONAL UPDATE

IN BRIEF

SAUDI RENTAL HOUSE INVESTS IN NEW SD OB VAN

DISCOVERY LOOKS TO EXPAND MIDDLE EAST PRODUCTION Discovery Networks is looking for local partners as it aims to ramp up its Middle East production, a senior executive said.

Although Discovery has already filmed extensively in the region, it is looking to build on this with a commitment to broaden the range of themes covered by its Middle East focused programming.

“We do a lot of production in the region; we have just completed one shoot in Egypt and another in Ethiopia.

We have been capturing a lot of the major engineering projects in the region, but there are lots of topics outside of engineering – such as the history and culture of the Arab world – that fit our various programme genres,” said Caleb Weinstein, senior VP and general manager of emerging markets, Discovery Networks EMEA. “The Middle East is the home of algebra, the birthplace of astronomy; there’s the effects of oil on the region; there are lots of subjects we’d like to talk to partners about covering,” he added.

Discovery HD will be available from this month on OSN.

VITAL STATS US $602 million is the estimated revenue to be generated in Europe for paid video-on-demand by 2013 — Futuresource

From left: Alaa Rantisi, broadcast engineer at Advanced Media Trading with Bandar Abdulsalam, chairperson of Dur Alpha Production in front of the new SD OB van.

Saudi Arabian rental and production house Dur Alpha Production recently took delivery of a US $1 million OB van that was designed, equipped and integrated

by Dubai-based distributor and systems integrator Advanced Media Trading LLC. The rental house has also invested in a fly drive that can be plugged into the OB van should its customers require uplink facilities.

The SI collaborated with a company in Saudi Arabia to build the coach according to the client’s broadcast requirements.

The OB van includes six standard definition Sony BVP-E30 cameras, six Cartoni Delta tripods, a 1.5 M/E MFS-2000 Vision mixer from Sony, Canon lenses, routers from Network Electronics, multiviewers and glue from Miranda technologies and a wireless camera system from Vislink Group.

“The client is primarily in the rental business but also undertakes the coverage of several events in Saudi Arabia,” commented Alaa Rantisi, broadcast engineer at Advanced Media.

“His equipment is often rented out to clients mainly for the coverage of sports events so he wanted an SD OB van that could serve multiple applications.”

Rantisi claims that Dur Alpha is the only private rental house in the Kingdom with a wireless camera solution.

“A year ago, renting a wireless camera solution in KSA was not possible as no private rental house owned one. Dur Alpha is the only private firm that presently has this,” he added.

This is the first of four OB projects undertaken by Advanced Media for private entities in the Kingdom.

The SI has three more OB projects in the pipeline.

AL AAN TV CELEBRATES SUCCESS WITH AMIRA

L to R: Al Aan’s Zoya Sakr; anchor Amira Al Fadl; Nisreen Sadek, head of news; and show director, Bassem Cristo.

6 FEBRUARY 2010

Dubai-based private channel, Al Aan, which caters primarily to Arab women, has announced a new programme titled Amira, which will be anchored by well-known TV presenter Amira Al Fadl. The series, which is being produced by Studio Vision in Lebanon, will focus on inspiring stories and issues about women. Al Aan TV is one of the few private channels that claimed to have been very profitable in 2009 despite the downturn.

www.digitalproductionme.com

New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2 SDI, HDMI and analog connections in SD, HD and 2K! Advanced 3 Gb/s SDI Technology

The new DeckLink HD Extreme is the world’s most advanced capture card! With a huge range of video and audio connections plus a hardware down converter, and Dual Link 4:4:4/4:2:2 3 Gb/s SDI, advanced editing systems for Microsoft Windows™ and Apple Mac OS X™ are now even more affordable!

With exciting new 3 Gb/s SDI connections, DeckLink HD Extreme allows twice the SDI data rate of normal HD-SDI, while also connecting to all your HD-SDI and SD-SDI equipment.

Use 3 Gb/s SDI for 2K and edit your latest feature film using real time 2048 x 1556 2K resolution capture and playback!

Connect to any Deck, Camera or Monitor

Microsoft Windows™ or Apple Mac OS X™

DeckLink HD Extreme is the only capture card that features Dual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PAL and S-Video for capture and playback in SD, HD or 2K. Also included is 2 ch XLR AES/EBU audio and 2 ch balanced XLR analog audio. Connect to HDCAM SR, HDCAM, Digital Betacam, Betacam SP, HDV cameras, big-screen TVs and more.

DeckLink HD Extreme is fully compatible with Apple Final Cut Pro™, Adobe Premiere Pro™, Adobe After Effects™, Adobe Photoshop™, Fusion™ and any DirectShow™ or QuickTime™ based software. DeckLink HD Extreme instantly switches between feature film resolution 2K, 1080HD, 720HD, NTSC and PAL for worldwide compatibility.

Hardware Down Conversion If you’ve ever wanted to monitor in both HD and SD while you work, then you’ll love the built in high quality down converter. Use the Dual Link SDI outputs as a simultaneous HD and SD output, or you can switch back to Dual Link 4:4:4 when working in the highest quality RGB workflows. Select between letterbox, anamorphic 16:9 and even center cut 4:3 down conversion styles!

DeckLink HD Extreme

US$995 Learn more today at www.blackmagic-design.com

NEWS REGIONAL UPDATE

IN BRIEF

CABSAT SET TO DEFY DOWNTURN, SAYS ORGANISER

HARRIS GAINS IN JORDAN Jordan Media Institute, which will launch its New Media course this month, has put in place a complete newsroom operation to ensure its students are fully capable of working efficiently in a professional work environment.

The institute, which was set up by Her Royal Highness Princess Rym Ali, has deployed the ENPS newsroom solution and several Harris systems at its facility.

“This is a new concept in the region’s academic world and the first of its kind in the region,” claims Said Bacho (pictured above), managing director, Harris Middle East.

“The facility enables journalists, producers and editors to work in a professional newsroom environment. Our Nexio server, Velocity editors and browsing systems have been integrated with the ENPS system.

It also has a few other industry-standard solutions like FCP,” he added.

CABSAT, the Middle East’s largest broadcast exhibition, will increase its floor space even further this year despite the economic downturn.

Although the show organiser declined to comment on how much it would expand as it was still selling space, it confirmed that “it is already bigger” than 2009.

Some exhibitors such as Sony, Arabsat, SmartSat and Hamresan have doubled their stand space for 2010 while other key players like AMT, Hitachi, Tek Signals, The Vitec Group and UBMS have also confirmed that they will have a huge presence at the show.

Badih Kanaan, marketing communications manager for Arabsat, called CABSAT “a premier

trade platform to stay in contact with decision makers in the MENA region and beyond, to meet new and existing clients, expand the business and to forge the Arabsat brand”.

“Arabsat is looking forward to the show and has almost doubled its space commitment in line with the importance it places on the event,” he confirmed.

Likewise, Sony stated that it will have more products to exhibit this year and confirmed that the Middle East is one of the hotspots for the manufacturer. SmartSat exhibited for the first time at the show last year.

The exhibition will also welcome some big names such as Hewlett Packard (HP) and Bluesens for the first time to the event.

CABSAT is also introducing a Creative zone for the first time this year. The zone, which will be dedicated to the post production industry, will include live demos related to content creation.

Helal Saeed Almarri, CEO of the Dubai World Trade Centre commented that HD will continue to be a key focus at the ev ent even as more broadcasters in the region invest heavily in this technology. “Industry technologies, particularly those in the HD space, will bring a world of business and entertainment options to residents from across the GCC and North Africa. CABSAT MENA and Satellite MENA 2010 will create a platform for the display of all related products and services and knowledge exchange.”

VISLINK CONFIRMS 55% GROWTH IN MIDDLE EAST SALES Vislink Group experienced 55% growth in Middle East sales in 2009 compared to 2008, a senior member at the company’s regional office told Digital Studio.

Mather Al Ali, general manager of Vislink Middle East and North Africa, said the company expanded its office in Dubai to accommodate the growth and now has a team of five people.

“We now have a team to take care of our systems engineering, demo equipment, services as well as administration. We also have the capability to undertake on site demos across the Middle East,” he stated.

8 FEBRUARY 2010

While Vislink provides a range of solutions, Al Ali stated that there was an increasing demand for HD systems and satellite solutions.

“Our fly drive, which is a combination of a fly away and a drive away has been very popular. Essentially, you can deploy it in a vehicle or on the ground,” he stated.

The company recently sold eight 1.5 m fly drives to a customer in Egypt.

“They were all HD solutions. While some were meant to be used in semi-fixed positions, the others were meant to be employed as traditional fly aways,” he added.

Vislink will be at CABSAT 2010 with a range of its solutions.

“For us, CABSAT is the most important exhibition in the Middle East. It is the cornerstone of our marketing strategy for the region. We expect many key decision makers to attend the event and we will have some of our key solutions at our stand,” Ali added.

www.digitalproductionme.com

3D Cinematography. He’s got the vision, we’ve got the focus.

James Cameron’s venture into 3D cinematography is nothing less than groundbreaking. Of course, major endeavors require focus. In this case, Fujinon lenses did the trick. Our lenses accompanied him to the ocean’s bottom for Aliens of the Deep, Ghosts of the Abyss and Expedition Bismarck. They are also with him on the set of Avatar, his first major feature since Titanic. Bottom line? Before you select a lens for the front of your camera, consider who stands behind it. To learn more, visit www.fujinon.com

NEWS REGIONAL UPDATE

MOVERS & SHAKERS

CLEARCOM Vincent Beek has joined Clear-Com Communication Systems as its new regional sales manager for Northern Europe. In his new role, Beek will further strengthen Clear-Com’s relationships with its dealer partners, while actively pursuing and cultivating new business throughout Europe. Beek joins ClearCom from Egripment BV, where he most recently served as a member of the management team.

QUANTEL Quantel has appointed Cory Factor vice president of Sales of its North American subsidiary. Factor will be responsible for developing Quantel’s business in North America. He co-founded DayPort in 1999, and guided its development of online applications in broadcasting.

Following DayPort’s by Entric (which was subsequently merged with Irdeto) in 2008, Factor took on the role of CTO to lead the Irdeto Solutions Group.

OOMNIBUS GGreg Hoskin has stepped down ffrom his position as managing ddirector of MHz Systems to ttake on the role of executive vvice president of Broadcast SSales at Omnibus Systems.

Hoskin, who previously worked with Omnibus, will w pplay a key role in developing the markets for the manufactturer’s iTX IT-based transmission and automation platform.

“I made the decision to rejoin OmniBus because of the huge potential of the iTX platform,” said Hoskin.

“The market has woken up to the fact that next-generation products based on IT platforms meet financial, business and operational objectives much better than the traditional solutions. OmniBus has already achieved major sales wins with top industry names with iTX, and it is driving some of the most adventurous broadcasting and media projects out there. The company is in a strong financial position and poised for very rapid global growth, so it’s a really exciting prospect.”

MAXIMISE BROADCA ST INFRA STRUCTURE Mains Distribution

Skeleton Cable Drums

Video and Audio Cable

Connectors and Accessories

Fibre Optic Solutions

See A CabS rgosy at a stand t Dubai, no Hall . Z-3 ZA

Patch Panels

Rack Systems

Routing Switchers

SERVING THE BROADCA ST INDUSTRY CABLES CONNECTORS PATCH PANELS MDUs RACK SYSTEMS FIBRE/HYBRID CABLES ROUTERS KVM SWITCHES

Argosy products are available from stocks at locations in the UK, UAE, India and Malaysia

10 FEBRUARY 2010

Argosy is a leading UK-based international supplier of HD broadcast cables and studio infrastructure products. Its established portfolio of products include a complete range of video, audio and power cables, connectors, fibre optic solutions, routing switchers, rack systems, KVM switches and the Sonarae NLE audio monitoring system as well as an array of video accessories.

