TRAINING DAY Sharjah Uni students gain access to cutting-edge AV kit
THE SHOW GOES ON Major migration project post merger at OSN
CABSAT 2010 SPECIAL
REEL EFFECTS Saudi Arabia’s Knowledge Economic City brought to life by Real Image Productions
An ITP Business Publication 1 Licensed by Dubai Media City
Vol. 12 Issue 3 March 2010
MARCH 2010 VOLUME 12 ISSUE 03 CONTENTS
5
18
42
NEWS Jordanians team up for Internal production / DMI renews Harris contract / Hitachi opens office in Saudi Arabia / Martin shines in Lebanon / VFX goes wild with RED ONE
18
COVER STORY
26
ERTU TAKES CONTROL
30
REVIEWS
Saudi Arabia’s Knowledge Economic City was brought to life in a massive undertaking that included more than 300 people on set and 30 experts in post.
Egyptian broadcaster takes control of its news graphics and on-air branding.
Industry experts give us the lowdown on the Sony PMW 350 XDCAM EX and the new Smoke on MAC.
42 CASE STUDY - SHARJAH
The University of Sharjah - Women’s College invests in a multi-million dollar TV and radio facility for training purposes.
48 INDUSTRY FOCUS - RADIO
When TV advertising revenues took a dip last year, radio upgrades increased much to the delight of the suppliers.
54 SPECIAL REPORT
Creating graphics for a multi-format environment can be a challenge but it can be overcome, says James Gilbert.
72
61 POST PRODUCTION 72 KITTED OUT 77 TECH UPDATE 82 THE SHOW IS ON AT OSN
Industry pros share some of the secrets of 3D modelling.
We look at some of the key kit at Dubai-based Colonia Film.
Choosing the right codec is key to producing quality images.
82
90
Mike Whittaker shares the details of the technical changes undertaken at OSN since the merger.
90 94 112
www.digitalproductionme.com
TAJ TV GOES FUTURISTIC Dominic Baillie shares Taj TV’s plans for HD and beyond.
CABSAT 2010 The hottest products at the show
OPINION Eric Macinnes tells us that local content is the need of the hour.
MARCH 2010
1
COMMENT MARCH 2010
THE PATH TO HD MUST BE MORE WELL DEFINED As more broadcasters migrate to high definition (HD) calling it the future of broadcasting, there is a pressing need for all stakeholders to come together and decide on one HD standard rather than pursuing different standards. Should it be 720, 1080i, 1080p or something else? Manufacturers will continue to push for the newest technology claiming that it is the best. The question we need to ask ourselves is if the standard we choose within HD is solid and whether all parts of the chain are easily available and supported. The Arab HDTV Group, headed by Saudi Ministry of Culture and Information’s (MOCI) Assistant Deputy Minister for Engineering Dr. Riyadh Najm, has encouraged all broadcasters in the region to become members so that they can together discuss some of the common concerns in the Arab world with regards to the adoption of one common HD standard. An increasing number of broadcasters have seen the benefit of convening together for the Group’s annual meetings to discuss a common path for moving forward. It is a good thing that HD will continue to be the focus at CABSAT this year although most other international shows will have moved on to 3D. As a region that is still grappling with the fundamental issues of HD, it is ideal that we address these concerns first. HD is, therefore, an appropriate choice for discussion at this CABSAT. Having said that, we also need to question if HD should be looked at as a goal as most
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 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
broadcasters are doing at the moment or if they should adopt an approach that allows them to always build on the technology they have invested in rather than pursuing new formats as they are introduced into the industry. Orbit Showtime Network (OSN) is a fine example of a broadcaster that has understood the challenges of adopting HD before taking it on. We are delighted to see how it has stood at the forefront of the HD revolution and brought high-quality images and Dolby sound to our screens. We are, however, equally impressed with the “format-agnostic” approach that Taj TV is pursuing. Adopting HD is not without its challenges. CABSAT will be the ideal platform to discuss some of our concerns and learn from our peers. See you at the show!
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 Art Editor Simon Cobon, Nadia Puma Design Lucy McMurray, Angela Ravi 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 Production Coordinator Matthew Grant Managing Picture Editor Patrick Littlejohn Image Editor 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 discovers how architectural concepts are brought to life on screen at Real Image Productions. Read the full story on page 18.
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)
TTo subscribe b ib please l visit: www.itp.com/subscriptions 2 MARCH 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
NEWS REGIONAL UPDATE
JORDANIANS TEAM UP FOR INTERNAL PRODUCTION
IN BRIEF AL JAZEERA TO BROADCAST WORLD CUP 2010 IN 3D
Left: Jordanian actress Saba Mubarak and right, the crew on the set of Internal, a local production undertaken by young filmmakers with the support of the Royal Film Commission.
A group of up-and-coming Jordanian filmmakers teamed up to produce a film titled Internal following a series of workshops run by the Royal Film Commission (RFC) to simulate actual studio collaboration between writers, directors and producers. Internal traces the story of a 36-year-old Jordanian woman who struggles to come to terms with her homeland Jordan after a long stay in the US. Produced with a small budget of US $17,000, the film was scripted, directed and produced by Jordanians. A number of well-known Jordanian actors including Saba Moubarak, Shafiqa Al Tal, Mohammed Al Qabbani and Ashraf Farah starred in the film while several members of the Red Sea Institute for Cinematic Arts (RSICA) joined as crew for the film. George David, general manager of RFC, stated that the organisation spares no effort to provide
maximum support for all productions in the country. RFC provided equipment and helped secure permits and facilities for the film. RFC has reason to be proud. Some of the films shot in the country are competing closely with James Cameron’s Avatar in this year’s Oscars race. The Hurt Locker, an American film directed by Cameron’s ex-wife Kathryn Bigelow and shot mainly in Jordan in 2007, has been nominated for nine Oscars at the 82nd Annual Academy Awards. Bigelow endorsed Jordan as an excellent location stating that she “would support anybody’s decision to go there (Jordan)”. Likewise, Transformers: Revenge of the Fallen, which was shot partly in Jordan in 2008, has also been nominated for one Oscar at the Academy Awards.
Al Jazeera Sport will broadcast the World Cup in South Africa in 3D from June 11 to July 11 in conjunction with FIFA.The network is in the process of building two 3G (3Gbps) studios that are designed to facilitate better transmission of HD 1080p and 3D signals. Subscribers will have to pay an extra charge on their existing subscriptions to view the channels in 3D, according to Khalifi Bin Nasser Al Ghanim, director general of Al JJazeera Sport. The 2010 World Cup will also be broadcast by Al Jazeera Sport in HD via satellite. Al Jazeera Sport has been one of the most profitable divisions of Al Jazeera Network and recently made several technical and business investments. It recently purchased the rights to several premium sports broadcasts from ART. It is also in the process of building a brand new studio facility in addition to a 3G facility. The first of the 3G studios is scheduled to be completed by mid February while the second is scheduled for completion at the end of March.
MOROCCAN STATE BROADCASTER DEPLOYS RIEDEL SYSTEMS Moroccan public broadcast network 2M has installed a Riedel Artist digital matrix intercom solution to replace its previous system. The new system integrates 16 regional 2M broadcast studios via IP into the broadcaster’s communications infrastructure. At the heart of the installation are two Riedel Artist 128 mainframes connected via a redundant dual fibre ring offering up to 1,024x1,024 non-blocking ports. The frames are equipped with redundant power supplies, AIO connections and VoIP client cards.
www.digitalproductionme.com
67 Artist 2000 series and 23 Artist 3000 series control panels are used at the studio in Casablanca and the 16 regional studios. 2M uses 17 Riedel Connect IP interfaces to integrate the remote control panels of the regional studios. The Connect IP units allow for matrix-tomatrix connections and matrix-to-control panel links as well as the distribution of audio lines over IP. The interface converts one AES3 stream into compressed IP data and vice versa, thus integrating the whole installation. Sanae Benlhabib, chief technician at M2 said
that Connect IP ”adds a lot of flexibility to our daily workflow”. “The ability to directly integrate all our regional studios will be a large step forward in how we manage our broadcast operation. Artist is the perfect solution for our demands; plus the installation was very easy as well. The support we got from Riedel’s engineers was excellent,” he stated. Riedel RiFaces are used to integrate mobile radios into the intercom system. Medium weight single and double ear PRO headsets completed the order.
MARCH 2010 5
NEWS REGIONAL UPDATE
IN BRIEF QATARI CASH SET TO FLOW THROUGH TREASURE ISLAND An unnamed Qatari film producer is in talks to finance a $150m movie trilogy based on the children’s classic Treasure Island. The three-film project already has a script and a director attached. Filming is scheduled to begin in November this year and casting is underway, with Robert Downey Jr – star of the blockbusters Iron Man and Sherlock Holmes - top of the filmmakers’ wish list to play villain Long John Silver. “We have somebody in Qatar at the moment who is a very experienced producer of multi-million dollar pictures and we are involved in setting up a franchise based on Treasure Island, which would be a key picture deal,” said Douglas Rae, managing director and executive producer of Ecosse Films. Ecosse, a UK-based independent film producer, is searching for a partner to finance the adaptation of Robert Louis Stevenson’s classic tale. The company is behind a string of critical and commercial successes, including Mrs Brown, starring Judy Dench, Charlotte Gray, with Cate Blanchett, and Jane Austin biopic Becoming Jane, with Anne Hathaway and James McAvoy. Rae said the Middle East was becoming well known as a lucrative source of film funding in international markets. “We are trying to establish a relationship with film funds which are increasingly being generated out of the Middle East,” he added. California-based William Morris Endeavor already has an independent division and currently represents a number of funds from Saudi Arabia, Qatar and Dubai, which are interested in financing film projects. WME also represents Ecosse.
HITACHI STRENGTHENS ARAB TIES WITH KSA OFFICE Hitachi Kokusai Europe Limited launched an office in Riyadh, Saudi Arabia last month. The new office is currently based at the Intercontinental Hotel in Riyadh and manned by four staff. “The aim of launching this office is to continue our company’s excellent relationships with the government and corporations in the Kingdom and to help further our contribution to the growth of Saudi infrastructure,” commented Paddy Roache, director and general manager of Hitachi Kokusai Europe Ltd. “The office is also a sign of the commitment I made in the Kingdom three years ago. At that time, I committed to increasing the support from Hitachi for all of our products, particularly broadcasting. This is just the beginning of our expansion in the Middle East.”
The opening ceremony was held at the Japanese Embassy in Riyadh and was attended by several senior Saudi government representatives and heads of Japanese Corporations. The manufacturer operates through its local distributor First Gulf Company (FGC). “In the last couple of years, we have sold more than 100 HD camera chains to FGC and we will be celebrating this success at CABSAT. In the last year, we also supplied several cameras to ERTU for three of their OB van and SD studio upgrades. In addition, 30 of our SK900 cameras were used to provide the key broadcasts from the FIFA World Cup that were staged in Egypt in 2009,” he added. Hitachi will seal three more strategic partnerships in Oman, Bahrain and Qatar at CABSAT 2010.
Left: Paddy Roache, GM of Hitachi UK with Sawa, VP of Global Sales, Hitachi Kokusai Japan Inc.
Left: Dr. Riyadh K. Najm, assistant deputy minister for engineering, MOCI, Saudi Arabia with H.E Mr. Endo, the ambassador of Japan to Saudi Arabia as Naim Saidi of FGC looks on.
SONY GETS AHEAD OF THE GAME WITH 3D Sony brought its 3D technology roadshow to Dubai last month showcasing its future strategy for interlinked 3D presentation products ranging from televisions and notebook PCs to professional solutions. Andy Hotten, chief engineer at Sony Professional Services, who was also at the launch commented that the manufacturer was releasing several devices to make the production of 3D easier. “One specific development for 3D is a 3D processing product. This fits between the cameras and the Vision Mixer in the video chain. It takes the feeds from both the right and the left
cameras and corrects the images to ensure that the images are in alignment and the colours are correctly matched. Essentially, it will correct the colour discrepancies and electronically compensate for any problems in these images. Sony will have a big focus on 3D at NAB this year.
Andy Hotten .
6 MARCH 2010
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
100013_JC_205x275_GB.indd 1
26.01.2010 12:39:42 Uhr
NEWS REGIONAL UPDATE
IN BRIEF
MARTIN SHINES THROUGH ON THE MTV LEBANON SET
SAUDI MOCI AWARDS FIRST PRIVATE FM RADIO LICENCE The Saudi Ministry of Culture and Information (MOCI) has granted the country’s first private FM radio broadcasting licence to Alf Alf, which paid US$20 million for the privilege. The radio broadcaster beat 10 shortlisted rivals to secure the licence, including Prince Alwaleed’s Rotana AV, pan-Arab network ART and Saudi Specialised Publishing Company (SSPC). Under the terms of the deal, Alf Alf’s new service must cover 30 regional centres across Saudi Arabia, with 15 mandated by the Saudi MOCI. The ministry has said it will issue four more licenses in the next two months. “The short-listed companies and other qualified companies can make their bids to win one of the remaining four licences,” said Saudi Culture and Information Minister Abdul Aziz Khoja in an interview with Arab News. Khoja added that the MOCI’s mandatory licencing regime for satellite television service operators based in the Kingdom was also now operational. “From now on, no Saudi channel can appear without the license of the MOCI,” he clarified.
Lebanese production house Studiovision purchased several MAC 700s from Martin Professional recently to light up the MTV Lebanon set. Speaking about his reasons for purchasing the MAC 700s, Studiovision’s chairman and CEO, Michel El Murr said: “The Studiovision complex is by far the most comprehensive television compound in Lebanon in terms of production capacity and equipment, and the most sophisticated in the Middle East in terms of qualified personnel. “We like the MAC 700 fixtures because of its silent operation and compact and modular design. It is a powerful fixture with considerable light output and good optical precision.”
The MTV sets in Lebano n.
Studiovision occupies more than 30,000 m2 of space in three locations. At the heart of the multiplex are 16 studios fitted with state-of-the-art equipment ranging from sophisticated lighting systems to high-tech audio solutions.