ARGOSY t: +44 1844 202101 f: +44 1844 202025 www.argosycable.com e: sales@argosycable.com

www.digitalproductionme.com

NEWS DPME.COM

MOST READ DS NEWS STORIES:

1

JCC UNVEILS VOD EDUCATIONAL PORTAL Al Jazeera Children’s Channel (JCC) has launched a learning website called Taalam.TV aimed at teachers and students. The website, which includes educational resources and videos extracted from JCC programming content, is aimed at making teaching more stimulating and engaging.

Mahmoud Bouneb, executive GM of JCC, stated that the organisation’s mission is “to empower the Arab children and enhance their

personal capabilities and cognitive abilities by opening up new knowledge horizons and introducing modern learning tools”.

“With ‘Taalam.TV’, primary and elementary school teachers can now bring lessons to life by using a wide array of short educational videos, fact sheets, graphics and a rich image library intended to help students achieve a greater understanding of subjects presented in class,” he added.

2 3 4 5

Iranian outrage meets Al Alam satellite shutdown JCC unveils VOD educational portal Top five on-air graphics solutions UAE telco watchdog to boost operator competition Taj TV unveils ambitious media management plans

EDITOR’S CHOICES SPECIAL REPORTS

VIDEO

POWER LIST FINALISTS

BURJ KHALIFA LAUNCH

www.digitalproductionme.com

www.digitalproductionme.com

VIDEO

IN PICTURES

BEST PRODUCTIONS

TOP TECH

www.digitalproductionme.com

www.digitalproductionme.com

The definitive list of Middle East media powerbrokers.

Showcasing a selection of entries for Digital Studio Awards 2010.

www.digitalproductionme.com

Footage of the launch of the world’s tallest tower.

DPME.com brings you the highlights of CES 2010.

FEBRUARY 2010 11

VOX POP SUNDANCE FILM FEST

TRIP TO SUNDANCE Four emerging UAE filmmakers were selected to join a delegation from the Abu Dhabi Film Commission to the 2010 Sundance Film Festival in Utah. ADFC was an official sponsor of the Sundance Institute for the first time this year, thereby, giving the Emirati filmmakers unique access to festival events, screenings, filmmaker forums and panels, as well as meetings with industry professionals. The filmmakers share their experience.

Going to Sundance as part of the Abu Dhabi Film Commission’s delegation has been a great honour. To be invited over as a representative of UAE fa cinema gave me great pride but also the responsibility to showcase our ta os M i Al talent to the American film industry. This initiative proves how much supp support we are starting to get from our government and this is just the bbeginning. All our daily schedules were organised in advance whi which included tickets for the premieres and meetings set up with ind industry professionals. This saved us a lot of networking time while giv giving us the chance to meet and explore other opportunities.

Su Sundance is one of the most convenient and breathtaking festivals I hhave ever been to — convenient because of its structure and ddesigned location. You are located right in the middle of some of tthe most stunning snowy mountains. Most of the action takes pplace on the Main Street with venues such as the Filmmakers lodge, the Sundance House, the New Frontiers and so on. Most of the event parties happen there and most of the meetings too. It even has an amazing shuttle service that takes you all over Park City free of charge. I was really impressed!

(Ali Mostafa’s City of Life is the first English-language film to be produced in Dubai and made by an Emirati national.)

The Sundance experience was amazing. The city is alive with passionate people and the atmosphere is indescribable. Watching short films and independent features was a blast; I learnt a lot and was inspired Majid even more. A truly down-to-earth and Alansari rebellious festival!

(Majid Alansari is a cinematographer, composer and director with degrees in film and music from the US and London respectively. He has directed several shorts including Colours, Pardon and Al-Amiriya.)

www.digitalproductionme.com

The team with Abu Dhabi film commissioner David Shepheard (extreme right).

Sundance is a great space for independent filmmakers and producers and I was really glad that I got selected from among very good directors in the UAE Hanan Al to come to attend the event. Sundance offered a different experience from Muhairi the local and international festivals we are used to in the UAE. In the UAE, the whole festival is located in one place while at Sundance, every lap or league or cinema is located in totally different places.

The festival provided a great opportunity for filmmakers to meet andd exchange knowledge and also look at possibly collaborating on future projects. I had the opportunity to watch a lot of international films andd documentaries directed by independent film makers and learn from them. It also provided the perfect platform to meet other filmmakers.

I also had the pleasure of meeting director Fatima Geza Abdollahyan, who directed an 82-minute documentary feature titled “Kick in Iran”.

This festival also gave me the opportunity to discuss my own feature documentary, Our Right to Ride, which premiered at the Atlantis under the royal patronage of Princess Haya Bint Al Hussien, the Wife of HH Sheikh Mohammed Bin Rashid, prime minister and vice president of the UAE and ruler of Dubai.

My documentary tells the story of six female UAE riders who fought for their right to ride horses. Producing this documentary showed me that there is a lot of misconception about females riding horses in the UAE. Therefore, I tackled it from three perspectives -- the religious, the medical and the cultural points of view.

I have loved every moment at Sundance.

(Hanan Al Muhari is an aspiring filmmaker and the director of Arabyana, a documentary feature that focuses on the challenges faced by women in the equestrian field.)

It’s indeed a great thrill to be invited by Abu Dhabi Film Commission to attend Sundance Film Festival, one of the most important independent film festivals in the world. There is a unique feel to this festival, and it’s the right place for independent film directors to meet like-minded professionals in the industry.

(Nawaf Al-Janahi is an actor and a film director from Abu Dhabi who has directed and produced several independent short films that won various prizes. His short Mirrors of Silence won a lot of international recognition and his first feature length film The Circle, shot in Dubai and Abu Dhabi, premiered at the Gulf Film Festival 2009 and won a lot of acclaim from industry professionals.)

Nawaf Al-Janahi

FEBRUARY 2010 13

COVER STORY TVC ON UAE

THE PATRIOTS A six-minute film designed to fan the flames of patriotism and stir a feeling of oneness among the Emirati people was released on TV on UAE National Day. Vijaya Cherian goes behind the scenes of the making of the film.

Dubai-based production house E-motion was recently tasked with creating a special video for the UAE’s national day celebrations. The film, which was created in High Definition (HD) for Watani, a Dubai-government entity dedicated to developing and strengthening the national identity of the Emirati people, brought several tools to the UAE for the first time for this shoot.

“We have developed several campaigns for Watani in the past but this one was focused on the concept of being united,” says Amaury Simon, general manager and executive producer at E-motion.

Although made for a Dubai entity, the video, which can be viewed on www.emotion.ae, deliberately carries no images of well-known landmarks in the emirate seeking instead to find common elements of interest between the Emirati people such as pearl diving, palm trees, horse riding and falconry.

The video begins with two children climbing up a mountainous terrain to reflect their mirrors on the hills on the other side. The result is stunning. The movie gradually gains pace as the film takes us through instances of pearl diving, planting a palm tree, a unique image of a falcon flying straight at the viewer, men going fishing, people riding horses and camels, or men driving four-wheelers. Gradually, the entire nation comes together and looks at the mountain as the word “Mutaheda“ (united) is revealed through a satellite, the country’s first entry into space and a moment of pride for the nation.

“Dubai Sat-1 gives a new dimension to the UAE as it is the country’s first attempt at having a presence in space. After showing so many

14 FEBRUARY 2010

Frames from the film show cultural elements that bind the Emirati people together.

different sources — the palm trees, the mirrors, the fog of the planes, the swirl of the desert, the people and so on that visually move towards the final vision, we needed a stylish approach to tie it up at the end. The satellite is a matter of pride for the country and revealing the word through it showed how the Emiratis have been united over the ages – whether through their heritage or through new developments,” adds Simon.

The footage also showcases an amazing aerobatic display with jets flying in sync in the sky and leaving a trail of smoke behind them.

Although easily mistaken for real footage, E-motion proudly claims that the whole sequence was created in 3D. “The jets were produced in 3D but this was a huge task as it involved the work of fourteen artists over a period of 45 days,” explains Simon.

Shot in Dubai, Sharjah and the Hatta mountains, the film takes us through the different landscapes in the UAE. It was not, however, without its challenges, according to Bruno de Champris, director of the film.

Champris comments that a film of this scale that had hugely ambitious production plans and had to be shot in less than 45 days brought with it a number of technical issues.

Meticulous storyboarding and adherence to it to the last detail helped ensure that the deadlines were met, claims Champris.

For the French director, who has worked in the field for more than 20 years, this production offered the opportunity to look at traditional elements from a different angle, he says.

He takes the instance of the falcon flying towards the viewer as an example.

www.digitalproductionme.com

COVER STORY TVC ON UAE

The falcon is a big symbol in this part of the world and has been filmed endless number of times but almost always, from the same angle. I wanted the falcon to fly very low so we could not just see the blue sky but also feel the power of the desert. We placed the camera very low ... used a long lens ... shot at 120 frames per second. We had to find a fine balance between the blur of its wings and the speed of the camera to ensure that we got a stunning result and in the final footage, it’s very rewarding to see the falcon gliding and looking straight into the camera. This is the kind of dimension and detail I wanted for this movie – Bruno de Champris, director

www.digitalproductionme.com

FEBRUARY 2010 15

visit us at cabsat zabeel hall stand ZA-1

COVER STORY TVC ON UAE

“The falcon is a big symbol in this part of the world and has been filmed endless number of times but almost always, from the same angle.

We wanted to shoot the falcon flying as straight as possible towards the camera where we could meet it in the eye. So I put the falconer just outside the camera and the prey behind the camera. I wanted the falcon to fly very low so we could not just see the blue sky but also feel the power of the desert. This is why we put the camera very low and used a long lens and shot at 120 frames per second. We had to find a fine balance between the blur of its wings and the speed and aperture of the camera to ensure that we got a stunning result and in the final footage, it’s very rewarding to see the falcon gliding and looking straight into the camera. This is the kind of dimension and detail I wanted for this movie,” explains Champris.

From this wide shot, the movie then moves to a close up of a camel’s hoof and gives the viewer a visual jolt.

“It’s interesting to shoot different angles, closeups, wide shots and create effects that bring the

www.digitalproductionme.com

Director Bruno de Cha mpris (below left) with a crew member.

From left: Vincent Tricot, Amaury Simon and Bruno de Champris.

theme closer to you,” Champris explains. t This film also required a lot of effort from the post p production team. Here, the team had to add a several elements to each part of the footage a that could not be shot either for budget reasons, for lack of time or because they could be created better at the table.

A big chunk of the post work included 3D integration. A good example was the plantation shot. This sequence begins with real footage of palm trees and then moves to 3D shoots.

Post production head Vincent Tricot explains that this sequence required a lot of 3D, tracking, composition, mapping and matte painting to create the desired effect.

In addition, the team used several software applications such as 3ds Max, Z Brush, After Effects and Nuke to work on this project.

“We also used Match mover, which is a very difficult software for tracking,” Tricot says.

“We had a full foreground of real palm trees and the rest of the trees all the way into the horizon was created in post,” says Champris.

“More importantly, we had to get really

FEBRUARY 2010 17

COVER STORY TVC ON UAE

precise shots to ensure synchronisation in post.

We started with vertical shooting at the beginning which was real footage of the palm tree and as we tilted up to get a wider shot, we had to make the transition from the real footage to full 3D. Therefore, you see a mix of different techniques for just one single shot including

MUSIC COMPOSITION JBM was asked to produce a musical score combining culture and patriotism with the UAE National Anthem for this TVC. After internal meetings discussing various concepts, JBM approached two regional composers’ who they felt they could work in collaboration to create a cultural soundtrack.

“We approached Ibrahim Juma, a UAE national who has previously worked with JBM in bringing a strong cultural approach to the music that we wanted create for the National Day TVC,” commented Julien Monie, JBM audio producer. Along with Ibrahim Juma, Vladimir Persan composed a cinematic film score with patriotism, blending contemporary fusion, classical and Arabic music.

One of the unique features of this piece of music is the use of the UAE national anthem which recurs throughout the TVC but in a soft and subtle way.