DUBAI MEDIA INC. RENEWS CONTRACT WITH HARRIS FOR NEXT FIVE YEARS Dubai Media Incorporated (DMI) has renewed its Harris Broadcast Master sales and scheduling software licence for the next five years. As part of the renewal, DMI will upgrade to version 8 of the Broadcast Master software, which offers additional featuress to support the company’s Hassan Chahine. future growth and transition towards a file-based workflow. “We have been using Broadcast Master for five years, and it provides the perfect sales and
8 MARCH 2010
scheduling solution with sc which to create a unified w workflow,” commented w Hassan Chahine, chief Ha technology officer at te DMI. D “Upgrading to the new ne version of the software w future-proofs our investment in light of the in major digital transformam tion ti we are undertaking example, Broadcast Master at our facility. For examp version 8 enables the transmission of BXF data amongst core components of our system.”
DMI also uses other Harris broadcast solutions at its facility, including D-Series automation. Technical support and consultancy are being provided to DMI as part of the Broadcast Master contract renewal and software upgrade. Richard Scott, vice president of Europe, the Middle East and Africa operations, Harris Broadcast Communications called the five-year contract renewal “a major win for Harris in the Middle East” and stated that “DMI is the fourth client in the Middle East to upgrade to version 8 of Broadcast Master in a short space of time”.
www.digitalproductionme.com
Introducing the world’s largest affordable SD, HD and 3 Gb/s SDI router! Eliminate complicated manual video patching forever! Broadcast Videohub is a powerful broadcast grade routing switcher featuring a massive 72 inputs, 144 outputs, 72 deck control ports, auto switching SD, HD, and 3 Gb/s SDI, in a compact rack mount chassis only a few inches thick.
World’s Highest Quality
Industrial Strength Routing Switcher
Network Router Control
With 72 inputs and 144 outputs, Broadcast Videohub has enough SDI connections for 72 edit systems or decks. With twice as many SDI outputs, each user can have a completely independent SDI output for monitoring. This means you can monitor direct from any equipment in your building without effecting routing! 72 deck control ports are also included for a complete routing solution.
Broadcast Videohub uses software control panels that run on Windows™ and Mac OS X™ for “routing control” right from your editing system desktop! Broadcast Videohub connects to any computer via USB and is then shared over your local network. Router labels can be changed from any computer and are fully unicode compatible for foreign language support.
With exciting new 3 Gb/s SDI connections built in, Broadcast Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature film editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K in 4:4:4 or 4:2:2 all with a single BNC cable.
Simultaneous SD, HD or 3 Gb/s Video Broadcast Videohub handles mixed SD, HD and 3 Gb/s SDI connections all on the same router at the same time. Broadcast Videohub detects when an input changes, and automatically sets all the outputs connected, to match the changed input. SDI re-clocking and output SDI slew rates will also change automatically.
Broadcast Videohub
US$14,995 Learn more today at www.blackmagic-design.com
NEWS REGIONAL UPDATE
IN BRIEF INTEGRATED SYSTEMS WINS ERTU CONTRACTS IN EGYPT Integrated Systems recently undertook a major upgrade at Egyptian Radio and Television Union’s (ERTU) playout centre to enable the broadcast of two additional satellite channels from its facility. Two NEXIO AMP 3601 HDX video servers with external RAID storage and a Harris 6800+ audio and video processor were deployed at the facility as part of this project. Commissioning is in progress at the moment. The SI will also execute a second project at ERTU to enhance its ingest, playout and storage capabilities. Besides this, the SI, which represents Harris, Ikegami and Vinten in the country undertook six other contracts for ERTU last year to upgrade its national studios.
VFX GOES WILD WITH THE RED FOR DOCO FEATURES Dubai-based production house VFX Films returned to filming wildlife documentaries last year in the UAE after a long stint producing TVCs for the real estate industry. The docos were shot in Abu Dhabi and Ras Al Khaimah with the RED ONE and two Sony HD cameras. “We did a lot of underwater shoots with the RED ONE and also acquired underwater housing for the same,” commented Yusuf Thakur, CEO of VFX Films. “Besides this, we also used a huge arsenal of equipuip-
ment such as a 19-foot Jib arm, curved and straight dolly, more than 10 different lenses from 8mm to 1000mm, long range sound equipment and so on,” he added. Lugging the RED kit and the jib arm along with camping equipment and food over several kilometres through a mountainous terrain was a huge challenge and the team had to make two trips to get the gear to each location, Thakur claims. Yusuf Thakur and a team memb er with the RED
on a Microli ght.
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 MARCH 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
? ?$3 HITACHI FINAL PDF 0-
#
-
9
#-
-9
#9
#-9
+
NEWS REGIONAL UPDATE
MOVERS & SHAKERS UBMS Reza Mehdizadeh has resigned from United Broadcast & Media Solutions. Mehdizadeh, who helped secure several major contracts during his tenure at UBMS, will be at CABSAT although he declined to comment on his plans for the future.
www.digitalproductionme.com
MIRANDA TECHNOLOGIES Hany Bartella has been promoted to general manager at Miranda Technologies’ Dubai office. Bartella joined Miranda in March 2007 as its Middle Eastt sales manager and operated thee Dubai office alone. In his new role, le, Bartella will be expected to grow w Miranda’s operations further in the Middle East. East Miranda is also looking to expand its staff in the region.
VVOLICON VVolicon has appointed Paul Dubery aas the company’s director of EMEA bbusiness development. Dubery bringss more than a decade of experience in m the EMEA market to his new role, in th which he will lead the further developw pment of Volicon’s EMEA strategic-chanm nnnel relationships and sales activities. DDubery is based at Volicon’s newest European office in the U.K.
BLACKMAGIC DESIGN Tim Siddons has joined Blackmagic Design Inc. as its EMEA sales manager from March 1. Siddons will be responsible for sales, business development, customer service and field support for the company in Europe, Middle East and Africa. Working with distributors and resellers across 87 countries. Tim is a long-time post and broadcast industry veteran with wide sales experience.
HARRIS P. Harris Morris has been named the new president of Harris’ Broadcast Communications business. Morris previously served as vice president and general manager at the company’s Media and Workflow area of the Broadcast Communications business.
MARCH 2010 13
a
e dps ad e
0
5C
S
ase
ayou
/0 / 0 0
3
age
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
See us at CABSAT • Stand ZG-1 • Zabeel Hall • 2 - 4 March 2010 Dubai International Convention and Exhibition Centre
Products. Technology. Services. Delivered Globally.
Your one source for all your Broadcast and Entertainment Product and Service needs
VOX POP DIFF ‘09
WHAT DO YOU HOPE TO GAIN FROM CABSAT THIS YEAR? After a challenging 2009, the Middle East market now looks forward to a positive year for the broadcast and satellite industry. CABSAT is a vital show for me. All the prime vendors that are important to us converge on this one venue. Besides this, several new companies will also try different marketing strategies to gain more visibility at the event. CABSAT gives us plenty of opportunities for productive networking and schmoozing with prospective clients. It’s literally a one-stop, non-stop conference. Personally I expect to learn about the developments that are shaping the industry, interact with the latest technology and do business in this professional and supportive environment. This year, we look forward to seeing emerging technologies for IPTV & Mobile TV; ex experiencing further developments on Stereo 3D and HDTV 10 1080P(3G); and solid-proofing the creation, management and ddelivery of content in a file based workflow. We’ve had a fairly successful year with projects undertaken fo for Al Rayan, Al Dawri and Al Kass, Syrian TV, Dubai TV, AL Jazeera NNetwork, Etisalat and the American University of Dubai. SSami El Shafai executive director, Salam Media Cast
CABSAT is the key tradeshow for Riedel Communications in the Middle East, Africa and South Asia region as these are some of the fastest growing regions worldwide. Therefore, CABSAT is first choice for us to present our new fibre-based signal distribution network technology MediorNet in the Middle East markets. We look forward to the developments and innovative projects that will be realised with MediorNet in the Arab world owing to its groundbreaking approach. Andreas Hilmer director of marketing & communications, Riedel
16 MARCH 2010
The Middle East continues to prove a very strong market for Argosy and our infrastructure equipment has been implemented in various broadcast projects around the region. Our presence at CABSAT is important as it allows us to support our Dubai office and have face-to-face contact with our customers and new partners in the region to drive future business opportunities. AArgosy has one of the broadest portfolios of HD infrast structure products on the market today and our aim is to continue to support the ever-changing needs of our cu customers as they move to digitise their facilities and m migrate towards HD while simultaneously striving to aachieve improved workflow efficiencies, connectivity aand return on investment. Mike Purnell director at Argosy
FilmLight is exhibiting for the second year at CABSAT. This year, we’re exhibiting in conjunction with our Egyptian reseller – Media Wheels. Our expectations are threefold: We hope to meet key decision makers from the region’s main broadcasters and post production companies; have them understand the significant production value colour grading adds to commercials/drama/film and help them appreciate why FilmLight has just been awarded four technical Oscars covering scanning, colour grading and colour management. FilmLight is a relative newcomer to the Middle East region, so the main reason for attending CABSAT is to educate attendees about who we are, and why we’re different. We look forward to a busy show! Mike Grieve sales director, Filmlight
www.digitalproductionme.com
e Le
in
g
le
d an 1 St A-2 Z
10 idd 20 the M ch for ar nt M Ev e 4 ia 2- Med
ad
at us sit Vi
Th
Leaders in Turnkey Projects
Ea st ,A
fri ca & So ut h As ia
Broadcast • Audio • Video • Lighting
Contact us: P.O. Box 93, Dubai, U.A.E. Tel: +971 4 2821337, Fax: +971 4 2822617 P.O. Box 35807, Abu Dhabi, U.A.E. Tel: +971 2 6217043, Fax: +971 2 6217042 E-mail: info@oasisppd.com Website: www.oasisppd.com Sound & Stage Awards 2009 Lighting Installation Project of the Year
Industry Leadership Awards 2005 ETC- DISTRIBUTOR OF THE YEAR 2008 Dimming Systems Turnover by Population
AWARD WINNER
Oasis Enterprises Lighting Installation of the Year
COVER STORY SAUDI KEC PROJECT
BRINGING CITIES TO LIFE ON SCREEN Saudi Arabia’s Knowledge Economic City was brought to life in Dubai by Real Image Productions in a massive undertaking that included more than 300 people on set and 30 experts in post. Vijaya Cherian reports.
Most production houses would lug their crew and kit to Manhattan if they wanted to show the city — albeit briefly — in a TVC and a client’s budget would immediately shoot through the roof. Dubai-based Real Image Productions, however, claims to do things differently as it has done all too often in the past. Housed in a building in BurDubai, the Real Image Productions team is well known for creating whole cities at its desktop with the viewer not know-
18 MARCH 2010
www.digitalproductionme.com
COVER STORY SAUDI KEC PROJECT
The city of KEC was brought to life at Real Image Productions.
ing the difference. It is this unique ability that helped the company win an unusually highbudget project recently to design and create a ten-minute video for Saudi Arabia’s Knowledge Economic City (KEC). KEC is a futuristic undertaking by the Kingdom of Saudi Arabia that will include a smart city unlike any in the Middle East. Designs are in place to build an entire ecosystem that will include academic organisations, residential and commercial centres, shopping malls as well as parks, roads and the infrastructure necessary to sustain a ‘futuristic’ city. However, this vision needed to be translated onto the screen so that Saudi Arabia could share its concept with others and it’s Dubai-based agency Saracen chose Real Image Productions for the job.
Although the company has previously been associated strongly with post production, Real Image has worked hard in recent times with a re-branding exercise as well as several projects to shake off that perception by insisting that it also excels in production. However, it also concedes that the main reason for winning this job is the magic its team of architects, special effects staff and Maya specialists often recreate at their tables in
Dubai. Interestingly, the entire footage was shot in the emirate of Dubai. Aiham Ajib, creative director and managing partner of Real Image Productions justifies the choice of locale. “We didn’t shoot in Saudi Arabia because we were trying to recreate a city that does not exist at the moment. It would have been a logistical nightmare as the Kingdom does not have the right shopping centres or related infrastructure to match the concept. Dubai, by comparison, has it all whether it’s a modern-looking shopping mall, supermarkets, an ultra urban landscape… you name it, Dubai has it,” he explains. Besides the main cast, handling 160 extras and the crew for eight days of the shoot also was much easier in Dubai, says Ajib. The project itself made huge demands both from the production and post production teams, according to Ajib. For one, as the project was for a client in Saudi Arabia, it was important that they found cast who had the “right look”. Besides this, dressing up more than 160 extras for eight days of the shoot and securing permissions to shoot in shopping malls,
When we are offered a post production job from a production house, we spend half the time correcting their mistakes... Knowing what works and what does not in post, we are easily able to avoid these mistakes in production — Aiham Ajib, creative director, Real Image Productions
The Real Image team successfully transforms the green backdrop to a dynamic environment.
www.digitalproductionme.com
MARCH 2010 19
COVER STORY SAUDI KEC PROJECT
hypermarkets and hotels turned out to be both challenging and expensive. “Most shopping malls and hypermarkets seem to be increasingly uncomfortable about crew shooting inside their facilities. One hypermarket gave us only half an hour to shoot in their premise as they did not want their shoppers to be disturbed. In one case, a hotel charged an unbelievably huge fee for shooting at its locale. But we needed a place that people could not easily recognise and this hotel fit the bill. We also shot in Zayed University, in a school and a hospital besides other places. It’s easier to do all of this in Dubai,” explains Ajib. Real Image’s specialty has often been filming people against a green screen and recreating the rest of it in post. This project again saw the company do this on a much larger scale. “On an average day, we’d have around 300 people on set. We required a huge chroma studio to shoot. Proaction Mediaa
Services has a studio in International Media Production Zone (IMPZ) that we used,” eexplains Ajib. Real Image has a smaller studio at its faciliity in Dubai, where close-ups and smaller sshots were filmed. While the company has its own in-house production crew including it
This one shot of horses flying in a hologramic style through an interactive museum required the team to model the horses, animate them and make their movement look real.