KEY ELEMENTS OF THE SHOOT FORMAT IMAGE SHOOTING : 4K by Red One 2K with Varicam (aerial shooting). We used this camera because the Tylermount was not adapted for a RedONe 2K with Varicam for the multipass shooting (used in post-production to duplicate cars in the landscape and people in Safa Park) 2K with Canon EOS 5D on the coolcam (www.coolcam. fr) We used this very light crane because we had to shoot in the mountain in a very tight location.

2K with minicamera on the 4WD cars 2K for with Z1 for underwater shooting

SOFTWARE FOR TRACKING 2D/3D : Boujou Match Mover SOFTWARE FOR COMPOSITING 2D / FX : After Effects Nuke Particle Illusion Adobe CS4 SOFTWARE FOR MATTE PAINTING : Adobe CS4 Corel Painter

FORMAT FINAL POSTPRODUCTION : 2K POSTPRODUCTION TECHNICALS: Mix vidéo / 2D / 3D / FX and matte painting SOFTWARE FOR 3D : Lightwave 3DS Max Autodesk Houdini Zbrusch

18 FEBRUARY 2010

RENDERING : Render Farm about 170 processors Work on PC 3D and Apple Mac Pro Bi-quad Core.

COLOUR GRADING : Boggle Telecine tape to tape AUDIO 5.1: Mix with our audio partner JBM studios.

real footage, 3D, tracking, matte painting and there are several examples of this in the movie.

Bear in mind that this was not a 30-second TVC; the film is almost six minutes long,” he adds.

To ensure that time was well utilised, footage was sent to Tricot’s office in France through the internet as they were being shot. More than 12 artists who brought different post production skills to the table worked on this project from Tricot’s office.

On an average, each shoot had about 50 crew members and approximately150 artists on location. In Safa Park, however, where the palm plantation scene was shot, two sets were erected simultaneously.

“As we had only a month-and-a-half to produce the whole video, we could only shoot one day at each location. We had about seven days of shooting in all and this was the only way to do this effectively,” explains producer Simon.

An interesting part of this shoot was that E-motion collaborated with many companies in Dubai for different elements including rentals, crew, post production, music composition and more. While most of the equipment and crew were sourced from ProAction, FilmQuip, Media Crew, In House, Atlas Television and HMC Tradin’, JBM Studios undertook the music composition and Optix Digital did the colour grading.

The team shot with a couple of different cameras including the Red One and the Panasonic Varicam. ”We knew we wanted to shoot in HD but we also wanted to be able to send our footage each day to France. In addition, we wanted to shoot everything in 4K. As we also had to show a mix of real shooting and images created in post, we also needed a camera that could produce the desired results. The RED fit the profile well,” explains Champris.

Champris explains how the RED helped make the scene of the pearl diver emerging from the water beautiful.

“I wanted to get slow motions and work different kinds of speeds and the RED camera offered this capability. For instance, when the diver comes out of the water, the idea was to spew the water on his face. If we shot that in 25 frames per second, you would not have got the effect we got with shooting it at 120 frames,” explains Champris.

For the aerial shoots, however, the team

www.digitalproductionme.com

COVER STORY TVC ON UAE

OTHER COMPANIES INVOLVED INVOLVED: EQUIPMENT ProAction FilmQuip Media Crew In House Atlas Television HMC Tradin’ VISUAL EFFECTS Graphisweet COLOUR GRADING Optix Digital VISUAL EFFECTS SUPERVISOR Vincent Tricot SOUND DESIGN AND MIXING JBM Studios

20 FEBRUARY 2010

employed the Varicam as the RED could not be operated remotely. A significant feature of this shoot was the use of a CoolCam for the first time in the UAE. Incidentally, the team also used a consumer camera to shoot portions of the opening sequence to ensure they got the real thing.

“I wanted an exciting beginning,” explains Champris. “This was the opening of the movie and this was the moment when the people would be drawn toward the movie or they wouldn’t. During our recce, we found a spot that was beautiful but it was in the mountains and it was dangerous to have two small children climbing it. We needed to address that.

“The second challenge was to get the crew up there. We could have faked this sequence by filming the children on a little rock but I have been shooting for more than 20 years so it was a bit difficult for me to do something like that and feel satisfied,” he explains.

20 crew members needed to be up on the mountains for the shoot. Carrying a steadicam or a Technocrane, a RED and related equipment

was not feasible. The team needed to come up with a much lighter option that could shoot HD. “We decided to use the Canon EOS 500D that is essentially a still camera but can also shoot movies in HD,” says Champris.

“But we could not use a Steadicam with this. Instead, we brought in Christophe Brunet, a well known CoolCam operator from France, to operate this. The CoolCam is a very light camera crane system; we mounted the Canon on it. Since the camera is really light, it could be positioned inside the slope and directly from up the slope. The main feature of this crane is that it is very light so the operator can clip it to his body and control it remotely,” he adds.

Rather than going with tried and tested solutions, the team was willing to try technologies that would enable them to meet the challenges they faced.

The result is a stunning six-minute long film with an equally superb musical score that is bound to stir the patriotism of the Emirati people.

www.digitalproductionme.com

SAT B A ’ AT C ,ZA-31 U YO LL ’SEE EEL HA ZAB

Winner of the 2009 Digital Studio Award For System Integration of the Year Winner of the 2008 Digital Studio Award For Best After Sales Support Winner of the 2005 Digital Studio Award For System Integration of the year

TECH REPORT OUTSIDE BROADCAST

ROAD WARRIORS Vijaya Cherian looks at some of the key factors that drive the OB business in the Middle East, the challenges stakeholders face and the new technologies that will help produce improved live sports coverage.

Outside broadcast is increasingly gaining significance in the Middle East broadcast landscape thanks to the growing popularity of live sports coverage in the region.

The absence of quality operators and crew, however, has brought many OB service specialists such as Spanish company, Mediapro to our doorstep.

MediaPro has a strong presence in the Middle East and has worked extensively with several Arab entities such as Al Jazeera Sport, Abu Dhabi’s Live Facilities and Dubai TV to provide both production and crew support services mainly for sport.

“Our OB vans are primarily built for specific sports and don’t have the flexibility for all-around productions,” says David Mas Erliso, engineering and sales manager, Mediapro Middle East.

MediaPro has been involved in the production of several sports events in the region over the last few years. Those in 2009 include the Arabian Gulf Cup of Nations Oman, the Rugby Sevens World Championship Dubai, UFL U.A.E. Football League, FIFA Beach Soccer World Cup and FIFA under 20 World Cup Egypt.

“We are a major player in the Middle East television production world and provide several specialised equipment to our clients including real-time 3D graphics generators based on live gathered metadata, the Omnicam, Super Slow Motion cameras, Spider Cameras and so on,” says Erliso.

“These technologies were used at the 2009 FIFA UNDER 20 World Cup in Egypt.

Transmissions are also now almost 100\5 in HD and as a frontrunner in developing live transmissions in 3D, we will be ready to test this in late 2010 in some markets,” he adds.

Although MediaPro also provides OB vans

22 FEBRUARY 2010

Several broadcasters in the Middle East have invested in OB applications in 2009.

to clients in the region, the company finds that its expertise in providing services and crew has attracted more customers.

“Previously, most broadcasters in the Middle East did not have well equipped OB vans but now, many of them have state-ofthe-art solutions,” he says.

One company that has been steadily supplying OB vans to the Middle East market is Aret. The company, which has designed and integrated OB vans for broadcasters in Kuwait, Qatar and Bahrain, recently supplied an SD OB van to a client in the Levant region.

The compact six SD-SDI camera OB van, based on a Mercedes Vario chassis, was equipped with Sony cameras, Codan Broadcast routing switcher and modulars, Kroma monitors with Image video quad splits and a Kayak vision mixer.

“Previously, we saw two different kinds of customers: those more committed to excellence and others, who concentrated more on the project efficiency. Today, we see that customers expect excellence to merge with project efficiency,” explains Umberto Asti, vice president of international sales, Aret.

According to Asti, most clients want OB vans “that can excel at different kind of production applications, have compact dimensions and weights and ‘easy-to-go’ solutions while also having a range of brands that integrate well”.

“Each one of these requirements is not difficult in itself. It is challenging, however, to achieve all of them. Working in harsh weather conditions, for instance, is more difficult when you try to make the vehicle size more compact and squeezing the size contradicts the concept of an all-purpose design. Likewise, striving for excellence while meeting stringent budget requirements is paradoxical and all customers

www.digitalproductionme.com

TECH REPORT OUTSIDE BROADCAST

Your Partner for German High Quality Products and System Integration in the UAE

Distribution

System Integration

Rental

Dubai Media Inc. used this new HD OB van, delivered by Sony Professional Solutions Middle East, just a few days before the launch of the Burj Khalifa to cover the event.

want an efficient after-sales support but do not want it included in the pricing,” explains Asti.

This is not to say that big HD trailers are not in the pipeline, says Asti, but they are fewer in number.

One of the biggest and most demanding applications for OB is sport. The bar for the production of live sport has continuously been raised and manufacturers have constantly tried to cater to this demand.

Bruno Schmetz, sales manager of EVS Middle East attributes this to the “increasing sophistication and number of cameras that are being used; the transition from standard definition (SD) to 16:9 and/or HD; the request to have continuous access to all of the material, including all camera angles; the need to exchange content more efficiently; and the introduction of dedicated feeds for new media such as the internet and mobile phones”.

He also tells us to wait and watch as many

www.digitalproductionme.com

of 2010’s flagship events will use new technologies “for the production of live replays, including super motion and ultra motion (up to 1000 frames per second) action replays; for near-live timeline editing; the compilation of clips and metadata management; to generate graphic overlays more efficiently; and to access, browse, and download media files from a secure website”.

According to Schmetz, EVS is prepared to meet the above challenges with a new video production server that it launched last month, The server, which belongs to the XT series, claims to offer more bandwidth and greater capabilities to broadcasters.

“It inherits the qualities and main features of the XT[2] architecture and is an ideal platform for all types of live and near-live productions, including instant replay, live slow motion and ultra motion replay, realtime editing, video delay, and playout,” claims Schmetz.

“The XT[2]+ comes with a full range of

Service

i 10 Duba 4.03.20 0 02. – nd r Sta ll ZB2 u o t Visi beel Ha at Za

Qvest Media FZ LLC Phone +971 (0)4 433 8109 Further information www.qvestmedia.ae

FEBRUARY 2010 23

TECH REPORT OUTSIDE BROADCAST

DUBAI MEDIA INC. COVERS LAUNCH OF BURJ KHALIFA Dubai-based state broadcaster Dubai Media Inc. recently undertook a massive OB operation with two high definition OB vans recently supplied by Sony Professional Solutions Middle East and two standard definition vans to cover the launch of the world’s tallest tower, the Burj Khalifa, in Dubai on January 4.

Hassan Chahine (pictured) , chief technology officer at DMI says the production posed a huge challenge to the team primarily because of the significance of the launch.

More than 6000 residents gathered at Downtown Dubai to attend the launch of the Burj Khalifa. Mobility was almost impossible. Cameramen and production crew had to stay where they were stationed and had to resolve any issues by themselves. More importantly, Dubai Media Inc. had taken delivery of its most advanced HD van only three days prior to the launch.

“This was a true test of our team’s ability to improvise at the event and they did a very good job despite the fact that there was no time for training on the new OB van. The whole production went without a single hitch,” claims Chahine.

“The big challenge was that the site was ready only a few hours before the opening so we could do a full rehearsal

24 FEBRUARY 2010

prior to the launch. Secondly, with such a huge crowd at the event and the huge security involved, movement from one location to the other was practically impossible for our operations and technical team.

“Thirdly, communication via our mobile phones was difficult as the network was overloaded on the day of the event. Our internal communication system did a much better job there. In addition to all this, we had only just taken delivery of our new HD van. Usually, the testing of electronic items, training on the equipment and so on takes a few weeks. We had to eliminate all those elements in between and take the van straight to the event,” he explains.

DMI used 40 cameras at the event of which 20 were HD. Owing to the high security and lack of mobility, DMI had about eight generators on site to take care of any power issues.

In addition to this, DMI also had cameramen stationed at Meydan, the new horse race course, to get a larger view of the whole area.

DMI was the host broadcaster and was responsible for producing the entire event.

software and remote controllers, such as the MulticamLSM, IPDirector, and INSIO. The new server offers an even greater and more flexible open architecture with extended support of formats and codecs for a better control of and a smoother integration with third-party systems,” he explains.

ARET’s Asti adds that OB vehicles skewed towards sport will also be kitted out with “hyper slow-motion cameras” in the future.

“We have been testing this technology and the result is amazing,” he claims.

Lens manufacturer Fujinon also launched a series of lenses last year to cater to sports coverage. Recently, the manufacturer set up a Technical Service Centre in downtown Vancouver for the opening of the Winter Olympic Games in February. The Centre will serve as the technical service headquarters for all of the Fujinon TV lenses that are being used to televise the event.

Although sport is the priority for most broadcasters in the Middle East, ARET’s Asti adds that broadcasters are now looking for other features as well within OB vans.

“We have seen an increased demand for IP applications for news and consequently for other equipment working in IP environment such as IP intercoms,” Asti points out.

Recently, the company provided what has become a norm with most broadcasters — an SNG van that also doubles up as an OB vehicle.

“We recently delivered an HDSNG, Ku Band plus three to four HD cameras and a 12KVA diesel generator on board for a client.

The challenges of this project were many because everything is fitted in a tight space and the total weight was not supposed to exceed four tonnes,” he explains.

“A lot of effort went into designing a comfortable layout for the OB in a soundproof environment. The use of exotic vacuum technology materials helped us achieve a very good result on this one. In addition, the 12KVA diesel generator provides nearly double the power required from the whole system, allowing us to power up the lighting systems. Even the uplink chain is fully redundant, equipped with a double RF switch.

From a technical point of view, this is a very impressive OB van,” claims Asti.

www.digitalproductionme.com

TECH REPORT OUTSIDE BROADCAST

Similarly, Saudi Arabia-based systems integrator First Gulf Company recently supplied two OB SNG vans to Saudi TV. Several issues, however, are still to be addressed in the Middle East.

For one, local operators need to be exposed to new technology as it is being used.

“The job of an OB operator is not always rewarding in the Middle East market,” cautions Schmetz.

In many cases, a lack of communication between directors and operators have had a negative impact on productions, he says.

“In some countries, the technical director is the decision maker. In some cases, the head of production as well as the operators who actually use the technology also influence the decision-making process. In the Middle East, however, hierarchy is strictly maintained. Consequently, the technical director and the production team are not always in sync and this hinders the quality of the production. If the decision maker does not have a fundamental understanding of

PALS UNVEILS SPECIAL DESIGNS FOR OB APPLICATIONS Turkey-based PALS Electronic Devices Co. Ltd., which is well known for its coach building capabilities and provides both DSNG vehicles and OB vans to some of the biggest broadcast stations in the world, recently annnounced the availability of three types of vehicles that can be modified to cater to different work applications.

The NewSNG Comfort is specifically designed as a Dynamic News reporting vehicle and is built on a Mercedes Vito or equivalent platform. Compact in design and easy to manoeuvre through any city, it is versatile and equipped with the latest digital technology (HD). It is cost effective to operate and is designed to use as a fast response unit to cover breaking news events.

The NewSNG COMFORT operates in minutes to transmit live streams. It is based on the Mercedes Sprinter (or equivalent) and combines the Pals’ series Lightweight DriveNews 1.2m/1.5m Antenna System with the PAC-350M controller with Autopeak. The NewSNG Smart vehicle is designed to accommodate three to four HD cameras.

The NewSNG Producer is specifically designed for

NEWSNG Fast, flexible Live productions and transmissions of (HD) outdoor events. The PRODUCER is based on a Mercedes Vario (7.5 tonnes) and consists of integrated Vehicle Satellite uplink, a complete production section that includes Audio/Video production equipment, single or dual RF systems, HPA (1 +1), DVB Modulator, MPEG encoder and Professional IRD for monitoring. This vehicle can accommodate up to six (HD) cameras.

@ CABSAT 2010

Visit us Hall 2

2 0 1 0

March 02-04

DUBAI Supported by Undersecreteriat of Prime Ministry for Foreign Trade

26 FEBRUARY 2010

TURKISH PAVILION ORGANISER: SELTEN LTD.

www.digitalproductionme.com

TECH REPORT OUTSIDE BROADCAST

Goodman says dealing with 5.1 surround sound signals in OBs is a big challenge.

Pics of an HDSNG van with Ku Band, three to four HD cameras and a 12KVA diesel generator aboard supplied by ARET, which is well known for designing turnkey OB solutions.

the whole process or does not know how a certain technology can help them extend their production capabilities as well as improve their workflows, it’s difficult to move forward,” he adds.

Besides this, Schmetz points out that most of the big events in the Middle East are produced with locally available equipment but operated by foreign crew.

EVS, which organises regular training programmes for the industry through its office in Dubai, says it is, therefore, looking to “build and enhance the local know-how, as well as improve the collaboration between directors and operators”.

MediaPro, which provides skills such as cameramen, replay operators, TV directors, sound engineers and producers from international markets to the Middle East for the production of live sport, seconds this.

“There is a serious lack of professional OB van technical operators in the Gulf. We have tried to address this by helping with knowledge transfer from our crew to local operators,” says Erliso.

Although the coverage of live sport is a key application now, several broadcasters in the Middle East also use their vans for the coverage of other important events including live performances, the Arab summit, the Hajj prayers and so on. As a result, those with

older OB vans are seeking to upgrade or install new features.

One of the chief challenges in this area, according to Calrec Audio, “has to do with 5.1 surround sound signals”.

“This challenge is twofold — the manipulation of these signals, and the capacity to deal with the sheer number of channels. Now that HD has 5.1 surround as an accepted standard, and sport is still driving demand for this, it has become clear that many older digital consoles do not have the capacity to deal with the number of channels necessary,” says Henry Goodman, business development, Calrec Audio.

“At every level of the production chain, where there were previously two audio channels, six are now necessary for true 5.1, and there is pressure to move from 48kHz to 96kHz and beyond. Modern consoles have to be powerful enough to cope, and also have enough in reserve to deal with any changes in the future, such as 7.1 audio,” adds Goodman.

We live in a world where we are constantly bombarded with a wide variety of technologies at the same time. While broadcasters have barely coped with high definition and its demands, we are being told 3D is the future and 5.1 surround sound should be a given at production shoots. End users con-

www.digitalproductionme.com

stantly seem to be in a state of catch up with the latest technology and the Middle East is doing well on this front.

Where it sorely lacks, however, are skilled OB operators, producers and other technical crew. This is an issue that must be given serious consideration by Arab governments.

Presently, most manufacturers hold training programmes only on their own products.

People, therefore, tend to buy solutions they are most familiar with although they may not be best suited to the applications for which they are being purchased.

What the Middle East requires is training centres and objective trainers who will seek to give students and end users a wider perspective of the technologies available in the market so that they may be able to make informed purchasing decisions.

FEBRUARY 2010 27

The world’s largest distributor of Belden products

• We’re proud to serve more than 100,000 customers in 52 countries with our world-class inventory • A globally-recognised industry leader, offering worldwide deployment and replenishment capabilities • Unrivalled technical experts and highly trained sales specialists

We offer a range of high-performance products, with the largest ex-stock portfolio available for next-day delivery across EMEA, including: • Belden Classics • Industrial Automation • Broadcast Cabling • Optical Fibre

It’s a global relationship that offers the best choice for Belden products To reserve your copy of The Wire and Cable Handbook, register your details at anixter.com/W&CHandbook09

Anixter Middle East FZE, PO Box 16854, Jebel Ali Free Zone, Dubai, UAE • Tel: +971 4 806 7150 • Fax: +971 4 806 7155 • anixter.ae Anixter is a leading global supplier of communications and security products, electrical and electronic wire and cable, fasteners and other small components. We help our customers specify solutions and make informed purchasing decisions around technology, applications and relevant standards. Throughout the world, we provide innovative supply chain management services to reduce our customers’ total cost of production and implementation.

In the broadcast and entertainment industry, reliance on quality infrastructure produces high-performance audio and video systems.

Anixter provides professional and commercial products that help you maintain absolute signal integrity for both field applications and permanent locations. With products ranging from analogue and digital audio wire and cable to video coax and instrumentation cable, Anixter supports a range of products used in major network and cable TV broadcasts, film studios and audio/video. Anixter's technical expertise helps customers make informed product decisions to ensure systems meet stringent engineering specifications, including UL/CSA, SCTE, NEC and AES. Anixter can develop a customised supply chain programme to help take costs out of your business while maximising efficiency. Our Supply Chain Services provide scalable inventory management, logistic and deployment solutions for your broadcast and entertainment needs.

We provide you with a one-stop product offering that covers your broadcast and entertainment needs regardless of the scope of work.

Our product offering includes: • Analogue/digital audio cable • HDTV video coax cable • HDTV camera cable • Tactical fibre • HDTV cable assemblies.

Let Anixter's experience help you select solutions that optimise your broadcast and entertainment needs.

For more information, contact Anixter's Middle East location at +971 4 806 7150, or visit us on the Web at anixter.ae

Anixter Middle East FZE, PO Box 16854, Jebel Ali Free Zone, Dubai, UAE • Tel: +971 4 806 7150 • Fax: +971 4 806 7155 • anixter.ae

Products. Technology. Services. Delivered Globally.

Your one source for all your Broadcast and Entertainment Product and Service needs

IN FOCUS WIRELESS CAM SYSTEMS

THE INTEGRATED WIRELESS HD CAMERA With the coverage of live sport gaining more significance by the day, camera manufacturers are looking at offering wireless options. Digital Studio reports.

Wireless HD cameras give a unique freedom in television productions.

They can move quickly from place to place – along the touchline of a rugby or football match, for example – or they can allow the camera to reach places where cables would be very awkward – into the audience in an entertainment show, or following sports stars from the dressing room out into the arena.

A number of manufacturers offer wireless kits to add on to existing cameras, and many of these are fine products. Camera manufacturers work in close co-operation with the creators of these products, to ensure that their wireless add-ons fit well, both mechanically and electrically.

Some manufacturers now are looking, how-

30 FEBRUARY 2010

ever, to take the systems one step further and offer an integrated wireless camera solution.

This is possible because of the way they build their cameras: the interface is a separate module, so it is practical to take a standard camera and, instead of fitting a triax or fibre adaptor, fit a wireless transmitter instead.

This seemingly simple point is probably one of the most important benefits of an integration solution rather than an add-on. It does not distort the physical design of the camera, which makes it much easier to use.

A one-piece camera must be designed to be balanced though. A wireless transmitter will weigh something around 1.5kg, with the battery adding as much as another 1kg. This weight is all at the back of the camera, making it hard to balance on a steady mount and virtu-

ally impossible to use on the shoulder, typical uses for a wireless camera.

An integrated solution virtually eliminates this problem. A battery is still needed which is extra weight, but it is not so far off the point of balance so the effect is much less.

As well as being physically almost identical to a fibre or triax adaptor, the wireless adaptor can be largely electronically identical, too. This means that the camera control data can be embedded within the two-way communication.

It also means that the same operational control panel which is used for a cabled camera can also be used for the wireless cameras. With a very small latency apart, the vision engineer will see no difference between cabled and wireless cameras as they are shaded and controlled. Outside broadcast trucks are major

www.digitalproductionme.com

March 2-4 2010

MediaCast Zabeel Hall Stand ZC-1

Own the dream.

Having therightstudiogearcanmakeallthedifference in realizing your musical dreams. That’s true both of the individual pieces and how they work together.

Digidesign® and M-Audio® products are designed to form integral creation/production systems right out of the box so you can focus on your music rather than technology.