Big intercom in a sma all 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
20 MARCH 2010
Innovating the future of global communications
www.digitalproductionme.com
visit us at cabsat zabeel hall stand ZA-1
COVER STORY SAUDI KEC PROJECT
producers, assistant producers, cameramen and so on, this project also demanded other specialised skills. As a result, a DoP and director from Australia joined the project. “We have our own production crew. However, the nature of the job demanded certain special skills and our director Kent Allen was someone who had also worked as a technical director on films like Lord of the Rings and King Kong. He was perfect for the job,” says Ajib. Real Image also boasts its own Sony HD 900 and the Panasonic HD Varicam cameras although other specialised production equipment such as the Technocrane, Steadicam and so on were mainly rented from Proaction. One hundred and ten rolls of 35 mm film were used in the course of this project, and processed at the Kodak Cinelabs in Dubai. Once the production was complete, Real Image’s team of architects, special effects experts, Maya specialists and compositors came together to bring the whole city to life. “We spent two months in post and our entire post production team, which is a 30-man army,
On location with the team at the Proaction studio in International Media Production Zone.
worked on this project alone,” explains Ajib. While the whole city is based on CAD drawings and designs from KEC, the gaps were filled in by Real Image’s architects in close collaboration with the developer. “We had to create the whole city and two teams worked on this – the architectural team and the special effects team. Four of our architects handled the master plan and the camera overview of the city and the buildings. They did everything from designing to modelling to texture lighting and creating the final output. The special effects team, on the other hand, worked closely with our Maya experts
to handle other parts of the project including the close-ups and the interior shots. There was one instance where horses were flying in a hologramic style through an interactive museum. It’s only one shot but you have to model horses, animate them and make their movement look real. Likewise, there were several other shots of the cards and the museum that required equal attention to detail. Once each shot was complete, the compositors would then work on them. With only three months to do this job, it was clearly a race against time,” explains Ajib.
Visit us at Stand ZA-21, Zabeel Hall 2-4 March 2010
London, UK Tel +44 (0)20 8896 1000
22 MARCH 2010
Rome, IT Tel +39 (06) 32 111 683
Holzkirchen, DE Tel +49 (80 24) 47 00-0
www.etcconnect.com
www.digitalproductionme.com
COVER STORY SAUDI KEC PROJECT
While this project was hugely demanding, it quickly elevated Real Image’s status in the industry as an even better post production house than before. More importantly, it also gave greater credibility to the company as a production house. “This project was literally 10 jobs in one but
it was very unique in that it pushed our own capabilities. Everyone who has seen the project so far has asked exactly the same question – ‘this was done in Dubai’? That is a matter of pride not just for us but for the emirate as a whole,” explains Ajib. Although Real Image is specialised in post,
More than 30 people from Real Image Productions including architects, Maya specialists and special effects experts worked on the KEC project exclusively for two months.
Ajib has several valid points on why a post house could also make good productions. “When we are offered a post production job from a production house, we spend half the time correcting their mistakes,” he explains. “However, knowing what works and what does not in post, we are easily able to avoid these mistakes in production. Sometimes, a director will say, ‘It’s not working, let them sort it out in post’. But there are some things you just cannot do in post. “For instance, we had a job recently where we had to replace a blue man with a monster. We spent half the time erasing the blue person. In some cases, the blue man was interacting with other characters and it was impossible to erase him and we couldn’t use that shot. It would have been better not to have the blue man in the first place. “We could have just created the monster in post and let it interact with the other characters. This knowledge and experience makes us a much better production company as we don’t waste time making those mistakes. You
Visit us at Stand ZA-21, Zabeel Hall 2-4 March 2010
See Fire and Ice and other great ETC products at CABSAT Dubai UAE, 2-4 March, Zabeel Hall, Stand ZA-21
Contact us: P.O. Box 93, Dubai, U.A.E. Tel: +971 4 2821337, Fax: +971 4 2822617 P.O. Box 35807, Abu Dhabi, U.A.E. Tel: +971 2 6217043, Fax: +971 2 6217042 E-mail: info@oasisppd.com Website: www.oasisppd.com
www.digitalproductionme.com
MARCH 2010 23
COVER STORY SAUDI KEC PROJECT
need to know how to do each shot and what can be corrected in post,” he says. Another constant challenge is light matching, according to Ajib. “Of course, this is often resolved if the director is well versed with the post production side or has someone from post who can tell him what works or what does not,” he adds. Having said that Real Image’s tools of the trade are mainly Maya, 3ds Max, Fusion, After Effects and the Quantel EQ “We are often asked why we don’t use Flame. But if you have only one Flame and one Flame artist and 80 shots to work on, I don’t think it’s an efficient way to get the whole job done. We prefer to composite on Fusion and After Effects, and finalise everything on the EQ. It’s more time efficient and on projects like this one, time was of essence,” Ajib says. According to the creative director, time management has been one key reason Real Image has always met its deadlines.
24 MARCH 2010
“We break down the shots, and then further break it down to each frame. I assign each job to each person and decide which shot must be done on which software. I do this purely based on experience and knowing each person’s capacity,” he explains. “Each job goes into the pipeline. We make sure that when one job is completed and goes to the next person, the latter is not stuck doing something else. Sometimes we err but by and large, we have an effective mechanism in place. We are also careful to ensure that people invest their time well in the company and that they can also maintain their personal lives. This is often a concern in this job so we have tried to address this,” adds Ajib. With a team of more than 42 people, of which 30 work in post production, it would not be inaccurate to call Real Image Productions one of the largest production and post facilities in Dubai. Although the company began work in animation several years ago, it has relegated it to the background because
of its inability to compete with Egypt, Syria or India on cost grounds. “We also don’t have a market here that appreciates high-quality animation,” explains Ajib. In the meantime, the KEC project has already won Real Image several accolades and jobs are pouring in from international clients. “It’s not easy to sit at your desktop and create Manhattan,” Ajib is quick to add. “The video looks right because it has been done right. The flexibility we offer, the amount of working hours we can put on a job at a time because of the number of people we have and the know-how, knowledge and experience we have in post production gives us a huge advantage and that, has reflected in this production. Although this project itself had a remarkable budget, we were able to do this work to the budget only because it was executed in Dubai. If you had to outsource even a portion of this work to international companies or shoot outside, the client’s budget would have tripled instantly,” explains the creative director.
www.digitalproductionme.com
KIT digital at CABSAT 2010 Zabel Hall, Stand ZM-13A
Meet the global leader in video delivery to the three screens: Mobile, TV, Computer
KIT digital igital gital wil will be exhibiting at CABSAT March 2-4. Come e to the th h stand and experience the power of our suite of products: ex e ucts: cts: cts: VX-one IP-video management software Over 20 years of proven experience in broadcast & system integration services Best-in-class mobile video applications KIT digital serves over 600 clients in 38 countries including Disney-ABC, AP, IMG, News Corporation, Google and Telefonica KIT digital staff will be providing the ďŹ rst demonstrations of the new VX-one IP-video management platform, along with a detailed look at some of our most interesting broadcast and integration services projects. VISIT THE STAND FOR A CHANCE TO WIN AN IPAD
CASE STUDY ERTU, EGYPT
ERTU TAKES CONTROL The Egyptian Radio and Television Union recently undertook an installation designed to provide complete control of its news graphics and on-air branding. Digital Studio reports. Walking into the Egyptian Radio and Television Union (ERTU) facility in Cairo is an experience most first time visitors are not likely to forget in a hurry. It is believed that the ERTU headquarters – a mammoth circular building with 27 storeys – houses around 25,000 employees. The legendary state broadcaster presently broadcasts close to 35 channels and has several operations across the whole of Egypt. ERTU has invested in several projects of late including SD OB vans, installations to cover the World Cup, and also upgrading its playout and transmission facilities. One project that was recently concluded is particularly significant as the Egyptian broadcaster not only undertook a HD installation for one of its studios but also invested heavily to ensure that it would, henceforth, have full control of its news graphics. 26 MARCH 2010
The latter is especially important as until fairly recently, such control was not possible. At most broadcasters’ facilities, the design, creation and on-screen execution of news graphics has frequently involved extensive programming and scripting. Therefore, it has often been thought to be quicker and easier to outsource the work to a specialist third-party graphics supplier. ERTU, like many large broadcasters, had ad also been outsourcing its news graphics for many years. However, early last year, the broadcaster became increasingly frustrated with this process, and sought to turn graphics around quicker in its news environment. Recently, when ERTU completed the build of its news studio, Studio 11, it also decided to deploy a brand new on-air graphics system for its news department. nt. The broadcaster took full advantage
of multiple advanced technologies, including Miranda’s MOS compliant Vertigo Xmedia Suite graphics automation, which easily interfaces with ENPS newsroom systems. This new system enables ERTU operators and journalists to take complete control of their news graphics and on-air branding. ERTU also introduced more efficient
www.digitalproductionme.com
CASE STUDY ERTU, EGYPT
Above, the Studio 11 control room and right, the Central Apparatus Room at ERTU.
signal processing and monitoring system as part of this project. “It’s wonderful to now be completely independent with regards to our news graphics,” a senior official at ERTU, who did not want to be named, told Digital Studio. “We’ve cut our graphics out-sourcing completely, and our processes are now so much more efficient. Prior to the new system, it used to take a huge amount of man hours to get a new graphic on-screen - from ordering, to designing, to uploading. Now, it just takes seconds. The system has simplified any last minute changes to the run-down by allowing our journalists and producers to quickly create graphics within the newsroom itself. The system has also improved the consistency of our graphics, and the quality of our branding, as a whole,” he added. At the heart of the new on-air graphics system are two Miranda Xmedia Servers - one main and one back up. These servers allow all of ERTU’s branding assets to be ingested once for central archiving, and subsequently moved under automation to Miranda X-3D 3D graphics engines. Producers for each news bulletin use ENPS workstations, which tightly integrate with Miranda’s news graphics plug-in, Xnews. As a result, journalists no longer need to move between applications while working on a story. Currently, ERTU’s news centre produces five bulletins per day, and a
www.digitalproductionme.com
MARCH 2010 27
CASE STUDY ERTU, EGYPT
vide o walls at ERTU .
main one-hour news programme at 9pm, 9pm covering political, economic, sports and weather news. The template-based graphics system is ideal to produce consistency for ERTU’s line-up. Studio 11, by itself is impressively huge and is fitted with a whopping 15 Sony HD cameras, a Lawo Audio mixer, Sony VTRs, and a Sony DVS8000 4 M/E HD/SD switcher. It also boasts a huge 17x3 cube Orion video wall that is driven by a Miranda X-3D 3D graph-
28 MARCH 2010
grou nd ics engine. The video wall ics Vario us news sets with the back displays live video input, All signal processing is performed via Miranand is divided into four sections, tions, da’s Densite modular interfaces. The system which are driven independently by X3D graphics processors, in combina- comprises over 20 fully loaded frames, which address all of ERTU News Department’s core signal tion with the Vertigo Xmedia Suite graphics processing and distribution functions. automation. The sections can be fully synchroThe Densité Series is handy in that it offers nised to achieve one massive single display an extraordinary level of signal processacross the entire wall. ing functionality on single cards. This saves The studio control room also features a purchase and maintenance costs, and also monitor wall that consists of eight 63” Panasimplifies video/audio integration, automasonic plasma displays, driven by two Miranda Kaleido-X multi-viewers, configured 96x6. This is tion and cabling. With this installation, ERTU has successfully streamlined its workflow and where all of ERTU’s news signals are monitored. improved its efficiencies while also cutting The same multi-viewer system is also used to costs dramatically. drive four additional displays within the facility.
www.digitalproductionme.com
CAMERA REVIEW SONY PMW 350 XDCAM EX
ROLLING CAMERA! Freelance DoP Paul Mongey gives us the low down on the Sony PMW 350 XDCAM EX On several recent shoots, I have used the Sony PMW EX3 as most of my clients require a fast turnaround from shoot to edit. The EX3 shoots 1920x1080 @35mbps on the ½” CMOS Exmor sensors. From DVCAM to HDCAM, I have spent my career shooting on full size ‘shoulder-mount’ cameras. I’m not a big fan of the semi-shoulder mount camera design or the lenses that come with the camera. I know that you can have the option to stick a digital SLR or a 2/3” HD lens via lens mount adaptors but this not only makes for a front heavy bit of kit but also a loss the angle of view. I was, therefore, quite pleased to see Sony 30 MARCH 2010
The PMW 350 XDCAM EX uses Sony’s SxS cards, which are still relatively expensive.
release a full shoulder-mount camcorder version of the EX3 with a 2/3” block. The PMW 350 XDCAM EX has Sony’s first full 2/3” CMOS block shooting 1920x1080 and recording on to SxS cards. As the camcorder has no ‘moving’ parts, it uses far less power to operate. Shooting at 18 Watts, this will allow longer shooting time on a single camera battery. The 350 has similar features to the EX3 from Cine Alta and over crank/under crank to shooting fast or slow motion. The PMW350 can shoot from 1 to 30 frames per second in 1080 or 1 to 60 frames per second in 720 mode. The HD broadcast format battle continues to rage between the manufacturers be it on tape, disc or solid state. But it does look
www.digitalproductionme.com
CAMERA REVIEW SONY PMW 350 XDCAM EX
like a data rate @35Mbps may eventually become the standard. Together with the PDW f355, the EX1/3 and the EX1R (Revised), the 35mbps at either 1440x1080 or 1920x1080 looks like an industry-standard for low-tomedium end productions.
high-speed memory sticks. A user can also get the full raster 1920x1080 via the HD-SDI or HDMI out to a Convergent Design NanoFlash CF card writer that can record in excess of 100Mbps. The nanoFlash is available from www.convergentdesign.com/nanoflash.
WHO WILL USE THIS CAMERA?
CAMCORDER
As more TV stations move towards HD broadcasts, I can see the PMW 350 becoming a rival to the Panasonic P2 camcorder line. The lighter weight and low-power consumption together with the fast download to edit ingest speed will make the EX PMW350 an ideal replacement to the PDW f355 XDCAM HD/PMW 3 Ex market. The power consumption is much lower compared to the XDCAM HD - PDW 800, which uses a whopping 44W in record mode. This will allow cameramen to work with only two large V-LOK batteries a day in the field and shoot over three hours of 1920x1080 @ 35Mbps on the two SxS slots housing 32Gb cards. This should exceed the daily requirements for most shoots. An impressive feature is the Picture cache. Although not new to the manufacturer’s broadcast range, it was pleasing to see this feature on this camera as the picture cache mode allows up to 15 seconds of 1920x1080 video. This feature means you will never miss a special moment as the previous 15” is buffered in the camera’s memory. I see this camera being used in event videography, television programming and news markets as it includes a variety of resolutions from DV with the optional DVcam record/playback hardware key [CBK-DV01], HDV [1440x1080], HD 1920x1080 @18, @25 and @35mbps. Shooting HD in frame rates selectable from 50i/60i [59.94i], 25P/30P [29.97P] and native 23.98P is a big plus. Similar to the Panasonic Varicam, the PMW 350 also shoots at 50P or 59.94P in 1280x720 mode.