Pro Tools 8 Professional Music Creation and Production Software

Studiophile CX5 High-Resolution Active Studio Reference Monitors

003 Factory FireWire Pro Tools LE Audio/MIDI Workstation

Axiom Pro 25 Advanced USB MIDI Controller with HyperControl

#1406, Al Thuraya Tower 1, Dubai Media City, UAE +9714 368 1623 | info@mediacastsys.com | www.mediacastsys.com

IN FOCUS WIRELESS CAM SYSTEMS

users of wireless cameras: space is at a premium so eliminating the need to have separate control panels for the wireless and the camera part of the system is a benefit.

This commonality between cabled and wireless cameras should extend to quality.

In the modular design, the wireless section has to be pin compatible with the triax and fibre adaptors, so it receives the highest possible quality signals, immediately following the camera’s on-board processing, and saving one or more stages of digital signal processing.

A good match between cabled and wireless cameras depends on taking this high quality signal and transporting it to the receiver with as little degradation as possible. There are considerable challenges in this though: the compression scheme has to be high quality, of course, but it also has to be low latency if the camera is to be of any use in action sports, and it cannot be too demanding in terms of processing power – the battery pack has to last at least the 45 minutes of a football half.

Long GOP MPEG-2 can deliver good per-

32 FEBRUARY 2010

ceived quality, but at the cost of high latency because the group of pictures has to be coded at the camera and decoded at the receiver.

JPEG2000 is more processor intensive, but its intraframe coding, ability to handle 10 bit 4:2:2 and the absence of macroblocks thanks to its wavelet compression mean that it is a better trade-off overall.

Finally, there is the question of the wireless connectivity. Much of this is standard to all wireless camera systems. Frequency bands, in the range above 2GHz, are determined by local RF licensing requirements. All professional wireless camera systems use COFDM transmitter modulation because of its stability in less than perfect reception conditions.

The very short wavelengths used for transmission mean that they are largely dependent on line of sight reception. The receiving antenna has to be located relatively close to where the camera is likely to be used, and certainly not obstructed from it, for instance by walls.

The integrated approach has strength here, too. Because the wireless link is so closely

www.digitalproductionme.com

Stand Z-32

IN FOCUS WIRELESS CAM SYSTEMS

that has taken the lead Grassvalley is one manufacturer less camera system. by developing an integrated wire

aligned with the camera, it carries all the other signals which would normally be sent to and from the CCU: intercom, tallies, audio feeds, control data. and so on. Apart from the absence of return video to the camera (which would be too much of an overhead) the wireless link acts exactly like a triax cable.

The beneďŹ t here is that the antenna unit, which needs to be out in the stadium, becomes in eect a wireless to triax adaptor.

The signal is converted and carried on the cable to the truck where it can be split into its component parts in exactly the same way as any other camera cable. At the antenna unit is a three times diversity reception system to assure an extremely reliable and stable transmission.

For very demanding applications where for instance two dierent areas need to be covered from the same wireless camera — for example out on the pitch and inside the changing rooms; two antenna units can be connected by separate triax cables to the same CCU. There is a fully automated seamless roaming between the two antenna units. Power for the antenna and interface can be delivered down the triax, so only one cable needs be rigged. With most sports venues now boasting permanently installed cables, setting up a wireless camera can be as simple as carrying small box into position and plugging it in.

For add-on wireless systems, the position is a little more complicated. The pitch-side receiver is the point at which the wireless system provider’s involvement in the process ends, so all of the signals are broken out at this point. So as well as a video cable there needs to be audio cables for the on-camera microphones and reverse audio feeds; cables for camera control and wireless control; intercom and so on. The box may well need a separate power feed too.

The situation is more time-consuming to rig, and leaves more types of cables which need protection. While much of this is applicable for wireless cameras used for sports outside broadcasts as this is the most challenging application, these cameras also ďŹ t well inside studios. Many of the same beneďŹ ts apply here as well.

A studio complex might have a small number of wireless camera kits which are shared between dierent studios as productions require them. Because of the commonality between cabled and wireless cameras, all you need do to set up a wireless camera is to plug the antenna unit into the wall box on the appropriate camera cable.

In summary, there are many solutions to the challenges of wireless cameras for today’s HD productions. The advantages of choosing an integrated solution rather than an add-on are image quality; speed of rigging; ease of operation; and perhaps most important comfort for the operator, who still has a nicely balanced camera with which to get those great, up close shots.

&XULRXV" 6HH \RX DW &DEVDW %RRWK =/

$&52%$7 ',*,7$/ :,5(/(66 ,17(5&20

7KH 6ROXWLRQ IRU :RUOG &ODVV (YHQWV

5LHGHO &RPPXQLFDWLRQV *PE+ &R .* ‡ 8HOOHQGDKOHU 6WU ‡ :XSSHUWDO ‡ *HUPDQ\ ‡ 3KRQH ‡ ZZZ ULHGHO QHW

www.digitalproductionme.com

FEBRUARY 2010 35

IN FOCUS RF PLAYERS

BROADCAST RF AT THE TOP RF specialist Broadcast RF provided the wireless services for the production of the Burj Khalifa launch.

Broadcast RF, which has worked on several projects in the Middle East, recently supplied a number of wireless camera solutions for the production of the opening of Burj Khalifa, the world’s tallest tower located in Dubai.

The company claims that the transmission undertaken from the 154th floor was possibly the highest ever for roving wireless camera systems at 800m above ground level.

Three wireless camera systems were employed to unveil the grand opening ceremony on the 154th floor of the Burj Khalifa. These three RF systems were received locally and fibred down to the OB. An aerial camera was also linked from a helicopter to the OB with live aerial shots of the Dubai skyline and the fabulous firework display.

“We have supplied RF systems for many events like the Dubai World Cup, the grand opening of the Atlantis Hotel, QE2 Arrival, opening of the Metro, Dubai Airshow, Doha Asian Games, National Day in Qatar, Libya National Day and so on,” explains Chris Brandrick, sales director - Broadcast RF Ltd. Broadcast RF works closely with two of the biggest RF manufacturers in the world namely Gigawave and Link.

“Link and Gigawave are manufacturers of RF equipment and undoubtedly the best in the world. We buy their systems and adapt to the television markets giving our customers the latest RF technology at an affordable price”.

The company has also developed special brackets and camera backs that incorporate remote camera control for the Sony HDC1500 and the Grass Valley LDK6000/8000.

Grass Valley, though, now offers its own integrated wireless camera solution.

“We specially manufactured these brackets/camera backs as we felt improvements could be made to the manufacturers’ solution for these cameras,” he adds.

A diverse range of antennas, cabling, mounts and accessories are a major part of any RF. “RF is not just a matter of taking equipment off the shelf and expecting it to work. Major planning goes into each and every event we supply kit for,” explains Brandrick.

“Part of our standard Middle Eastern kit is to provide filters for each end of the system, thereby, eliminating external interference problems,” he adds. www.broadcastrf.com 36 FEBRUARY 2010

www.digitalproductionme.com

IN FOCUS RF PLAYERS

VISLINK GROUP

The transmission undertaken from the 154th floor was probably the highest ever for roving wireless camera systems at 800m from ground level.

Vislink recently introduced an upgrade to its Deep Interleaving software application that is said to eliminate picture loss caused by RF signal path obstructions.

The advanced interleaving technology can compensate for transmission disruptions of up to four seconds in duration, and includes instantaneous relocking once the signal is restored.

The operator may enable or disable this feature and is given full control over adjustments to forward-error correction and burst-error tolerance levels.

Deep Interleaving is also said to greatly enhance coverage of fast-paced sports events, such as motor sports and bicycle races, where bridges, trees and other obstructions frequently block the transmitter-to-receiver signal path.

Other key applications include “eye in the sky� helicopter news coverage and stadium-based sports.

The Deep Interleaving feature is available as an option for Link’s XPu vehicle on-board and the new XPc mini transmitter, and will be available for the L1500 and L1600 transmitters in the near future. www.vislink.com

&XULRXV" 6HH \RX DW &DEVDW %RRWK =/

$57,67 ',*,7$/ 0$75,; ,17(5&20

7KH 6ROXWLRQ IRU :RUOG &ODVV (YHQWV

5LHGHO &RPPXQLFDWLRQV *PE+ &R .* ‡ 8HOOHQGDKOHU 6WU ‡ :XSSHUWDO ‡ *HUPDQ\ ‡ 3KRQH ‡ ZZZ ULHGHO QHW

www.digitalproductionme.com

FEBRUARY 2010 37

SPECIAL REPORT AVATAR

AVATAR Although Avatar was conceived in 1995, it was shelved for want of the right technology to bring James Cameron’s vision to fruition. When the idea was revived a decade later, several new technologies helped make it a masterpiece.

James Cameron’s Avatar was a visual delight that took us to a spectacular world way beyond our imagination while it was also a testing ground for several new 3D technologies. It would be accurate to say that with Cameron, the technique of moviemaking is inextricably linked with the art itself. He created history with Titanic and again, with Avatar.

In Avatar, he helped create the Fusion 3D camera system in partnership with director of photography Vince Pace to give the desired 3D effect. Although the Fusion was used on some previous productions, it was in effect being tuned for the tough production demands that

www.digitalproductionme.com

Avatar would have. Pace even called them ‘Avatar’-specific rigs”.

Avatar is truly an example of a film that has pushed the boundaries for many technologies and changed forever the way 3D movies or animations will be made. It has become a yardstick for other filmmakers.

One groundbreaking tool in Avatar was the Simul-Cam, which integrated, in real time, CG characters and environments into the film’s live action Fusion camera eyepiece. This technology essentially treats a photographic camera like the virtual camera, taking the virtual production toolset and superimposing it on the physical production.

FEBRUARY 2010 39

SPECIAL REPORT AVATAR

Together, these tools helped to capture the imagination that Cameron had put to paper in 1995 but had shelved for lack of good technology to create the visual impact he had conceived.

Avatar is also a good example of the power of digital cameras. Cameron and his team used the Sony HDC-F950 and the HDC-1500 cameras for this production. They were paired with Fujinon lenses — the HA16x6.3BE (6.3-101mm) and the HA5x7B-W50 (7-35mm) – the latter was specifically designed for this project.

Perhaps one of the most distinguishing features of this film is how lifelike Cameron made his CG characters look, thanks to help from Peter Jackson’s special effects powerhouse, WETA Digital, in New Zealand.

Rather than bore his characters and viewers with the rubber appliance make-up routine, he chose to create CG characters that closely resembled the actors they played. The efforts paid off. CG gave the Na’vi’s blue skin a translucent appearance very similar to the human skin.

A new “image-based facial performance

40 FEBRUARY 2010

The Sony HDC-F950 camera was paired with Fujinon lenses for this shoot.

capture” system, which used a head-rig camera to accurately record the smallest nuances of the actors’ facial performances, helped to augment the reality of the Na’vi.

Instead of using motion capture, the actors also wore special headgear to which a tiny camera was attached. The rig were turned towards the actors’ faces and the camera recorded facial expression and muscle movements to a degree never before possible.

Most importantly, the camera recorded eye movement, which had not been the case with prior systems.

Essentially, all of this gave life to the Na’vi.

Another important tool was the use of the Virtual Camera, which allowed Cameron to shoot scenes within his computer-generated world, just as if he were filming on a Hollywood soundstage.

All of this was then beautifully brought together on screen by WETA Digital.

We see animation in a truly superior scale out here as the Na’vi look lifelike. The scale and depth of Pandora is equally impressive.

www.digitalproductionme.com

SPECIAL REPORT AVATAR

Vince Pace, co-inventor of the Fusion 3D camera system on the set of Avatar.

Modern Videofilm handled the scope and complexity of colour correcting the alien worlds of Avatar by developing a network of DaVinci Resolve systems connected via optical fibre.

www.digitalproductionme.com

While the Avids were a common element at the editing phase, colour grading and fill 3D stereoscopic effects were created with the help of four Blackmagic Design DaVinci Resolve systems by Modern Videofilm, a post house in the US. To handle the immense scope and complexity of colour correcting the alien worlds of Avatar, Modern Videofilm developed a network of DaVinci Resolve systems all connected via optical fibre. Three systems were installed at Modern Videofilm’s main office in Glendale, CA, while a fourth was installed 56 miles away at the Fox Studio lot. By building a colour correction suite directly on the Fox lot, Modern Videofilm was able to handle the enormous number of real-time colour corrections and 3D transfers between facilities.

These requirements included up to 120 colour changes on some EDLs, using hundreds of nodes and creating multiple versions for the theatrical release.

The result, of course, was a stunning and rich world never seen before in film.

FEBRUARY 2010 41

EDITING REVIEWS, Q&As & MORE

DIGITAL MATTE PAINTING VFX specialist Amitaabh Naaraayan explores the origins of an art that is often taken for granted in post production although it continues to play a key role.

Visualise them. Picture them.

Digitise those various pieces for a whole. Matte paintings are the majestic and graceful background vistas integrated with live-action, foreground situations in motion pictures (and some television programmes) serving to establish a space for a scene. Matte paintings are the large, beautiful, breathtaking vistas that are subtle and, therefore, often under-appreciated in motion pictures.

Since the advent of the narrative film, moviemakers have strived to enhance the scope of on-screen reality by combining non-existing landscapes, interiors, and structures to give credibility to a film’s story. After all, movies are meant to transport the audience into another realm and time. Not only is the aesthetics

42 FEBRUARY 2010

and origins of the matte painting dependent heavily on a particular genre of film (science fiction, fantasy, adventure, and yes, drama and comedy), but it is also a spectacular artistic piece worthy of its own artistic merit.

Despite the ability to deceive an audience with a well designed and executed image, matte paintings are often unnoticed or overlooked, and relegated to an ancillary level of working diegetic components in a film. And as special effects, editing, music composition have transcended into the digital age, matte painting has also successfully transitioned from the traditional glass canvas to being a cut and pasted composite of the computer.

And though no debate has emerged about whether digital technology will replace traditional matte composition and techniques, the

ability to compose a fictitious reality on the computer undoubtedly saves time.

ORIGINS OF THE MATTE PAINTING In the last couple of centuries, paintings were regarded as the definitive replication to portraits, landscapes, and life. When photography became available to trained professionals, painting traditionalists called the new novelty many unkind things, including, “A cheap way to reproduce reality.” Painters did not want to face the harsh reality that their expertise and business faced an uncertain downfall. The masses always preferred the highest definitive portrait of themselves.

Typical French artists in 1862 formally protested that photography was a “soulless

www.digitalproductionme.com

We are now in your

backyard

With our UAE office in place, we are now a step closer...

Discover a fresh approach to broadcast graphics with WASP3D 2009 edition, power packed with realistic design effects, enhanced workflow for ease of usage, UBT for hassle free zero coding environment, touch screen based non-linear interactive presentations and more... come and experience ‘The Touch of Freshness’ at:

CABSAT MENA, DUBAI March 02-04, 2010 I Stand# ZG11 T: +971 507305856 I info_mea@wasp3d.com UAE - UK - INDIA I www.wasp3d.com

WASP3D broadcast graphics... Afresh

EDITING REVIEWS, Q&As & MORE

Digital matte painting has become an effective way to artistically complete video footages and also create both real and fantastic backgrounds for various works.

mechanical process, never resulting in works which could . . . ever be compared with those works which are the fruits of intelligence and the study of art.”

Early photographers resented such assertions, regarding photography as another form of painting where “still life is self-consciously composed in the style of neo-classical painting.” During the 1860s, composite photography became a commercial success for Henry Peach Robinson. His composites combined several negatives to form final prints to a real subject set against drawings. In 1905, a photographer named Norman Dawn derived from this creative approach. Using paints to enhance his own still photographic pictures, Dawn was taught that by placing a sheet of glass between the camera and the subject, improvements could be rendered (of the

44 FEBRUARY 2010

subject). Thus, the origin of the matted image is believed to have been born.

Along with it, the manipulation and merging of reality with pseudo-imagery on celluloid also took shape.

A DIGITAL TOMORROW . . .

Those early pioneers acted on evolving innovations that benefited their trade. Perhaps traditionalists were apprehensive and unwilling to adopt to the new form of image capturing. And now with the digital age having been ushered into cinema so profoundly, matte painters and 3D renderers can assert those traditional techniques amalgamated with modern high-technological tools.

In 1982, Star Trek II: The Wrath of Khan featured the first-ever computer-generated effects for its “Genesis” sequence. As the

camera races over the planet’s surface, life (oceans, land, forests, mountains, lakes, etc.) forms rapidly from a dead planet at an accelerated rate. This scene is powerful and more exciting than the proposed static matte shots that would have dissolved and faded cinematically from one image to the next in showing the planet’s emerging life.

Two years later, The Last Starfighter produced digitally animated spaceships, giving a 3D look to a crucial battle sequence in lieu of using miniature model ships.

Premier special effect houses began researching ways to save money, cut time, and present a richer, more realistic and exciting look in motion pictures. Such computer-generated renderings would go on to be featured in numerous films like Batman Returns (1995), Restoration (1995), French Kiss (1996), Titanic (1997), The Lord of the Ring trilogy (2001, 2002, 2003), the Star Wars Special Editions and Star Wars prequel series. Matte paintings and digital composites have also found their way into music videos, including those of George Michael, Madonna, Britney Spears, and Jennifer Lopez.

Prominent in the field was the artistic matting painting. Where the average matte painting can take three weeks for completion, digital matte rendering can be completed in half the time, if not sooner. The digital procedure can also mimic a sweeping, realistic, clean 3D look compared to the more static 2D matte painting. These digital renditions of skies, buildings, planets, boats, space ships, landmarks, and much more truly present a graceful awe over the static (but never banal) matte painting.

Amitaabh Naaraayan is a 3D and SFX professional based in Dubai.

MOVIES THAT USE THIS TECHNIQUE Batman Returns (1995) Restoration (1995) French Kiss (1996) Titanic (1997) The Lord of the Rings trilogy (2001, 2002, 2003) The Star Wars Special Editions and Star Wars prequel series.

www.digitalproductionme.com

Meet the next-generation video server.

POWER UP WITH NEXIO AMP™ — THE ADVANCED MEDIA PLATFORM. EXIO AMP™ is here ... and all the rules have changed.

System Highlights:

Featuring the industry’s most advanced HD / SD server architecture, best-in-class storage protection, integrated software codecs and automatic up / down / cross conversion for complete format transparency, NEXIO AMP™ does much more than simplify your workflow. It provides higher availability to your content and speeds up the deployment of new channels.

s

Exceptional fault tolerance — Complete I/O, data path and storage redundancy available

s

I/O flexibility — Software-configurable HD, SD and mixed HD/ SD modes come standard

s

High-performance architecture — Real-time, multistream, 64-bit processing

Take on broadcasting’s toughest challenges and change the way you think about video servers — with NEXIO AMP™.

s

Built-in scalability — Upgrade path from 3.6 TB of integrated server storage to the true shared storage NEXIO™ SAN

s

Integrated media services — Designed to support softwareenabled Harris broadcast applications, including media analysis, channel branding, automation and multiviewer I/O monitoring

To learn more, visit www.broadcast.harris.com/nexioamp.

Come see us at CABSAT MENA stand — ZB-21 Europe +44 118 964 8200 Sales.Europe@Harris.com

Middle East +971 1 433 8250 Sales.MiddleEast@Harris.com

EDITING REVIEWS, Q&As & MORE

I am planning to assemble my own personal graphics and video editing workstation. What are some of the key factors I must consider?

Several key factors go into ensuring that you get the best out of your computer.

ASK THE EXPERT

VIDEO CARD You need a solid video (or graphics) card in order to capture the video from your camera and for it to display properly on screen. NVIDIA, ATI, BlackMagic, Matrox which will do the job depending on the memory capacity. Cards with at least 512 Mb of RAM are preferable, especially if you are running dual monitors.

PROCESSOR MIDDLE EAST

Working with digital video is a processor-intensive task. Most laptop and desktop workstations can be configured with Intel dual or quad-core processors. At the low end, a dual-core, 2.5 GHz processor could run your editing program just fine. Of course, a faster processor will make for smoother performance and faster render times.

RAM While you can get away with a lower-end processor, you do not want to be stingy on RAM. These days it is pretty inexpensive, and the more you have, the faster your machine’s performance. If it’s a choice between RAM and processor, go slower (but not too slow) processor, and max out on RAM. You’ll want at least 2 GB of it for efficient editing.

BPM, now a reality

You need to master your business.

Only Tedial can automate all your broadcast processes. Tedial can give you a fully integrated system customised perfectly to your needs, based on proven modular Products and open standards.

HARD DRIVE Digital video takes up a lot of hard drive space — about 12 gigs for every hour of DV quality video. You’ll need space for storage of your original video clips, your output, and the renders of your audio and video effects or manipulation. It is always suggested to keep your video on a separate drive from your OS, so having one or two external hard drives (or internal, depending on the kind of workstation you have) is key. You’ll need to determine the quantity and capacity of hard drives based on the kind and frequency of projects you are doing. Consider multiple drives of at least 500 GB. Also consider organizing them into a RAID array, which optimises the flow of data and can create redundancy should one of the drives fail.

MONITOR

2-4 March 2010 VISIT US | STAND ZS33

www.tedial.com | T. +34 902 94 55 00 | contact@tedial.com

46 FEBRUARY 2010

Vital to giving you the strongest foundation for quality editing results rests in how much on-screen space you can afford. Most editing programs that you’ll be using, such as Adobe Premiere, will display a timeline for cutting and manipulating clips, and one or more video display windows to see your work in progress. Having two monitors across which you can spread your workflow will allow you to increase the size of timeline and display windows, and better organize how they are laid out on screen. This means greater precision in editing and examining the video elements with which you are working. Of course, there are a multitude of other factors to consider when taking on video projects — cameras, capturing and editing software, compression software — but ensuring your workstation itself is fully prepared for the task is a solid first step.

www.digitalproductionme.com

Big in ntercom in a small package

Zeus III Innovations in 1 Rack Unit Connect to your existing party line system Zeus III is the first intercom matrix with two built-in party line interface channels.

Manage the system from anywhere Use the intuitive AZedit software to remotely configure your intercom system from anywhere in the world.

Toggle other devices with relays Zeus III features two relay connections, for easy linking to other devices such as lighting and paging amps.

www.rtsintercoms. com/zeus3

Bosch Communications Systems Headquarters Europe, Africa & Middle-East: EVI Audio GmbH, Sachsenring 60, 94315 Straubing, Germany UAE: Robert Bosch Middle East FZE, Phone: +971 42123-363

www.digitalproductionme.com

Innovating the future of global communications

FEBRUARY 2010

47

EDITING REVIEWS, Q&As & MORE

What do the terms “animatics” and “slugging” mean?

Animatics and slugging are classically terms used in the preproduction process of storyboarding. Animatics are moving storyboards allowing the production teams to see what certain shots will look like before deciding to shoot them. Animatics are made after the soundtrack is created, but before full animation begins. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film.

This process is very essential in 2D and 3D animated movies as traditional animation is a very expensive and time-consuming process, creating scenes that will eventually be edited out of the completed cartoon is strictly avoided.

Today, even filmmakers and advertising agencies employ animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces. This allows the EFX teams to get a sense of what shots can be done practically, and which shots need to be computer

generated. They also allow the director the opportunity to share a vision with the entire production team. A great way to synchronise the entire team from, spot boys to actor to the post productions guys.

The term 'slugging' is used to refer to the job of timing the storyboards using the dialogue footages and generating the footages that go between them: the slugs - or the spaces between the dialogue. This is a necessary job done prior to an animatic. It can be as simple as generating basic footages numbers or as complicated as writing in most of the details prior to sheet timing.

Usually this job is done by a, since this is the first step of the editing process and everything else is generated from this. To do the actual slugging of lines etc you need to use an audio editing programme so you can get the exact lengths of the dialogue edits.