The Sony PMW 350 camcorder looks similar to a PDW 700/800 XDcam HD on the left hand side (the operator’s side). Instead of the LCD colour video monitor, however, the manufacturer has placed an ‘old
fashioned’ LCD with Time Code, Card Capacity and Audio levels. The PMW 350 has a colour viewfinder that has a flip-up monocular eye piece over a 3½” high resolution colour LCD video screen which is similar to the EX3. You can switch the viewfinder to black & white and operate the camera as normal or you can flip up the eye piece and view the thumbnail images on the display and review previously shot material. Those familiar with the Panasonic P2, SONY SxS or XD professional disc formats will appreciate the thumbnail instant access in the field to review shoots for the director without using the extra head hours as on a tape format. The 350 has thumbnail/media control menu on the left hand side of the control panel to instantly access clips rather than powering down and switching to media mode on the EX3 thus saving time in the field. On the right side of the control panel, the end user has access to the audio settings. Select the inputs for the four audio chan-
THE RECORDING MEDIA The PMW 350 uses Sony’s SxS cards, which are still relatively expensive. However, there are several other options you can consider such as the eLCR express 34 ‘SxS’ card with interchangeable SD HC cards/slots from E-films in Australia. Sony has also introduced the new low-cost SxS-1 adaptor allowing the use of removable
www.digitalproductionme.com
The Sony PMW350 XDCAM EX.
MARCH 2010 31
CAMERA REVIEW SONY PMW 350 XDCAM EX
The Sony CMOS Exmor 2/3” chip block produces very clean images from -3dB to +6dB, producing excellent quality pictures in High Definition (HD).
nels and new to the PMW 350, SONY has full audio level control access to all four channels.
AUDIO I can see a ‘one-man band’ operator using stereo left and right front camera mic to audio channels 3 + 4 as back up or perhaps a sound operator working with all four channels in the field, using the front XLR 5 pin input together with the 2 rear XLR to allow separate clip mics together with a boom increasing options in the edit. It is also great to see that this camera supports both the DWR-S01D digital radio mic and the older analogue WRR 855 in-camera radio mic receivers. This will work well for solo camera operators who use wireless mic systems in Betacam SX or HDcam units, together with a 2/3” HD lens B4 mount and V-lok battery system. This makes it easy to migrate your previous kit over to this new camera. I was disappointed though with the use of a CMOS Exmor block rather than a CCD Power HAD FX block from a PDW 800. When I started in television, they were just finishing with tube video cameras via umbilical cable to a portable U-matic video tape deck. When Sony introduced the CCD sensor block, it allowed for better shooting in low light and losing the “ghost” lagging effect when shooting bright objects with a tube camera. But CCD too had its issues when it started being used in the broadcast industry – a vertical smear when shooting bright 32 MARCH 2010
objects in frame. With time, however, camera manufacturers resolved these issues. The Sony CMOS Exmor 2/3” chip block produces very clean images from -3dB to +6dB, producing excellent quality pictures in HD. The camcorder has four hyper-gamma settings similar to the PDW-700 and HDW-F900R. These hyper-gamma settings allow increased dynamic range while compressing the highlights and lifting the darker areas of the video. Using CMOS, however, means you have to grapple with “flash banding”. When you shoot at an event together with flash photography, a horizontal band appears in the top half of the image for a duration of a frame. The Clip Browser software supplied with the camcorder will allow automatic flash band reduction. All in all, the PMW 350 is an excellent camcorder to replace the XDCAM HD PDW 700/800 market. If only Sony would introduce a payable firmware upgrade allowing full raster 1920x1080 @ 50 Mbps shooting! But then, this would probably kill the XDCAM HD market. To conclude, although there are many camera formats in the market, the PMW 350 has a good chance of becoming the new workhorse in the tapeless TV market. Paul Mongey is a freelance lighting cameraman/editor based in Dubai, who has worked extensively for several regional and international broadcasters.
PROS Full shoulder-mount light weight camcorder 2/3” lens mount for your existing range of HD lenses Using Sony SxS media, with faster transfer to edit speeds in full resolution thus saving valuable time and speeding up the workflow. The PMW350 operates with lower power – fully operating/recording @ 18W A very good high quality 3½” LCD colour view finder CONS Using the CMOS Exmor chip block with possible flash banding issues rather than a CCD Power HAD FX block. For a 35mbps camera, US $25,000 is an expensive price tag for the Middle East compared to the cost of a PDW 700 that shoots 1920x1080 @50mbps. I believe $15,000 would have been a better price for this camcorder.
www.digitalproductionme.com
$ $ IHDWXUH 6XEZRRIHU &RQQHFWLYLW\ IURP 6WHUHR WR 0XOWLFKDQQHO 'HVNWRS 6\VWHP 9ROXPH &RQWURO ZLWK 6XEZRRIHU $FWLYH &URVVRYHU DQG 3URWHFWLRQ &LUFXLWU\ 'HGLFDWHG $PSOLĂ€HUV IRU (DFK 'ULYHU 5RRP 5HVSRQVH &RQWUROV ,VR 3RGÂŒ ,VRODWLRQ 3RVLWLRQHU 'HFRXSOHUÂŒ YLWYLZLU[ H JVTWHJ[ HJ[P]L SV\KZWLHRLY Z`Z[LT MYVT .LULSLJ ;OPZ Z`Z[LT PZ WLYMLJ[ MVY JVTW\[LY ZV\UK WYVQLJ[ Z[\KPV VY OVTL LU[LY[HPUTLU[ HWWSPJH[PVUZ 0[Z ZTHSS ZPaL ZTVV[O KLZPNU HUK HTHaPUN ZV\UK X\HSP[` HYL [OL WLYMLJ[ JOVPJL MVY L]LY` H\KPV SV]LY ;HRL `V\Y Ă„YZ[ Z[LW H[
6PDOO EXW )LHUFH 7KH 1HZ *HQHOHF $ $ 6\VWHP
V*MOTE full duplex remote contribution
IQOYA
IP Audio Solutions for Broadcast Remote contribution Studio
Live OTE V*M event or Reporter
IP Audio and control metadata LL V*CA
Windows PC + Automation System
INTELLIGENT AUDIO SOLUTIONS
>P[O 086@( +PNPNYHT VMMLYZ H YHUNL VM OHYK^HYL HUK ZVM[^HYL ZVS\[PVUZ [OH[ JOHUNLZ [OL ^H` IYVHKJHZ[LYZ OLHY 07 H\KPV [YHUZWVY[ -VY SVJHS UH[PVUHS VY NSVIHS H\KPV [YHUZWVY[ ULLKZ +PNPNYHT OLSWZ IYVHKJHZ[LYZ THRL [OL TV]L [V 07 PUMYHZ[Y\J[\YL ^P[O JVUĂ„KLUJL 4VYL [OHU Q\Z[ WVPU[ [V WVPU[ ZVS\[PVUZ 086@( KL]PJLZ HUK ZVM[^HYL JVUZ[P[\[L [OL LSLTLU[Z VM H OPNOS` Ă…L_PISL HUK THUHNLHISL WYVMLZZPVUHS 07 H\KPV PUMYHZ[Y\J[\YL MVY JVU[YPI\[PVU KLSP]LY` HUK KPZ[YPI\[PVU
‡ ,QQRYDWLYH ‡ 5HOLDEOH ‡ 3HUIRUPDQFH
visit us at CABSAT MENA Dubai 2-4 March 2010, Stand ZK-4, Zabeel Hall
Optical Fibre Network for Audio. Data and Video for use in Broadcast Studios and OB Vans'
celebrating
25 years
in Radio Broadcasting business
The best and the most innovative Solutions for managing Media Assets, Radio workow and Radio Broadcasting content to various delivery channels
visit us at CABSAT MENA Dubai 2-4 March 2010, Stand Z-9, Zabeel Hall
TECH REVIEW SMOKE ON MAC
THE BIG SMOKE Dubai-based post production expert Alistair Rankine shares the good, the bad and the ugly side of working with Smoke on MAC THE SMOKE USER
For the past year, the rumour mill has been awash with stories about the release of Autodesk Smoke on MAC and late last year, these stories all came true. Smoke on MAC finally arrived and just like its Autodesk siblings, it is a powerful editorial and composting tool. For Autodesk, this is a step in a new direction as its products are usually only available as software/hardware configurations at a much higher cost to the end user. Smoke will now be available as a software application for US $15,000 making it more attractive for smaller post production houses, broadcasters and individual users.
AT FIRST GLANCE As a user and instructor of both Autodesk Smoke and Flame, I was excited but also sceptical about Smoke being released on the MAC. My thoughts were that it would be a lesser product with a great deal of the toolset missing. Questions about the keying, the tracker and the colour corrector were only a few of the doubts that rose in my mind and I wondered if it would live up-to the Autodesk name. After spending a couple of hours on a demo version of Smoke on MAC though, I realised
www.digitalproductionme.com
that this version was every bit as able as the current version of Smoke 2010 that is available on the Linux platform. The entire toolset is intact and it works in exactly the same way as its Linux counterpart although it is a bit slower when rendering. Why such a drop in price then? I imagine it is to help Autodesk compete in an ever changing post production environment where many people are using FCP, Shake/Nuke and After Effects to complete there work. Many companies have preferred the aforementioned applications in the past as they have been cheaper and just as capable of producing excellent results although they do take longer to get the job done. There is also the added headache of transferring files from one application to the other when jumping between FCP and Nuke or FCP and After Effects. All of this slows down one’s workflow and compels one to run the same project on multiple platforms. Smoke may not deal with all of one’s work needs and may not have the best tools for everything. However, it can complete around ninety to ninety five percent of your online work without dependence on other applications depending on the type of work undertaken.
So who will be interested in Smoke on MAC? Besides Autodesk users who will be thrilled to see a tried and tested platform available at a substantially lower cost, I believe this will now become more affordable to smaller companies. Post houses who previously looked at Smoke as too large an investment will be able to include this in their workflow. At the moment, most smaller facilities tend to go down the FCP or Avid Adrenaline route. I don’t really see Smoke on MAC competing with either of these platforms. Rather, I see it more as finishing tool that will complement these products. Offline Edits will be done on either FCP or Avid and then brought to Smoke for the finishing touches such as colour grading, tracking, rotoscoping and keying amongst others. Its competitors will pretty much be the same in the past namely Quantel EQ and Avid DS Nitris.
OVERVIEW Smoke on MAC, like its siblings Smoke Advanced and Flame (both currently available on Linux) is a high-end editorial and finishing tool consisting of a comprehensive creative toolset including Editorial/Timeline, Advanced Colour Correction, Paint, Clean Up, 3D compositing and Finishing all within a single application. Smoke on MAC works in exactly the same way as on the Linux version with only the Batch module available on Smoke Advanced missing from the toolset. The majority of these tools are exactly the same as those you will find on Flame such as The Master Keyer, Colour Corrector, Tracker, Stabilizer, Paint and Garbage Mask. Although it does not have all the capabilities of Smoke Advanced and Flame, Smoke on MAC is an attractive prospect and in terms of its capabilities beats its competitors because it offers greater functionality in terms of keying, tracking, painting and rotoscoping. With such a toolset available to the user, they MARCH 2010 35
TECH REVIEW SMOKE ON MAC
will be less inclined to jump from one application to another to finish the job. You will occasionally need to jump into other applications such as Photoshop or even Nuke or Shake but you won’t need to do it as often as before now that you have many similar functions available right inside Smoke. This not only saves time but also means an end user does not have to learn to use as many different applications.
WORKFLOW Although Smoke has a fully functional timeline, with all of the insert/overwrite and Trim tools you would expect from a standard editing system, it is probably best seen as a Finishing
suite and that is how I see most companies incorporating it into their workflow. The final magic touches that help the product stand out from everyone else’s. If you have Smoke on your MAC alongside FCP, chances are you will never need your project to leave that MAChine. This opens up endless possibilities for companies in terms of creativity but also in terms of costing and time management. It will dramatically cut the amount of time spent transferring files and footage from one platform to another and help prevent the headache that occurs when trying to figure out what format your footage should be in or which colour space it should occupy when transferring from one platform to
The Colour Warper works like a colour grading system and consists of on-screen tracker balls whose functionality is similar to those found on Spirit, Da Vinci and Lustre systems.