Send your post production queries to vijaya.cherian@itp.com Suzzanne Rebello, 3D artist and educator in computer graphics, will respond to your queries.

A SK THE E X PE R T

48 FEBRUARY 2010

www.digitalproductionme.com

KITTED OUT ACTION FILMZ

LIGHTS! CAMERA! GRIPS! Digital Studio showcases the best kit stocked by Dubai-based Action Filmz, a rental house and studio owned by director of Photography Crispin Dominic.

Dominic, who started his career in still photography with Iranian photographer Faramarz Beheshti, whom he calls his mentor, says he learnt the ropes from him.

A decade or more later, Dominic, who worked in several different roles within production gradually moved up the ranks and today collaborates with several big media houses in Dubai as DoP. His most recent work was as DoP on a FIFA promo for Boomtown Productions and Jotun Paints with Alchemy Films.

Although he started working on 35mm, Dominic says he is well versed with many of the industry favourites for production including the Sony, Panasonic and Red cameras.

JIMMY JIB This is often used with a lot Indian productions and I’m glad I have this.

KINO FLO

STUDIO FLOOR

We probably have the most Kino Flos of any rental house in Dubai. I have 38 different Kino Flos in my store.

This studio floor has an infinity curve, which is great if you’re shooting chroma or filming cars. This studio can easily accommodate a car.

50 FEBRUARY 2010

www.digitalproductionme.com

™

NEW

Cricket QAM Plus

Powerful QAM Analysis is now available in a compact, value-priced package.

Cricket QAM Plus is a quality and service assurance troubleshooting tool for use in remote applications and features: Advanced QAM Measurements:

Advanced QAM Analysis at the Edge

Constellation Diagram;

Increased monitoring

MER/BER;

coverage;

Carrier offset;

Continuous scanning

Symbol rate offset;

of QAM channels.

much more.

Register for a demo of the Cricket QAM Plus for a chance to win an iPod Touch.

More info: www.IneoQuest.com/cricket-family

™

NEW

Two Tuners:

iVMS Mobile

Quality status and Program Availability of your Video Delivery Network in the palm of your hands. iVMS Mobile™ is the industry’s first Video Quality Monitoring and Diagnostics application for Apple’s® iPhone™ and the Apple iPod™ touch. For the first time, you can view a broad spectrum of video quality and performance metrics from

Real-time Status from Anywhere

anywhere. With a simple tap, you can view alarms, along with necessary problem resolution details, turning the iPhone into a mobile video network operations center (NOC).

More info: www.IneoQuest.com/ivms-mobile

www.IneoQuest.com

Your digital acquisition partner in the Middle East

For further information about shooting with us in Europe or the Middle East, please contact us: General Inquiries: info@shootepic.com Hugo Lang – Rentals & Shoot Logistics Dubai: +97 150 5591 950 hugo@shootepic.com

RED Cameras

RED Primes

SI 2K

Anamorphic Lenses

Phantom

DIT Services

Canon 5D MK II

DIT Vehicles

DXB: WWW.REDCAMERADUBAI.COM

Deane Thrussell – Technical Director & Post Advisor deane@shootepic.com Leo Bund – D.O.P. & Steadicam Op. Dubai: +97 150 8511 316 UK: +44 (0)7909 666608 leo@shootepic.com

UK: WWW.SHOOTEPIC.COM

KITTED OUT ACTION FILMZ

ARRI LIGHTS I started off in lighting and am well known in the industry for this.

I have everything from the LED LITE panels to the HMIs and the tungstens. I have almost every lamp that Arri has made as well.

Multi-Format LCD Monitors A logic choice TV Logic Multi-Format LCD Monitors are specifically designed for SD/HD video applications in broadcast, post production and multimedia installations. They offer reliable reference grade displays for the most critical viewing environments.

Sizes: 7” - 8,4’’ - 17” - 24” - 40” - 46” - 57”

CHIMERA The Chimera accessories make a film set look great and the quality is of a very high standard.

GFM The GFM grips can be used for about 30 to 40 years and they will still look brand new. I’m sure this will take over a lot of other grip brands. When I have the money, I plan to invest in one of their cranes as well. This is one company that is very passionate about what they are doing and it shows in the quality of their equipment.

www.digitalproductionme.com

ALPHATRON BROADCAST SYSTEMS FZ-LLC P.O. Box 500717, Executive Office No. 25, Al Thuraya Tower No. 02, 7th Floor, Dubai Media City, Dubai, United Arab Emirates E-Mail: info@alphatron.ae Tel: +971-4-428 0753 Mobile: +971-50-939 7372

FEBRUARY 2010 53

DON’T JUST EDIT. FINISH.

Own the creative. The Autodesk® Smoke® integrated editorial finishing toolset helps you save time while expanding your creative capabilities. With the finishing tools in Smoke, build on your existing creative cut workflows and unleash your creative potential.

Learn more at autodesk.com/smokeonmac

Autodesk Smoke software For Mac OS X ®

Autodesk® Smoke® 2010 software for Mac OS® X, brings high-quality editorial finishing to your creative editorial and television broadcast workflow.

MediaSys FZ-LLC Dubai Media City Dubai, UAE Tel.: +971 4 3903069 Email: info@mediasysdubai.com www.mediasysdubai.com

MediaSys, your local Autodesk Partner has the complete system solutions backed by professional onsite installation and support services to meet your production needs.

Call us now on +971 4 3903069 to learn more or arrange for a personal demonstration.

Authorized Value Added Reseller

Autodesk and Smoke are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Mac OS is a trademark of Apple Inc., registered in the US and other countries.

All other brand names, product names, or trademarks belong to their respective holders. Autodesk reserves the right to alter product offerings and specifications at anytime without notice, and is not responsible for typographical or graphical errors that may appear in this document. © 2009 Autodesk, Inc. All rights reserved.

KITTED OUT ACTION FILMZ

NEW TRACKS This dolly track is my newest GFM toy and I hope to use it more although I do have Movie Tech and other brands. I’m sure this track will serve me well.

PANTHER DOLLY These dollies are not so popular here because of the British inuence of ďŹ lmmaking here. But there is a market for Indian productions as they love the Panther Dolly. It’s a very sophisticated dolly and I can buy them unlike most others in its class that can only be leased from the manufacturer. When I had to make a choice between owning one and leasing one, I chose the former. Leasing equipment brings with it a lot of challenges that I am not in a position to meet.

Four years ago, the DoP decided to venture into the rental business with just two lights. “I used to watch what other rental houses did not have and used to take my gear with me to shoots and rent them out as well,� says Dominic.

Today, he owns a rental house with a range of solutions including lighting and grips, which are his specialty.

As an Indian, Dominic has also sourced several solutions from his home country including a dimmer rack. �I have picked up a few things from the Indian market although the bulk of my kit is from Europe. In my opinion, we have a very well developed industry in India and I have been able to purchase some solutions that oer the same functionality and reliability as their European counterparts but for a fourth of the price,� explains Dominic.

Dominic, who often deals with the manufacturers directly is quick to add that the region sorely lacks good service centres. “We do not have well equipped local centres to service our equipment if they break down. You will notice that if rental houses have broken their lamps, they usually just let them waste away as there’s no one to repair them. With more rental houses and production happening here, it is crucial that local suppliers and resellers are well equipped not just to sell systems but also provide good after-sales support,� he adds.

3& 8LI WQEPPIWX PMKLXIWX QSWX GSR½KYVEFPI TSVXEFPI QMGVS[EZI W]WXIQ MR MXW GPEWW :-70-2/ LEW E VERKI SJ LMKL GETEGMX] TSVXEFPI ERH ½\IH QMGVS[EZI PMROW JSV ,( ERH 7( ZMHIS FVSEHGEWXMRK OB5000 and Strata are deployed at a moments notice in the most challenging environments. • SD and HD digital video/audio including built in multiplexer for up to 4 independent streams • COFDM (DVB-T) and SCM modulation • RF frequency bands supported between 2 GHz and 13 GHz • IP capability supporting E3/T1 10&100BaseT Ethernet • Capable of working with portable diversity receive systems for non line of sight applications 8LI (MKMXEP 1IHME )\TIVXW ¯ RI\X KIRIVEXMSR GSRXVMFYXMSR ERH HMWXVMFYXMSR W]WXIQW

'SRXEGX YW XSHE] XS KIX XLI JYPP TMGXYVI [[[ ZMWPMRO GSQ 8IP

www.digitalproductionme.com

FEBRUARY 2010 55

PRODUCTS CABSAT PREVIEW

CABSAT 2010 SONY BRINGS NXCAM TO MIDDLE EAST After showcasing a prototype of the NXCAM at its Power of Images event in December, Sony has now announced the availability of the first product in this range in the UAE. The HXR-NX5E, which employs AVCHD technology, promises end users a seamless production workflow.

The entry level file-based camcorder uses both Memory Stick Pro Duo recording media and an optional HXR-FMU128 128GB Flash Memory Unit to provide both professionals and semi professionals with hybrid recording capabilities. Both the HXR-NX5E and HXRFMU128 are now available across the UAE. The HXR-NX5E is the first camcorder from Sony to combine low-cost consumer memory cards with the latest AVCHD technology. Previously, AVCHD has only been widely adopted in the consumer camcorder market and with further developments in non-linear editing tools and IT products, Sony has now been able to create a professional offering designed to allow maximum versatility and cost-effective video production.

“There has been a high level of interest in NXCAM since our customers first experienced the HXR-NX5E prototype back in November,” commented Bill Drummond, senior product marketing manager of Sony Professional.

The HXR-NX5E comes with newly designed G Lens in combination with a 3 x 1/3-inch Exmor CMOS Sensor system that uses ClearVid array for low-light sensitivity. The HXR-NX5E can record 1920 x 1080 images at 24Mbps (50i or 25p), and also supports 720/50p and Stan-

dard Definition recording. The HXR-NX5E also features a GPS function which embeds GPS metadata when recording. Both the time and location can be displayed on playback allowing media assets to be organised efficiently using the content management software supplied with the camcorder.

WEB: www.pro.sony.eu TEL: +971 4 3918400

CANARE TO DEMO PANELS AT SHOW Japanese company Canare Electric Co. will introduce its pre-terminated HFO camera connector panels with built-in splice enclosure boxes to the Middle East at CABSAT. The connectors will enable easy and quick installation between HD camera systems and their corresponding terminal panel racks.

A key highlight will be the COP3-OM3, which includes six HFO camera receptacles with termination kit. Designed for HD camera broadcasting facilities, the solution works even when fusion splicing equipment is not available.

56 FEBRUARY 2010

WEB: www.canare.co.jp

TEL: +81 45 470 5674

www.digitalproductionme.com

PRODUCTS CABSAT PREVIEW

RIEDEL PANELS PROMISE MORE FOR LESS

Riedel Communications will showcase its new Artist 5000 series intercom control panels at this year’s CABSAT. The new Artist 5000 panel series is a cost-effective matrix intercom solution designed to meet the demands of all intercom markets. It provides the full functionality of Riedel’s digital matrix intercom panels at an unbeatable entry-price level.

The panels are available in two versions either with marker strips or with eight character,

58 FEBRUARY 2010

high-contrast LCD displays, which show the label for each talk key. The control panels with LCDdisplay are also equipped with a “shift”-page, essentially doubling up the number of keys to a total of 16. The universal enclosure makes the panel suitable for rack-mount, wall-mount and desktop operation. Connection to any Artist or Performer matrix is realized digitally via a standard AES3 signal on CAT-5 cable. In addition, this allows the user to route panels through any third

party digital audio device. The panels feature an integrated loudspeaker, a gooseneck microphone and LED indication for “shift”page mode, headset mode and microphone activation. Just like any Riedel Artist control panel, the Artist 5000 series is powered by an internal power-supply.