PRE-REQUISITES TO RUN SMOKE ON MAC There has been a lot of debate about exactly what you need to run Smoke on your Mac. I know some people who have downloaded the trial version onto their MAC books and seemed to have almost full functionality, albeit very slow. In order for you to make full use of all of Smoke’s functions, it’s best to stick to Autodesk’s recommend guidelines, which state that the following are needed. Smoke on Mac software 8 core Mac Pro 2008 or later Snow Leopard OSX 10.6.2 8GB RAM NVIDIA Quadro FX 4800 or FX5600 Card For fast Interaction, Open GL and Rendering AJA Kona 3 Card. For videotape input and output, and also to allow output to a broadacst monitor. Single monitor
36 MARCH 2010
display, capable of a resolution of at least 1920 x 1200 or 2560 x 1600 Wacom Intuos tablet Fast storage Unfortunately, if you don’t already have the right hardware to run this software, your budget will start to increase dramatically. The Smoke software alone will cost you $15000. But by the time you have acquired your hardware, installed Snow Leopard, had the correct cards fitted to your Mac and bought yourself some seriously fast storage, your final bill will amount to anything between $36,000-42,000 depending on which storage you go for. Although it may not be as cheap as one may have hoped for, this is still reasonable considering the results the system can offer the end user.
another. Now you can edit your offline in FCP, create an XML file which includes all editorial information as well as any effects used such as text effect or resize and then import your XML into Smoke and quickly conform the sequence. This procedure is seamless as you already have the footage captured to the same shared drives. Smoke has the ability to understand most file formats and Apple Pro Rez imports straight in with no problem. Now you are set to make Smoke do what it does best. Finishing! My first impression of Smoke on MAC was that it had the smooth feel of a MAC although it is a little slower than the Linux version, but that is not surprising really given the power available to the Linux version. How does this compare with its competition? Throughout this article, you will regularly see me discussing Smoke’s toolset. This is what has helped Smoke stay at the top of its game for so long. Over the years, I have had the good fortune to work on Avid DS Nitris, Quantel EQ and also Autodesk Smoke. Avid DS Nitris is a great online platform and integrates perfectly with Avid Adrenaline. It offers the user excellent conforming and colour correction tools along with the option of working either on the timeline or as a node based compositor which really adds power to the MAChine. It also brings in Red R3D files natively with no transcoding. However when it comes to areas such as Keying, Tracking, Painting, Rotoscoping and Graphical capabilities, Smoke has an upper hand. Quantel EQ has always been a bit of a disappointment. Having worked on Quantel Editbox for many years which was an excellent platform, I always feel that EQ never really does what it is supposed to do. For me, it has always been an unstable platform. While it does have an excellent colour corrector and a reasonable Editorial timeline, I always find myself having to jump in and out of other platforms to help me finish the job. I generally find Motion Tracking on EQ to be a hit and miss affair and keying and rotoscoping is ok but could be vastly improved. In saying that many people are using the EQ/ IQ as a Digital Intermediate/Grading platform so it does have its place in the market. When it comes to areas such as Keying, Tracking, Painting, Rotoscoping and Graphical capabilities, Smoke emerges the winner.
www.digitalproductionme.com
HS-2000 • Five channel 10-bit 1920x1080i or 1280x720p HD-SDI and DVI-D video & audio switcher. • 17-inch multi-image monitor for each source plus pre-view & program. • Built in 5 channels dual channel Intercom & tally. • Built in TBC & frame synchronizer for seamlessly switch between all sources, without external genlock.
SD & HD Mobile Video Studios
SD & HD Fly Away Video Studios
SD & HD Video & Audio Switchers
SD & HD Hard Drive Recorders
SD & HD Monitors
Chroma Key
OASIS enterprises P.O.Box 93, Dubai, U.A.E - Tel: +971 4 2821337, Fax: +971 4 2822617 P.O.Box 35807, Abu Dhabi, U.A.E - Tel: +971 2 6217043, Fax: +971 2 6217042 E-mail: info@oasisppd.com, Web site: www.oasisppd.com
TECH REVIEW SMOKE ON MAC
If someone said to me you are allowed two of the above products, I would pick Smoke and the Avid DS Nitris. If I was allowed to chose one of the above products and needed a platform that can deliver a high-end product quickly and efficiently, I would pick Smoke as I know I would have all the tools I need to deliver. If I had to change anything on the Smoke 2010 on MAC I would add Batch to the toolset, which would give it the power of Smoke Advanced and Flame. Batch is the Node compositing Module available on both Smoke and Flame which is similar to Shake and Nuke. It was originally only available on Flame but is now available on Smoke Advanced as well. If all of your work involves layers upon layers of complex compositing then you would probably spend most of your time in Batch and may want to consider buying a Smoke Advanced or a Flame. However, having said that, many Smoke/Flame artists have worked on these platforms for years without the need for Batch. Unless you have used it before, you probably won’t miss it and if you know how to operate
38 MARCH 2010
on your drives as it is able to import Apple Pro res to its library.
TOOLSET
In areas such as Keying, Tracking, Painting, Rotoscoping and Graphical capabilities, Smoke emerges the sole winner, according to Rankine.
your Smoke properly you will undoubtedly find a work around. My only other wish would be that Red R3D files could be brought into the Smoke without any transcoding. This isn’t such a problem as Smoke 2010 now has wiretap central which allows the files to be transcoded as a background task while you work with no loss of quality. Also, if you have already transcoded the files for FCP then Smoke can automatically access those files
To go into all of Smoke’s tools best features I would probably need a weekly column for the next year. I’ve be a fan of Smoke ever since I moved over from DS Nitris five years ago. For instance, the colour correction module on Smoke is second to none. It consists of not one but two colour correctors. The first is the standard RGB colour corrector that consists of all the standard colour correction tools and allows the end user to bring a front and a back clip into the module allowing them to match from one clip to the other. The second is the Colour Warper which works more like a standalone colour grading system and consists of a group of on-screen tracker balls whose functionality is similar to those found on Spirit, Da Vinci and Lustre systems. The colour warper also incorporates selective colour correction using the Diamond Keyer, originally found on Combustion. This can also be
www.digitalproductionme.com
Northlight | Baselight | Truelight | AatonK
Non-linear grading revolution— the need to change Worldwide, post-production techniques for film and video are converging, fuelled by technical advances from the feature film Digital Intermediate process, and the transition from shooting on film to acquiring media via digital cameras. This has changed established practices in all markets—film, commercials and broadcast—where images are now treated as file-based data, allowing for lower-cost, high-quality production and post-production. The handling of media and the integration of non-linear grading into the editorial process are both key in modern workflows. As their clients’ demands changed, top facilities in London, New York and Los Angeles were among the first to realise that they needed to handle film and data with efficient workflows. The Mill (London & NY), Nice Shoes (NY) and New Hat (LA) re-equipped with Baselight systems two years ago to prepare for the revolution. They quickly achieved advances and efficiencies in the non-linear grading process, and ensured that they never turned work away. One year ago, Medialab, the premier commercials house in Paris, found that their markets were changing rapidly so they integrated their Spirit telecines and existing commercials/dailies business into a modern infrastructure with file-based data workflows. They equipped with multiple Baselight systems to drive their Spirits and their existing film business, as well as handle RED camera and other digital formats. Jean-Christophe Coin, Technical Director at Medialab, commented: “We saw what was happening in our markets and knew we had to change. We took the time to understand and integrate the new technology; now we can offer our clients everything they need. Our business has grown through this recession—some of our competitors who didn’t change haven’t made it.” The demand has already reached the Middle East, with 2K Post House and Timecode in Cairo realising the need to change and upgrading to Baselight. The non-linear revolution in grading allows for: colour graded dailies, from either film or digital cameras; flexible integration with Avid® Media Composer® and Apple® Final Cut Pro® editing systems and storage; easy conform and matching of offline to online; and a superior grading toolset for matching shots in context, and providing high-quality looks to a project. This is just as important for HD productions as it is for film, allowing broadcast projects to be finished to the same exacting standards as feature films and commercials, where budgets would never previously allow for this. Non-linear grading with Baselight gives you the confidence to know that whatever the project, you have the tools and flexibility to handle the job. When you buy into Baselight, you are buying into the technical heritage of multiple awardwinning company, FilmLight—world-renowned for its innovation, leadership and support.
FilmLight Artists House 14-15 Manette St London, W1D 4AP, UK
t: +44 7292 0400 f: +44 7292 0401 info@filmlight.ltd.uk www.filmlight.ltd.uk
See FilmLight at: CABSAT 2-4 March 2010 Dubai International Convention and Exhibition Centre Stand ZN-23 Zabeel Hall
FilmLight has recently won four AMPAS Sci-Tech Awards across the Northlight, Baselight and Truelight product ranges, and has also been named London Exporter of the Year for 2010.
At home at all frequencies – worldwide. Four fields of business, one thought – make tomorrow‘s communications engineering faster, more powerful and more fail-safe. That‘s why our products have been found for more than 75 years wherever radio signals are. Here are some current examples: ❙ Wireless communications: development and production T&M equipment for every second mobile phone in the world ❙ Analog and digital TV: transmitters for more than 80 countries ❙ Air traffic control and secure communications: radio equipment for more than 200 airports; radios and encryption solutions for armed forces and authorities around the world ❙ Regulation: instruments and systems for radiomonitoring for about 150 countries To remain a leader in all of these sectors, we are close to important markets and customers – with sites in more than 70 countries, and development centers in the USA, Asia, Europe and Middle East. We are number one in terrestrial TV transmitters and in EMC test equipment. www.rohde-schwarz.com/ad/cor2 * Photo: Network operators use our test and measurement equipment to test transmission quality in their wireless communications networks.
M I
S
d
210 280
091208 i dd 1
10 02 2010 15 18 55 Uh
used to output mattes for difficult green screen shots. Smoke also shares colour correction information with Lustre via set ups and LUTs (look up tables). The most powerful module on the Smoke system is Action. Unlike many of Smoke’s tools which work on the timeline, Action is accessed on the desktop and offers a true 3D compositing environment, with access to all of Smoke’s Keyers, Motion Tracking, Stabilising, 3D text, Surface Displacement Nodes, Lighting, Camera, Garbage masks Animation Editor and also, the ability to import 3D models into your composite, where you can light and texture them in a true 3D workspace. Action is what sets Smoke head and shoulders above its competitors, and is what makes Smoke more than just an editing tool.. Not only does it incorporate some of the best Keying and Motion tracking tools on the market but they are all incorporated into one module with the availability of Multiple View Ports. For instance, you may want to set up multiple view ports. One which shows the result, one which shows an overhead view of your scene in 3D space with camera controls , another showing the Animation Editor and the last showing the Action Schematic, giving you total interaction with the scene and being able to view exactly what you are doing every step of the way. Action on Smoke is almost the same as Action on Flame, minus a few features. If you have a good operator at the helm, it is possible to achieve 90% of what you can achieve on a Flame right here on your MAC, if not more! Smoke on MAC runs Smoke 2010 and incorporates all the new features. The addition of the Modular Keyer to the toolset gives the user the ability to combine multiple Keyers to a single shot using a Node based schematic not too dissimilar to the workflow used inside Batch. The power the Modular Keyer adds to Smoke as a compositing tool really takes the MAChine to another level where even the trickiest and badly-lit green screen shots can be overcome extremely quickly. Other additions to 2010 are the support of 16-Bit floating-point Open EXR files. This is the file format developed by Industrial Light and Magic, which has a higher dynamic range and colour precision than existing 8- and 10-bit
www.digitalproductionme.com
image file formats. Better handling of the RED workflow, allowing high-quality transcoding of RED R3D media as a background task using WiretapCentral, allowing the direct import of R3D files and the batch import of R3D files referenced in an FCP XML or an EDL are some of the other features. As more projects are being shot on RED, which in itself has an overcomplicated and timely workflow, Smoke scores another brownie point for supporting RED. If you want to try out Smoke on MAC and already have the appropriate hardware, a 30day trial version can be downloaded from the Autodesk website. Smoke is an ammunition that any post house, broadcaster, or 3D animation studio will find useful. Time will tell whether this version is as robust as the Linux version, but there is no real reason it shouldn’t be. I have worked with MACs for a long time and have never had any issues with robustness or efficiency. I see Smoke having a long and happy future on the MAC.
Your Partner for German High Quality Products and System Integration in the UAE
9^hig^Wji^dc
HnhiZb >ciZ\gVi^dc
GZciVa
HZgk^XZ
Alistair Rankine is a multi-platform operator who has worked in post production for the last twenty years. He is an Autodesk-certified ACI Flame/Smoke trainer based in Dubai.
THE GOOD Excellent editorial and composing tool in one box. It’s like a mini Flame. THE BAD Having to remap your function keys on your keyboard to interact with Smoke. No Batch.
^ &% 9jWV BVgX] '% ' " ) cY g HiV aa O7' j d i K^h^ WZZa =V Vi OV
THE UGLY You will most likely need some training to get up to speed quickly on the functionality as the learning curve is steep. PRICE: US $19,000 (includes subscription & local support) RESELLER: MediaSys
FkZhi BZY^V ;O AA8 E]dcZ .,& % ) )(( -&%. ;jgi]Zg ^c[dgbVi^dc lll#fkZhibZY^V#VZ
MARCH 2010 41
CASE STUDY UNIVERSITY OF SHARJAH
TRAINING DAY
University of Sharjah — Women’s College, a semi-government educational institution, has put in place a multi-million dollar TV and radio facility to ensure its students emerge well trained for professional production environments. Vijaya Cherian reports. University of Sharjah Women’s College recently invested in a multimillion dollar media centre that includes TV, radio and newsroom facilities as part of its efforts to provide the ideal production and broadcast environment to train its students. The facility includes a brand new three-camera TV studio that is expandable to five, two FM radio stations, four editing booths, a newsroom based on Avid iNews, a multi-purpose theatre and two multimedia labs based on FCP. The project was designed and deployed by Dubai-based systems integrator, Al Futtaim Technologies. Several elements of the new TV and radio facility are designed to make the media course more attractive to students who enroll at the University. 42 MARCH 2010
For instance, the Women’s College is probably the first in the GCC to have a full-fledged newsroom based on Avid iNews. The newsroom, which is equipped with Avid’s latest iNews solution, can accommodate up to 15 students at a time. “This iNews lab is the only one in this part of the region,” claims Dr. Mamdouh Meshmeshy, assistant professor, College of Communications, University of Sharjah. “There is one in the American University in Cairo but I believe it is much smaller although they have a huge news centre. We can currently house 15 students and an instructor in our lab,” he adds. Dr. Meshmeshy, who is the key faculty member behind the project, is a well-known TV director from Egypt and manages the entire
radio and TV operations at the university. The university has also negotiated deals with wire agencies to give it access to Reuters and WAM feeds. “The feeds received will be edited by our students as text news and forwarded to the studio control room, where it will be displayed on the Autocue prompter for the news anchor to read out,” Dr. Meshmeshy explains. Dr. Meshmeshy, a well-known TV director from Egypt, is one of the key faculty behind the project and manages the entire radio and TV operations at the University. He explains that all the rooms at the facility are connected to the main control room to facilitate the easy exchange of audio and video signals between them. The new radio section at the University will enable students to pro-
www.digitalproductionme.com
CASE STUDY UNIVERSITY OF SHARJAH
duce, record, edit and broadcast programmes on radio. One studio is fully fitted to broadcast on-air programmes and may be exploited by the University in the future to broadcast a full-fledged radio station for the campus or even on a commercial scale. The radio studios are equipped with two Yamaha consoles and three Apple iMAC/Protools systems that are designed to serve the editing, production and on-air requirements of the course. “We’re looking to acquire a radio frequency as well to help our students go on air with their programmes,” says Dr. Mamdouh Meshmeshy, assistant professor, College of Communications, University of Sharjah. The pride of the facility is its three-camera studio, which is equipped with the Panasonic AG-HPX304 cameras. This camera system includes a base station, a camera adaptor and an extension control unit to facilitate shoots within the studio. “The AG-HPX304 is the world’s first AVC-Intra camera-recorder with a 2.2megapixel image sensor,” claims P.V Prakash, sales engineer at Al Futtaim Technologies. “It is a high-end camera that can be used for both ENG and EFP purposes making it a cost-effective proposition for the end user. The camera can be shoulder mounted. It can also be used in the studio by just adding the Panasonic camera adaptor to it. This camera has several special features including a seven-mode gamma for richer gradation, dynamic range stretch, chromatic aberration compensation, native and over-50p mode and a 1080/576 25p shooting mode. In addition, we use BNC cables that transmit degradation-free HD digital images up to 100 metres,” he adds. One requirement that the University’s management stressed throughout the project was flexibility, says Dr. Meshmeshy. As a result, all the TV and radio rooms as well as the newsroom have been connected to the studio and the control room. Besides this, the solutions at the facility are designed to accommodate several tape-based formats. “Flexibility has been key to our operations as we require students to be spread across different parts of the facility while they are supervised by the instructor. Some of them might be in the newsroom editing the news, while some students might be using that news
www.digitalproductionme.com
KEY KIT Newsroom 50 licences for Avid iNews Radio Yamaha console Protools IMAC Digi Design Peavey sound Processors Studio Panasonic AG-HPX304 camera AG-CA300G camera adaptor system Autocue Prompting system QMaster/Qbox software Libec tripod systems Jim Arm Canare cables HD/SD cables T-RED cool lighs ZERO 88 Dimmer Rack Leap frog light console Clear-Com wireless communication system 50’’ Panasonic plasma panels
Dr. Meshmeshy at the new radio facility.
Control room 16 channel SDI Ross Video Synergy 1 switcher 17’’ Panasonic LCD monitors 42’’ Industrial Panasonic Plasma Panels Autocue teleprompter & QBOX Nevion cards Leader waveform/vector scope Evertz 5600MSC Sync generator PlayBox Title Box for CG. Harris Master Clock Clear-Com intercom system Edit suites 1 editing suite with Avid CLIENT Media Composer University of Sharjah 4 editing suites equipped — Women’s College with FCP
SI Al Futtaim Technologies
Theatre Panasonic Projectors 4000ANSI Lumens DLP Panasonic Home Theatre system Clear Com communication system
All of the rooms in the TV and radio facility are connected to this control room.
MARCH 2010 43
CASE STUDY UNIVERSITY OF SHARJAH
in the studio to go on air and some others might be editing some related video in the control room,” explains Dr. Meshmeshy. “As we also have different cameras on the campus, it was important that the new system could support most formats all the way from the DV format to DVC Pro 25, DVC Pro 50, HD and so on while also accommodating the newer tapeless formats. This solution meets all our requirements. Besides this, all our camera functions can also be controlled remotely and we have the ability to operate with both AC and DC power. That immediately gives us the flexibility to use our cameras for a variety of studio and field applications,” he adds. Nevion’s distribution and conversion cards will provide the flexibility to down convert from digital to analogue or vice versa. We used leader waveform/vector scope for system signal tests and Evertz 5600MSC Sync generator outputting both SDI & Analogue Sync The new studio is also fairly large and can accommodate three sets at a time. The studio is also equipped with cool lights.
Xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Dr. Mamdouh Meshmeshy at the new studio.
Speed and Reliability without Compromise Today the production of Live Sports is about identifying and delivering valuable content in record time and using various media. To succeed producers count on technology that is fast and dependable. With EVS’ newly developed XT[2]+ production server and its unique software suites, IPDirector and MulticamLSM, you can take full control of the action with: multiple camera recordings; Ultra Motion HD replays; integrated live graphic re overlays; metadata management; non-linear and advanced o real-time editing; powerful networking capabilities in re addition to video transfer; synchronized playout. a
Visit us at Cabsat 2010 Stand LB-3
44 MARCH 2010
EVS Instant Tapeless Technology also allows you to E expand your workflow for tomorrow’s production needs e with Live Slow Motion replays in 3D and remote access to w c content via the Web. Are you ready to compete? A
www.digitalproductionme.com
CASE STUDY UNIVERSITY OF SHARJAH
University of Sharjah — Women’s College claims to be the first academic institution in the Gulf region to have a large newsroom based on the Avid iNews.
“Here again, we supplied a set of different cool lights from Italy to ensure greater flexibility in terms of lighting up the set for different applications such as news and talk shows. We used cool lights and pantographs from T-RED, and a dimmer rack and light console from ZERO 88 for the purpose,” explains Prakash. Two 50” Panasonic plasma screens installed in the studio display the information for news and other programmes. As a Panasonic distributor in the region, it is not unusual to see that Al Futtaim has used a significant number of systems including cameras, monitors and other solutions from Panasonic for the project.
P.V Prakash, sales engineer at Al Futtaim Technologies was responsible for this project.
46 MARCH 2010
However, there are other solutions that are also worthy of mention. For instance, the studio boasts two Autocue teleprompters. Al Futtaim claims that it chose the Autocue solution as it integrates better with Avid iNews. “We chose the QMaster/Qbox software from Autocue because this application works well with iNews and enables the edited news to be sent from the newsroom directly to the prompter allowing the news anchor to instantly access the news for reading. Besides this, it also provides live script editing and the use of overlays,” explains Al Futtaim’s Prakash. With communication and flexibility being key elements of this project, the systems integrator chose Telos 6x1 as it offers a hybrid line communication in the radio and the control room. “There are six lines connected to the Telos allowing users to receive or dial from the control room. Via the Telos system, the telephone signals are sent to the Yamaha audio mixer DM1000 in the radio studio. Wireless earpieces from Clear-Com are used at the University to facility easy communication to the presenters and the guest-in system,” adds Prakash. Around 1200 students have enrolled for various media courses at the University, of which about 100 take the TV and radio course, according to Dr. Meshmeshy. “Our students have been producing programmes for Sharjah TV as the University
has been given a weekly half-hour slot on the channel,” explains Dr. Meshmeshy. “The availability of this facility and state-of the-art equipment will now enable our students to produce high quality programmes,” he adds. The facility also includes an impressive multi-media lab that will be shared by students involved in graphics courses at the University. The University has purchased 60 Final Cut Pro licences for the same. The University has also invested in a theatre that can be used for presentations and showcase students’ work on a full screen. The theatre is equipped with a Panasonic home theatre speaker system and a 4000ANSI Lumens DLP projector. No project is without its challenges. Besides having to work to tight deadlines, Al Futtaim Technologies also faced several other challenges as it was responsible for the civil works in this project as well. “Once the systems design was approved, we had to re-design and build additional rooms in order to cater to the University’s requirements of building a facility that could serve both its educational and production requirements. This included breaking walls and redesigning the A/C ducts roots in the studio room before sound proofing the studio walls and the ceiling. “Working with the contractors is always a challenge in such situations as the construction team and the installation team had to work closely to provide all the necessary connections in the studio which is linked to the control room. Creating the right conduits was a challenge as we had to ensure maximum flexibility in the systems’ boundaries to ensure the communication of signals from the studio control room to the FM radio, iNews, Presentation and lecture theatre rooms as well as the editing rooms. “We also had to build additional rooms such as editing rooms and FM radio rooms within the existing walls. The theatre and the lecture rooms are a completely new build,” adds Prakash. Although Al Futtaim has undertaken systems integration at different academic facilities including Bahrain University, Al Ain University and the American University of Sharjah, the SI claims that this is the biggest project it has undertaken for a training institution.
www.digitalproductionme.com
INDUSTRY FOCUS RADIO IN THE SPOTLIGHT
FINE TUNING
RADIO When advertising budgets dipped last year, more advertisers turned to radio to keep their brands alive. Consequently, radio suppliers benefitted as more broadcasters undertook major technical upgrades or improved their content, says Vijaya Cherian The economic downturn in 2009 may have seen TV revenues dip significantly in the Middle East but it also provided an ideal opportunity for radio to shine through. We saw a huge focus on the medium last year in terms of both technical upgrades as well as efforts to make them more competitive in the marketplace. A report from the Arab Advisors Group backs this claim. The average cost of a 30-second FM radio advertising spot is said to have risen from $112 in 2008 to $125 in 2009, according to the analyst. It was especially interesting to see some broadcasters launch huge marketing campaigns to stress the efficacy of radio advertising last year. One example of this was the Dubaibased Arabian Radio Network (ARN) , which launched several educational seminars last year to drum up how cost-effective and efficient radio advertising was to build brand awareness. The radio network also held a workshop guided by radio guru Ralph van Dijk to tell attendees how they could maximise the potential of radio advertising. Along with 48 MARCH 2010
Arabian Radio Network has equipped its facility with Electrovoice mics.
this business initiative, ARN undertook a major radio upgrade last year at its facility in Dubai Media City. It was the first broadcaster in the UAE to deploy two new Studer 2500 mixers. In addition, the broadcaster also linked all of its studios to the main control room as part of its
efforts to make its workflow more efficient. Recently, the University of Sharjah also undertook a large radio installation with a Yamaha console, Protools, DigiDesign and Peavey sound processors being key parts of the project. Last year also saw Abu Dhabi Media Company pay more attention to its radio operations. After investing capital into migrating its entire TV facility to HD and purchasing the rights to the English Premier League, ADMC turned its focus to radio to promote it more aggressively in the market. The state broadcaster launched two channels — Star FM and Abu Dhabi Classic FM — last year, bringing the total number of its radio channels to five. Star FM is a trendy and modern radio station aimed at young Arabs. Unlike ADMC’s other channels, Star follows a different content format. Back then, Farid Antone, the head of Channel at Star FM stated that “the best time to launch a radio station was during a crisis”. Late last year, ADMC also launched Abu Dhabi Classic FM, a radio station focused on interactivity, to celebrate the Abu Dhabi Classics
www.digitalproductionme.com
One workflow. From Lens to Post.
Ki Pro is an all new way of connecting production and post. Finally, shoot on the same codec as you edit with, Apple ProRes 422, built natively into Ki Pro’s stand-alone, portable hardware. With its extensive analog and digital connectivity, virtually any video and audio source can be fed into Ki Pro. It also includes AJA’s powerful 10-bit realtime up/down/cross-conversion, enabling instantaneous recording of SD or HD from any camera format.
www.aja.com
Record natively to Apple’s ProRes 422 codec for full raster 10-bit 4:2:2 HD and SD. Record to a removable Storage Module with built-in FireWire 800 or 34mm ExpressCard Flash.
Record pristine ProRes media to a removable Storage Module with built-in FireWire 800, or to 34mm ExpressCard Flash — both instantly mount on your OSX desktop for immediate editing and file access.
Built-in WiFi and Ethernet for complete control via a web-browser, or your iPhone.
Ki Pro is tough and rugged, yet small and portable, designed for real production environments. Powered through an industry standard 4-pin XLR, you have flexible AC and battery options. Use Ki Pro on a table, or mate it between your camera and tripod via a bulletproof optional aluminum cage, complete with sliding baseplate and accomodation for 15mm rods.
Connect any digital camera via SDI or HDMI, or any analog camera. Convert in realtime from SD to HD, or 720 to/from 1080. Ki Pro is your hub for all types of sources, regardless of format or connectivity.
Visit our website to discover the full details of how Ki Pro will change your world.
K i
P r o .
B e c a u s e
i t
m a t t e r s .
For details contact MediaSys, Dubai - Tel.: +971 4 3903069 , www.mediasysdubai.com
INDUSTRY FOCUS RADIO IN THE SPOTLIGHT
2010 season. It was thought back then that more radio launches would be in the offing but ADMC has held back. Instead, the Abu Dhabi state broadcaster is currently upgrading all of its legacy radio equipment with Studer solutions. Saudi Arabia is another country that is experiencing major changes to its radio landscape both in terms of policy as well as technology. For the last couple of years, installation of transmitters, upgrading old radio stations and building new radio facilities has been ongoing at the Kingdom. Last year, for instance, Harris Corporation provided a range of radio and television broadcast transmitters to Saudi Arabia’s Ministry of Culture and Information (MOCI) as part of the ongoing modernisation of Saudi TV and Radio’s transmitter infrastructure. To support the upgrading of its network, the Saudi MOCI chose a wide range of Harris transmitters: 21 AM radio transmitters, including 3DX(R) digital solid-state transmitters; 40 FM radio transmitters, including the ZX(R) range of low-power transmitters; and 36 TV transmitters,
50 MARCH 2010
Studer is a popular brand in the Middle East; its 2500 is a totally self-contained system and builds upon the operational concepts of its predecessor, the 2000.
including Atlas digital solid-state air-cooled transmitters. These transmitters were deployed across multiple Saudi TV and Radio facilities to allow for the broadcast of audio and TV programmes terrestrially throughout the kingdom. The project was handled by Saudi systems integrator, First Gulf Company.
Likewise, STESA, another Saudi-based systems integrator aligned closely with Thales, was contracted to install and commission two medium wave radio stations in Hafr Al Bateen (6 transmitters 50 kW) and Taiba (4 transmitters 50 kW) in 2008. Both projects are scheduled for completion this year.
www.digitalproductionme.com
INDUSTRY FOCUS RADIO IN THE SPOTLIGHT
A key supplier to the transmission solutions in Saudi Arabia is Nautel, which is well known for its high power Radio Frequency (RF) products for AM and FM broadcasts. Besides the launch of four new channels late last year by Saudi TV, the country also marked a milestone last month when KSA’s Ministry of Culture and Information (MOCI) granted the
country’s first private FM radio broadcasting licence to Alf Alf. The broadcaster paid US$20 million for the privilege. Under the terms of the deal, Alf Alf’s new service must cover 30 regional centres across Saudi Arabia, with 15 mandated by the Saudi MOCI. The Ministry will issue four more licenses in the coming months.
The Yamaha consoles have a good reputation in the market.