WEB: www.riedel.net TEL: +49 202 292 9517

www.digitalproductionme.com

PRODUCTS CABSAT PREVIEW

PIXEL POWER PROVIDES CLARITY AT CABSAT CABSAT will see the regional debut of Version 9 of the Clarity Graphics Software. This version has a multitude of new factures including sophisticated enhancements to its 3D capabilities with the ability to link complex materials to real-time scenes and data-driven elements and simplified workflow via intelligent templating and enhanced file-based workflows. A new GUI reduces onscreen clutter and this optimisation of workspace is a direct response to user feedback allowing easy access to all the new benefits, claims Pixel Power.

Also on show will be BrandMaster, making its regional debut. BrandMaster combines master control switching with channel branding to both raise graphics quality while lowering playout cost. By combining these two functions, Pixel Power says the playout chain will be significantly simplified as graphics can be inserted directly at the point of transmission. By combining functionality in a single device, the manufacturer has aimed to reduce the use of additional equipment, thereby reducing power and space consumption and lowering costs.

www.digitalproductionme.com

WEB: www.pixelpower.com

TEL: +44 1223 721000

FEBRUARY 2010 59

PRODUCTS CABSAT PREVIEW

AVT TO BRING MAGIC TO CABSAT 2010 AVT will present its new MAGIC TH6 Telephone Hybrid for the first time at CABSAT. The digital telephone hybrid MAGIC TH6 incorporates six POTS line interfaces, two analogue audio interfaces and four digital audio interfaces. As an option, MAGIC TH6 can run as a VoIP Telephone Hybrid using the LAN interface as line interface.

All six callers can be put on separate audio lines for the connection to the mixing console. An independent digital Echo Canceller, an Automatic Gain Control and an Expander are available for each caller line.

MAGIC TH6 can be controlled and con-

60 FEBRUARY 2010

figured via the front keypad and the graphical display as well as via a Windows PC Software.

In addition to six GPIO contacts, four relays and two RS232 interfaces can be used for system operation. The MAGIC TH6 Keypad allows an external control of the system.

AVT will also focus on its MAGIC SP2 5.1 to Stereo Downmix System. For the usage of increasingly widespread multi-channel sound at audio-visual media, compatibility with two channel stereo or mono sound formats is often required. With an automatic stereo downmix, this compatibility can be reached efficiently.

However, current methods often implicated

problems regarding the tone colour, space, sound volume and the reproduction.

A new downmix method from the “Institut für Rundfunktechnik” (IRT) in Germany avoids distracting effects or compensates them effectively.. MAGIC SP2 uses the IRT algorithm as key component. Additionally, the ITU-R BS.775 downmix standard is supported. The parameters are freely programmable. The system has a configurable delay element for the adjustment to different applications (e.g. for lip synchronisation at the TV).

WEB: www.avt-nbg.de TEL: +49 911 5271 141

www.digitalproductionme.com

PRODUCTS CABSAT PREVIEW

JVC ANNOUNCES 2D TO 3D CONVERTER

JVC has launched an Image Processor that works as a 2D-to-3D converter and as a 3D L/R mixer for video content producers. Housed in a 1U rack-mountable metal cabinet and compatible with a wide range of HD formats, the IF-2D3D1 image processor is designed to help 3D content producers improve their workflow, whether they are converting archived 2D material or shooting original content in 3D. Using JVC algorithms, the IF-2D3D1 converts 2D content to 3D in real time. It offers four 3D mixed formats that combine left-eye and right-eye images, for stereo video output on a compatible device: line-by-line, side-by-

side-half, above-below and checkerboard. The IF-2D3D1 can also output discrete left and right signals via HD-SDI or HDMI for dual projection or editing. Output can be adjusted for parallax and 3D intensity, both with natural, anaglyph and sequential viewing modes.

Generally, 3D footage is shot using a pair of video cameras but producers have not had a practical method of real-time monitoring on location. The IF-2D3D1 combines the left-eye and right-eye images. Nothing else is required except a 3D-capable monitor, such as JVC’s GD-463D10, a 46” 3D LCD panel. A built-in HD-SDI frame synchroniser provides sync for two cameras

that lack external sync, while anaglyph and sequential viewing modes provide multiple ways to check 3D content.

A number of additional features promise to ease content production further.

The Scope feature provides a waveform monitor and vectorscope for comparing both video streams on a display to ensure the settings for both cameras – such as exposure and white balance – are matched.

A “Split” feature combines the two video streams on one screen with a moveable boundary, allowing instant L/R comparison.

When one of the two cameras has to be positioned upside down, Rotation makes sure both streams can be viewed the right way up and in sync.

WEB: www.jvcpro.co.uk TEL: +971 4 8036210

Sound Foundations

T: +971 4 375 7668 E: enquire@deltasound.ae www.deltasound.ae

www.digitalproductionme.com

FEBRUARY 2010 61

PRODUCTS CABSAT PREVIEW

OMNIBUS’ ITX

AMT TO DEMO GLIDECAM X-22

OmniBus will be back at CABSAT with iTX Updates. The iTX is the next-generation, enterprise-class automated transmission suite that claims to deliver a superior return on investment compared with conventional broadcast automation, master control and playout systems. iTX combines all the functions of a conventional transmission chain in a single integrated suite of software applications and includes a comprehensive range of advanced media asset management features.

The new version offers more than 100 new features including enhancements for its graphics functionality and a powerful audio processing engine that delivers multi-stream PCM and AC3 capability.

WEB: www.omnibus.tv

WEB: www.amediallc.com

TEL: +44 8705 004 300

TEL: +971 4 352 9977

62 FEBRUARY 2010

The GLIDECAM X-22 professional camera stabilisation system is designed for film and video cameras weighing from 10 to 25 pounds. The system allows the user to walk, run, go up and down stairs, shoot from moving vehicles and travel over uneven terrain without any camera instability or shake. The complete X-22 system comprises a Support Arm, a Support Vest and a Support Sled.

The X-22 works by isolating the user’s body’s motion from the camera, while the camera is balanced in a relatively motionless and isolated state.

Two US-based trainers will be at local distributor, Advanced Media’s stand to demonstrate the Glidecam products. In this range, Advanced Media will also highlight the X-10 and the Smooth shooter with HD4000 and HD-2000 stabilisers.

www.digitalproductionme.com

PRODUCTS CABSAT PREVIEW

VECTOR 3 TO SHOWCASE VECTORBOX AT SHOW Graphics and playout solutions provider Vector 3 will showcase for the first time at CABSAT its Vector Multi-Play playout solution alongside the company’s flagship VectorBox systems. The new multitiered MultiPlay product portfolio offers broadcasters a unique distributed architecture for optimising multi-channel playout automation and redundancy.

The advanced controls in the new MultiPlay solution enable broadcasters to design smart redundant architectures that near eliminate mirroring through an innovative scan and assist technology that employs a 1 to many set up as opposed to 1 to 1. Vector’s MultiPlay’s product line is modular and includes a complete master control room, options for graphics and channel branding, and multi-channel ingest capabilities.

www.digitalproductionme.com

Developed on the VectorBox engineering principles, the breadth and depth of MultiPlay features are packaged into a well-designed and well-known Vector 3 style interface.

“The Vector MultiPlay product line has incorporated many cost efficiencies for broadcasters,” stated Roman Ceano, general manager of Vector 3. “Based on openstandards, the versatile MultiPlay products work with IT and Broadcast hardware components; but the true value is in the flexibility of the distributed architecture.”

The team will also be demonstrating the latest version of VectorBox with SD/HD Simulcasting. The cost-effective VectorBox all-in-one playout servers pair a robust master control room feature set with third generation channel branding that includes real time RSS & XML updates

and integrated effects. Considered one of the standard playout systems in the industry, VectorBox offers easy integration with new and existing third-party broadcast equipment.

The flexible VectorBox system offers scalability, redundancy, and compatibility to end users.

“The new VectorBox systems offer broadcasters a cost-effective and comprehensive playout automation solution on the market. The fully integrated “all-in-one” VectorBox systems serve to minimise cost and maximise productivity, while supreme performance features present an immeasurable workflow experience,” Ceano added.

WEB: www.vector3.tv TEL: +34 934 151 285

FEBRUARY 2010 63

DATA 3D GETS BOOST

D 3 TV GAINS GREATER ADV ANTAGE AMONG O C NSU MERS 3D success in cinema to drive the technology forward, analysts say.

HD and Blu-ray hardware adoption will rise in 2010 as the 3D roadmap becomes more clearly defined, claims UK-based analyst Futuresource Consulting.

“The quality of HD via Blu-ray disc (BD) is unparalleled, and for those viewers not convinced by the experience, 3D will offer a highly persuasive reason to upgrade,” says Jim Bottoms, director, Futuresource Consulting.

“The success of 3D in the cinema is giving the technology a major push in the home.

Our research shows that 3D-enabled BD players will be available in Q2 next year to support the major push on 3D TVs. Further interest will be driven by owners of PS3 consoles, which will be able to play ‘Blu-ray 3D’ content.

“At the beginning 2009, many were concerned that consumers may retain their SD equipment in the light of a tightening economic environment. However, consumers have continued to upgrade to HD, encouraged by falling prices, growing awareness and the fact that home entertainment represents good value for money in tough economic times. Factor in the impact of a definitive 3D platform, coupled with the consistent advertising and education this will bring and we’ll see the robustness of the

packaged media business continue to surprise the industry, with its lifespan prolonged for some time to come,” he adds.

Hollywood is releasing approximately 30 major 3D movie titles per annum, and it is believed that the numbers will double over the next 12 to 18 months. Titles like Bolt and Ice Age claim to have generated more than 50% of their theatrical revenues from the 3D version in the US. “With many 3D BD title releases planned from the middle of 2010, the industry’s eagerness to maximise the 3D in-home experience will go hand in hand with people’s desire to consume the content,” adds Bottoms.

Manufacturers are also promoting 3D-ready sets, Mike Fisher, convergence & new technologies consultant, Futuresource points out.

“There is expected to be a major US push on these devices early in 2010. These TVs are a prerequisite to consumer adoption in much the same way as HD-ready sets were used to seed the HD market five years ago.

3D chipsets can be embedded into next gen hardware at relatively low cost. Combine this with an integrated consumer awareness programme and a coherent ‘3D-Ready’ branding strategy, and there will be few obstacles to consumer adoption. Further, the determination of a number of leading hardware brands to carve an early position in the 3D TV and BD market will inevitably result in some attractive 3D bundling deals, which we have factored into our detailed 3D hardware and content forecasts,” he adds.

ITU MAPS OUT THE FUTURE OF 3D TV An International Telecommunications Union think tank has released a roadmap of the future of 3D TV, outlining three major stages of development to be implemented to 2030.

Study Group 6 of ITU’s Radiocommunication Sector (ITU-R) envisages systems so smart they accurately mimic the way our eyes and brains perceive the visual world.

The new roadmap would see 3D TV technology rolled out in three successive generations (technically known as profiles).

The first generation — 'plano-stereoscopic television' — calls for two views to be delivered to viewers’ TV sets. Wearing special glasses similar to those used to watch 3D cinema, viewers will be able to see depth in the picture, although the view will remain the same

64 FEBRUARY 2010

when they move their heads (in real life, our view changes when we move our heads).

The second generation will provide for multiple views, with head movement changing the view, for a viewing experience that more closely mimics real life.

The third generation will feature systems that record the amplitude, frequency, and phase of light waves, to reproduce almost completely human beings’ natural viewing environment. These highly advanced systems are technically some 15-20 years away.

"This new ITU report establishes a clear framework for the development of new types of systems that will totally change the way we experience broadcast and multimedia content," said Valery Timofeev, director of ITU’s Radiocom-

munication Bureau. "It maps out an exciting vision that won’t just change the look of entertainment, but open up a whole range of exciting new possibilities in sectors from education and healthcare to traffic management."

New 3D TV technologies being developed under the auspices of ITU will also have major implications for the film and television production sector, as content will need to be filmed using special new equipment in order for viewers to enjoy the full 3D experience.

Christoph Dosch, Chairman of ITU-R Study Group 6 said: "This is an important step forward on the road to globally-agreed ITU Recommendations on 3D TV. I’m optimistic that we’ll make further advances at our next meeting in April 2010."

www.digitalproductionme.com