Significant radio upgrades have been undertaken across the Middle East and North Africa last year and a key supplier to this region is NETIA. New NETIA implementations include preserving audio archives and the installation of a complete radio automation system for Saudi Arabia’s Radio Riyadh, local archiving at Radio Jeddah and an installation in Mecca. NETIA also provided systems for digitising all radio networks in Algeria and was involved in the launch of Radio Tunis Chaine Internationale (RTCI) in Tunisia. The company also recently teamed with Radio Fana, an Ethiopian media group, on an archiving initiative that included digitising the broadcaster’s media assets and upgrading its broadcast infrastructure with NETIA’s Radio-Assist. In Morocco, as well, the company provided solutions key to the launch of a new radio broadcast chain. We expect to see more upgrades in the region as more broadcasters move entirely from analogue to digital solutions. Digital radio transmissions are still not on the cards here but this merits another discussion.
Tapeless TV Ingest NRCS News Room Live Production Playout Archive MAM MCR Automation Scheduling Traffic Advertising Graphics Generator SMS TV Legal Compliance Monitoring IP Contribution Web
www.vsn-tv.com 12-15 APRIL - Las Vegas/USA
Stand N4616
Spain
52 MARCH 2010
Miami
Brazil
Uruguay
Dubai
www.digitalproductionme.com
CS4
IN FOCUS HD GRAPHICS
IN GRAPHIC DETAIL Contending with a multi-format environment and various distribution platforms when creating graphics can be a challenge but one that can be easily overcome, says Pixel Power’s James Gilbert. Providing channels with a strong, instantly identifiable brand is vital in today’s highly competitive broadcast landscape. Broadcasters want and need viewers to able to identify with what they are watching from a brand perspective – and it is what makes a collection of programmes into a channel. In turn, this creates brand loyalty and, therefore, a far more attractive platform for advertising and/or subscription. In a world of crowded EPGs, the value of a brand cannot be overestimated. Beyond this, there is the question of onscreen information provision to also increase stickiness – what is coming up next, starring who and so on. Using graphics in these ways is vital, be it in an SD, HD or mixed environment. The move to HD for many across the Middle East has begun and is now beginning to gather momentum. As with other parts of the world, it is not clear which HD format will be settled on – indeed it may remain a multi-format HD world. From a graphics perspective, what should broadcasters look for in the move to HD and how much does the variation in formats affect the workflow? The industry has to deal with multiple formats, regardless of HD, with the growth of wider content distribution via mobile and IPTV to various format devices and handling different varieties of HD is a subset of this wider issue. But manufactures can and are providing solutions. Achieving superior picture quality is the foundation for implementing HD. However, HD graphics require around five times as 54 MARCH 2010
many pixels as their SD counterparts, which means broadcasters must ensure they have five times (10 times for 1080p60) the storage capacity, bus bandwidth, rendering power and processing power within their facilities, and up to approximately five times the bandwidth and space segment for transmission. All HD uses 16:9 and this has a significant impact on the graphics as the aspect ratio of actual graphics pixels also differs. On a standard computer screen, pixels are square. On SD TV, such as PAL and NTSC formats, they are not. In HD however, they are. This is a major consideration for creative technicians whose job it is to design and produce graphics. If a broadcaster wishes to produce HD or SD, this is not such an issue. If they wish to use both in the same facility with the same graphics, they must ensure they have the technological architecture and workflow to support this. There are two principal ways of getting around this. The first is to design all graphics in the ‘SD-safe’ area in 16:9 (HD) aspect ratio. By restricting key elements of the graphic such as names and logos to the area that will appear in the 4:3 picture, the sides can simply be chopped when the HD graphic is downconverted to SD. Alternatively, the reverse can be done. Designers can create their templates in 4:3 (SD) but build in a 16:9 ‘safe area’ for upconversion to HD. This means that when the graphic is ‘letter-boxed’ (i.e. the top and bottom aspects are removed), the key element of the graphic remains visible. Of course, the most efficient way to accomplish this is to use a character generator
www.digitalproductionme.com
IN FOCUS HD GRAPHICS
Broadcasters must look at every format they plan to use and ensure that the character generators they choose can accommodate all of them.
that converts graphics in either of the above ways automatically. In doing so, it changes the resolution, frame rate, picture aspect ratio and scanning rate of the graphic. However, this does not produce the best results. A better way is to create separate templates for SD and HD graphics. An added bonus of the fact that HD graphics use more pixels is that they can be reduced in size and remain readable. Consider that a typical football score might appear 20 lines high in SD. In HD, it would be proportionally twice the size but could be reduced by around 25 percent. This method frees up screen real estate for either more main picture or further graphics from sponsors, which would add a revenue stream. This doesn’t create more work provided the broadcaster has a character generator that simultaneously feeds metadata, such as names or scores, to both HD and SD templates. The broadcaster simply needs to create two templates instead of one. The number sequences 625 and 25 fps
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
MARCH 2010 55
&RXULRXV" 3OHDVH YLVLW RXU ZHEVLWH ZZZ ULHGHO QHW
5,('(/ 0(',251(7 ([SHULHQFH WKH 5H 'HÀ QLWLRQ RI )LEUH 2SWLF 1HWZRUNV 9LVLW 5LHGHO DW &$%6$7 %RRWK =/
0HGLRU1HW XQOHDVKHV WKH WUXH SRWHQWLDO RI À EHU RSWLF VLJQDO WUDQVSRUW ZKLFK ZLOO À QDOO\ UHVXOW LQ D FRPSOHWH QHZ SKLORVSK\ IRU EURDGFDVW HYHQW VWDGLXP RU FDPSXV LQVWDOODWLRQV 0HGLRUQHW DW D JODQFH ‡ )LEUH 6LJQDO 7UDQVSRUW IRU 0XOWL &KDQQHO +' 6' 9LGHR $XGLR ,QWHUFRP 'DWD ‡ 6XSSRUWV DQ\ &RPELQDWLRQ RI 1HWZRUN 7RSRORJLHV ‡ 8QFRPSUHVVHG 5HDO 7LPH 6LJQDO 'LVWULEXWL RQ DQG 5RXWLQJ ‡ 6XSSRUWV UG 3DUW\ 5RXWHU &RQWURO
‡ 6RIWZDUH EDVHG 6LJQDO 3URFHVVLQJ DQG &RQYHUVLRQ ‡ 6\VWHP $UFKLWHFWXUH 3URYLGHV )XOO 5HGXQ GDQF\ ‡ )XWXUH SURRI +DUGZDUH 3ODWIRUP ‡ ,QWHJUDWHG &:'0 0XOWLSOH[LQJ
IN FOCUS HD GRAPHICS
for SD are now familiar to most broadcasters, as are 1080i60, 1080i50, 720p60, 1080sf48, 1080p24, 1080p25, 1080p50 and 1080p60 for HD scanning. Right now the perceived difference between 720p and 1080i formats is very marginal. A network or broadcaster chooses one or the other, the majority being 1080i. Many are talking about 1080p50/60 but the delivery channel and much origination equipment is not there right now. Broadcasters must plan which formats they intend to use and ensure their character generators can accommodate them all. This is particularly important if, for example, a studio produces a drama in 1080p24 but transmits it in 1080i. The character generator must automatically adjust the graphics accordingly. Some formats suit different types of programme. For example, p24 cannot accommodate the rich visual features of fast-action pictures such as sport and tends to make the picture appear ‘jerky’. In this case i50 would be better. However, p24 remains sufficient for slower action subjects or situations with less camera movement such as studio-based magazine shows or news. In the same way that specific hardware is required for HD graphic creation, the process of editing graphics also has technological needs. First, monitors must be bigger and/or higher resolution. To incorporate all pixels of the HD graphic clearly, plus toolbars and menus, the screen should ideally have more than 1920x1080 pixels. For editing, a
HD graphics require around five times as many pixels as their SD counterparts, which means broadcasters must ensure they have five times the storage capacity, bus bandwidth, rendering power and processing power within their facilities.
dual-display is ideal for presenting the GUI so the character generator must be able to support this. We see that there is very little that needs to change in terms of workflow in making the transition to HD graphics, or adding them alongside an existing SD output. The right technology mitigates risk and minimises practical changes. It also helps create graphics strategies that open potential new revenue streams. This, ultimately, is the aim of migrating to HD. James Gilbert is joint MD of Pixel Power 58 MARCH 2010
www.digitalproductionme.com
Scopes out of thin air? It’s not black magic! Hamlet VidScope-BX is a new software based 3G, HD and SD vectorscope, waveform and audio monitor tailored to work with any capture card or display.
s s s s s s s s
Absolute accuracy on a Windows® platform SD, HD, 3G 4:2:2 or 4:4:4 signal formats, files or live capture 6 simultaneous user configurable displays with 9 user presets Display coloured traces of your choice, on any sized monitor or dual screens Up to 16 audio channels in any audio scale Unique GMO surround sound monitoring Highly accurate gamut error diagnostics Zoom any display to full-size
You don’t need dedicated hardware with VidScope-BX edition, just a dual core PC or better and a 3D graphics adapter. You only need the capture card which meets your needs, be it SDI, dual-link, 3Gb, HDMI, analog or optical. The display, the choice is yours!. BX even works with HDV or DV source over Firewire. Any registered trade marks or names are recognised.
See us at stand number ZK24 ®
3Gb/s Y READ Awarded at IBC 2009 to VidScope-3D Stereoscopic Analyser
Awarded at IBC 2008 Awarded at NAB 2008 for the to FlexiScope for Protean Axiom 3G Option 3
EXCELLENCE IN VISION
Phone: +44(0) 1494 729728 UK Free Phone: 0500 625 525 E-Mail: sales@hamlet.co.uk Web site: www.hamlet.co.uk
HAMLET_Digital Studio_Feb10.indd 1
8/2/10 10:15:55
ShowTex Middle East Experience the latest in studio soft goods with cycloramas, extra large projection screens, blue screen, green screen, chroma key, cyclo tracks, and the new CycloLED.
Visit ShowTex Middle East at this year’s CABSAT MENA $ISCOVER THE NEW #YCLO,%$ WITH 3HOW,%$ (IGH /UTPUT DOTS THAT EMIT TIMES MORE LIGHT THAN STANDARD ,%$3 0ERFECT FOR 46 STUDIOS #REATE SUBLIME EVEN BACKLIGHTING FOR CYCS AND SCREENS !NIMATE SCENERY DESIGN LIVE SETS AND RUN TEXT AND GRAPHICS
6ISIT OUR STAND :, IN :ABEEL (ALL AT THE #ABSAT -ENA SHOW
NEW ADDRESS!
RetroScreen Off-White @ Q-vision Corporate Event in the Middle East
3HOW4EX -IDDLE %AST & : # s 3HARJAH !IRPORT &REE :ONE 7AREHOUSE 1 s 0 / "OX 5NITED !RAB %MIRATES 4 s & INFO ME SHOWTEX COM s WWW SHOWTEX COM
EDITING 3D PRODUCTION
TAKING THE 3D TRACK The making of a CG movie includes pre-production, production and post. In the first part of this series, our SFX expert Amitaabh Naarayan discusses the process of 3D modelling 3D modelling is extensively used in the fields of advertising, architecture, art, archaeology, chemistry, education, engineering, entertainment and game, movie, flight simulation, law court, medicine, military, multimedia, scientific animation, simulation, space searches, video and television. The industry application of 3D animation and modeling include: Animating imaginary and mythological characters, like Spiderman Pack shots and logo animations. Producing images which look realistic, like Car Models and other Prototypes Transforming complex events into basic
www.digitalproductionme.com
graphical expressions, eg: news channels. Producing events which require high costs and events which can cause danger like explosion and collision. Creating images that cannot be filmed by a camera, like in the TVC- CSI or National Geographic Content Reproduction of some works of art, which were destroyed in the due course of history, like in the movie Gladiator. Transforming the abstract thoughts into concrete images, e.g.: Avatar.
PROCESS OF 3D The objects, models, characters and environment are created in a 3D software which have real world XYZ co-ordinates. The 3D
software calculates the details like movement, colour, light, and perspective of the objects on the created visual stage accurately and gives the outcome as an image. A 3D artist plans the scenes as if it were a theatre set, with characters, props, mood lighting and the animation with and addition of the 3D camera similar to the film camera. The software enables the artist to express the story in the exact unique style, be it realism or cartoonlike. The three part feature on 3D Production process includes: Modeling & Texturing Rigging & Animation Lighting & Rendering MARCH 2010 61
EDITING 3D PRODUCTION
PART I – MODELLING & TEXTURING
visual applications such as ray tracing and constructive solid geometry.
Today, 3D models are used in a wide variety of fields. The medical industry uses detailed models of organs. The movie industry uses them as characters and objects for animated and real-life motion pictures. The video game industry uses them as assets for computer and video games. The science sector uses them as highly detailed models of chemical compounds. The architecture industry uses them to demonstrate proposed buildings and landscapes through Software Architectural Models. The engineering community uses them as designs of new devices, vehicles and structures as well as a host of other uses. In recent decades the earth science community has started to construct 3D geological models as a standard practice. 3D modeling is the process of developing a mathematical representation of any threedimensional surface of object via specialized software. The product is called a 3D model. It can be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. The model can also be physically created using 3D Printing devices. Models may be created automatically or manually. The manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting. 3D models represent a 3D object using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created by hand, algorithmically (procedural modeling), or scanned.
Shell/boundary - these models represent the surface, e.g. the boundary of the object, not its volume (like an infinitesimally thin eggshell). These are easier to work with than solid models. Almost all visual models used in games and film are shell models.
FIVE POPULAR WAYS TO REPRESENT A MODEL: Polygonal modeling - Points in 3D space, called vertices, are connected by line segments to form a polygonal mesh. Used, for example, by Autodesk 3DS Max or Blender. The vast majority of 3D models today are built as textured polygonal models, because they are flexible and because computers can render them so quickly. However, polygons are planar and can only approximate curved surfaces using many polygons. NURBS modeling - NURBS Surfaces are defined by spline curves, which are influenced by weighted control points. The curve follows (but does not necessarily interpolate) the points. Increasing the weight for a point will pull the curve closer to that point. NURBS are truly smooth surfaces, not approximations using small flat surfaces, and so are particularly suitable for organic modeling. Autodesk Maya and Rhino 3d are the most well-known commercial software that uses NURBS natively. Splines & Patches modeling - Like NURBS, Splines and Patches depend on curved lines to define the visible surface. Patches fall somewhere between NURBS and polygons in terms of flexibility and ease of use.
ALMOST ALL 3D MODELS CAN BE DIVIDED INTO TWO CATEGORIES Solid - These models define the volume of the object they represent (like a rock). These are more realistic, but more difficult to build. Solid models are mostly used for non-visual simulations such as medical and engineering simulations, for CAD and specialized 62 MARCH 2010
From the bare bones to the finished leather, the right tools can create it all.
Primitives modeling - This procedure takes geometric primitives like balls, cylinders, cones or cubes as building blocks for more complex models. Benefits are quick and easy construction and that the forms are mathematically defined and thus absolutely precise; also the definition language can be much simpler. Primitive modeling is well suited for technical applications and less for organic shapes. Some 3D software can directly render from
www.digitalproductionme.com
EDITING 3D PRODUCTION
MIDDLE EAST
A 3D artist plans the scenes as if it were a theatre set, with characters, props, mood lighting and the animation with and addition of the 3D camera similar to the film camera.
primitives (like POV-Ray), others use primitives only for modeling and convert them to meshes for further operations and rendering.
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.
2-4 March 2010 VISIT US | STAND ZS33
www.tedial.com | T. +34 902 94 55 00 | contact@tedial.com
64 MARCH 2010
Sculpt modeling - 3D sculpting has become very popular in the few short years it has been around. There are 2 types of this currently, Displacement which is the most widely used among applications at this moment, and volumetric. Displacement uses a dense model (often generated by Subdivision surfaces of a polygon control mesh) and stores new locations for the vertex positions through use of a 32bit image map that stores the adjusted locations. Volumetric which is based loosely on Voxels has similar capabilities as displacement but does not suffer from polygon stretching when there are not enough polygons in a region to achieve a deformation. Both of these methods allow for very artistic exploration as the model will have a new topology created over it once the models form and possibly details have been sculpted. The new mesh will usually have the original high resolution mesh information transferred into displacement data or normal map data if for a game engine. Creating a new model from scratch requires one to build a model from a set of “primitives,” which include objects such as spheres, cylinders, cubes, and so forth. The designer has the ability to attach these objects together, or perform a variety of transformations such as stretching vertices, twisting objects, and so forth. In many cases, a designer will tap into a library of existing models
www.digitalproductionme.com
We are now in your
backyard
With its UAE office in place, WASP3D is 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...
CABSAT 2010, 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 3D PRODUCTION
and modify them as appropriate, since creating new models entirely from scratch would take far too long for a project that may easily include hundreds of similar images. Finally, the designer might use another type of product called a “3D sculpting” programme (such as Zbrush) to add natural looking features to the model, such as wrinkles or cracks. Modeling can be performed by means of a dedicated programme e.g., formZ, Autodesk Maya, Autodesk 3DS Max, Autodesk Softimage, Blender, Lightwave, Modo or an application component like Shaper, Lofter or some scene description language (as in 66 MARCH 2010
SHADING AND TEXURING
apps offer a wide range of textures and shaders in order to get the desired look and feel on your 3D character or scene. Materials, also known as Shaders are a collection of various different properties like the shininess, roughness, texture (bump), reflectivity, especially in the case of metals, glass, mirrors, etc. A shader further allows for different values, colours and maps to be assigned to various properties and achieve the end result to the 3D model. With a combination of different shaders and maps one can achieve very realistic looking human skin, metals or rust, skies, grass, etc. Maps can be generated in different ways. The software apps themselves have preset maps, called procedural maps like checkered, noise, clouds, and gradients. Maps can be scanned photographs, hand painted digital images from Adobe Photoshop or other paint programs. Maps can also be directly drawn onto the surface of the 3D Model. Mapping or Texturing is more like wrapping a box (3D model) with a gift wrapping paper (Material). The challenge is when the mesh is organic and of an uneven shape. To get the map to fit exactly where you required one can access texturing tools like UVW mapping, provided by most 3D softwares. The standard UVW wrap and unwrap tools provided are limited to primitive shapes like cylindrical, spherical or box. These however, may not be effective with materials like skin on complex meshes like face or body of a character, where you have to place the lips, eyes, cheekbone highlights in specific areas. UVW unwrap provides ideal solution to this problem. Most 3D softwares like Autodesk Maya, Softimage XSI, 3DS Max, Lightwave, Houdini, Rhino, Cinema 4DXL provide all texturing and shading tools to achieve the desired look and feel of the 3D scene or model. There are some advanced texturing features and tools in certain softwares like Autodesk Mudbox or Zbrush.
Think of Shading and Texturing as a process of painting and varnishing the grey model that you have just sculpted. Various software
Amitaabh Naaraayan is a 3D and SFX professional.
POV-Ray). In some cases, there is no strict distinction between these phases; modeling is just part of the scene creation process, for example, with Caligari trueSpace and Realsoft 3D. Complex materials such as blowing sand, clouds, and liquid sprays are modeled with particle systems, and are a mass of 3D coordinates which have either points, polygons, texture splats, or sprites assign to them.
www.digitalproductionme.com
Visit us in Cabsat 2010: March 2 4 at ZABEEL HALL, stand ZE 21, Dubai International Conv & Exhibition Centre
Another “FIRST” from Tek Signals has been entrusted to setup first of its kind 3G based Studio & Control Room in Middle East
Tek Signals “the expert choice” of customers Offering the most comprehensive and reliable technology for Television projects. Tek Signals sets high standards in the fields of Broadcasting, Telecommunications, Test & Measurement, Multimedia, Education and instrumentation Systems. Tek Signals is an innovator and leader in Technical competency and Workmanship
Following the latest innovations in the Broadcast Technology Tek Signals help smooth transition to High definition/3G TV and other latest standards in TV, Telecommunication, Multimedia, Education and instrumentation
BEST SYSTEM INTEGRATOR OF MIDDLE EAST
Head Office: Tek Signals, Broadcast and Professional Systems Division, P.O Box 47520, Abu Dhabi, UAE, Phone: +971 2 6272701, Fax: +971 2 6272702, Email: tsignals@emirates.net.ae, Website: http:www.teksignals.com Branch Office: Tek Signals, P.O. Box 500608, Building 4, Office 109, Dubai Media City, Tel: +971 4 3902099, Fax: +971 4 3908142
EDITING 3D PRODUCTION
ASK THE EXPERT
HOW IS WIRE REMOVAL DONE? Wire removal is one of the most important and difficult invisible visual effects. In an action movie, there could be hundreds of wire removal shots. A production technique called a “wire gag” is used where actors are rigged up with wires to suspend them in scenes where they appear to be flying or jumping off high rises. Wires are also used to secure them if they have to appear to be thrown off by a speeding vehicle or an explosion. Very simply, wire removal can be done in two ways. If your live action is recorded with a locked-off camera, then you could have clean plate as well as your plate with characters and rig/wire. Later, you could use this clean plate as source for your rig/ wire removal. The next technique is pretty straight forward as you manually erase wire using reveal tool just like clone stamp in Photoshop. If the live action plates of actors or models suspended on wires are filmed in front of a green screen, VFX artists can simply erase the wires frame by frame, without worrying about erasing the backdrop, which will be added later. If the sequence is not filmed in front of a green-screen a digital editor must 68 MARCH 2010
hand-paint the lines out. A common technique is to mask out the wires and then using that mask (depending on what is behind the wires), mix in the surrounding sides over the wire. The simplest way to do that would be to stabilise the plate around the wire so it is as still as possible, do your removal, and then apply the camera move back to the plate. To remove a wire from a shot, a background frame is created for the area covered by the offending item. This background frame with the item removed is called the “clean plate.” Making the clean plate requires movement between the target item and the background so you can select “clean” regions from different frames where the item is absent then assembles them into a single clean plate. The clean plate has to then be aligned with the original shot and if the shot has a camera move you will have to use motion tracking. The clean plate nicely tracked to the background, so the final question was the best way to composite the clean background over the offending wires. The wires can be painted out using a soft-edges clone brush available in the paint feature of any compositing programme. Some of the most advanced solutions do not try and minimise the region of the frame
which is being painted or retouched. Rather, they remove the entire background and replace it with a clean background tracked in 2D to look real. Martial arts films are a good example for extensive wire work due to the nature of the rigs and number of wires needed. Replacing the original background with a nearly identical flat 2D cyclorama without any wires with carefully and accurately done 2D tracks and the correct amount of motion blur can actually prove to be less time consuming and more effective. The logical extension of 2D set replacement is a full 3D set replacement. Some productions choose to start this way and film the original plate on green screen, while others seek more realistic lighting by filming without green screen and manually rotoscoping all the key elements such as actors, and then dropping in 3D behind them. In cases where primary plate photography is not green screen, 2D background replacement techniques such as the ones listed above can be used and the matte painting is projected or mapped over 3D geometry to allow more complex 3d spatial camera moves. 3D environment replacement has grown in popularity in large part to the advances in 3D tracking and 3D automated
www.digitalproductionme.com
Courious? See you at Cabsat, Booth ZL-1
ARTIST DIGITAL MATRIX INTERCOM
The Solution for World Class Events.
Riedel Communications GmbH & Co. KG • +49 (0) 202 292 0 • rocknet@riedel.net • www.riedel.net
EDITING 3D PRODUCTION
Furnace: One of the few companies to aggressively try and produce specific wire removal tools is The Foundry in London. Released initially as plugins for Flame, The Foundry now produces a large variety of solutions for a range of applications such as Shake and Nuke. The Foundry's Furnace tools are based on producing a rotoscoped or animated spline path that can then have a variety of techniques deployed. The Foundry's spline defines the shape of the wire (straight or curved) and the width. It will then use one of four techniques to clone, average, clone to center or temporally remove the wire. In so doing it attempts to not remove film grain and instead just replace the wire. The techniques increase in computational complexity, and are generally agreed to be currently some of the best implementations.
camera software from companies such as Pixel Farm, 2d3, Syntheyes, Realviz and 3d Equaliser. Some of the most popular software applications are listed below: Matador: Matador was originally developed by British developer Parralax, and was acquired by Avid along with Parralax compositing application Illusion. This early paint product had specialised roto, paint and wire removal. Matador had strong wire tools that allowed for median painting that would remove a wire from a frame via a brush that performed median filtering. Commotion: Developed by Scott Squires, at the time an Industrial Light and Magic visual effects supervisor, then called Flipbook, was also mistakenly referred to as the a secret ILM motion version of Photoshop. Commotion’s interface and tools were designed for moving images, and was the first tool on the desktop to offer realtime RAM based playback. This realtime core functionality was the foundation for all of the wire removal tools added as the product developed. Photoshop’s rubber stamp tool is an example of spatial cloning, but it is not easily 70 MARCH 2010
automated. Temporal cloning allows one to paint pixels from one frame in a sequence to another frame. Commotion’s Super Clone tool is an example of temporal cloning. A good wire tool should provide both of these options so users can offset position and frame numbers together. Other cloning tools include wire removal tools which allow you to draw a line to zip out a wire. Typically, wire removal tools clone pixels from a specified value on either side of the line and then smear the outside pixels together to cover up the wire or scratch. More advanced wire removal tools will add advanced cloning techniques to the wire removal process. For example, Commotion looks at a specified number of pixels on either side of the line, flips those pixel values then cross dissolves to cover up the wire.
Mokey: As the task of wire removal extends to rig removal, The Foundry and companies such as Imagineer Systems also produce planar trackers. These trackers are widely used to solve wire and rig removal but are not solely aimed at these tasks. Imagineering produces a set of very impressive planar tracker solutions such as Mocha which will track a region of a shot. These regional tracking approaches allow much better "patch' style solutions since the 'patch' can now move in three dimensions and much more seamlessly blend with the original plate. Imagineering also produces automated roto tools such as Mokey which can aid in separating an object from the background. The combination of this and rotoscoping allow the 2D and 3D environment techniques discussed next to work well. Products such as Mocha and Mokey are not wire removal tools in and of themselves but impressive and valuable tools that aid more advanced solutions which would, otherwise, be impractical. Send your post production queries to vijaya.cherian@itp.com Suzzanne Rebello, 3D artist and educator in computer graphics, will respond to your queries.
www.digitalproductionme.com
HD/SD SDI EMBED / DE EMBED CARD
MY8-SDI-ED An Interface Card that Provides I/O of HD-SDI Embedded Audio Signals for Yamaha Digital Consoles onsoles
■ 1 x HD/SD-SDI Input, 2 x HD/SD-SDI Output (same signal), 1 x thru-output (reclocked) ■ Able to de-embed up to two of the 4 audio groups (4 channels per group; total 8 channels) multiplexed in a HD-SDI signal ■ Able to embed 2 audio groups into an HD/SD-SDI signal for output ■ LED audio status display Use Case
Use Case
Console in Broadcast Station
Live Broadcasting
Video Facility
SDI / AES Router HD-SDI or SD-SDI
AES/EBU
SDI Router
THRU
HD-SDI or SD-SDI IN Camcorders
OUT
HD-SDI or SD-SDI
LCD (for monitoring)
3x MY8-SDI-ED 1x MY8-AEB
MY8-SDI-ED
Video Server
VTR
Mics DM1000
DM2000
Specification COMPATIBLE HOST MODEL
HD-SDI/SD-SDI I/O CHARACTERISTICS
COMPATIBLE FORMAT
DM2000
6
48
HD-SDI I/O SIGNAL
SMPTE 292M (1.485 Gbps, 1.485/1.001 Gbps)
525i59.90
02R96
4
32
SD-SDI I/O Signal
SMPTE 259M-C (270 Mbps)
720p 50
720p 59.94
720p 60
DM1000
2
16
Resolution
24 bit
1080i 50
1080i 59.94
1080i 60
01V96
1
8
Fs
48 kHz
1080p 25
1080p 29.97
1080p 30
PM5D
4
32
Impedance
75 Ω
1080sF 24
1080sF 23.976
M7CL
3
32
1035i 59.94
1035i 60
LS916
1
8
LS932
2
16
625i 50
1080p 24
YAMAHA MUSIC GULF FZE
www.yamahaproaudio.com
JAFZA 16 - 513 P.O. BOX 17328 Jebel Ali Free Zone - DUBAI U.A.E. E-MAIL : ymgfinfo@gmx.yamaha.com
1080p 23.976
KITTED OUT COLONIA FILM
GOING CHROMAKEY
This 3000 sq.foot studio has a “top system” and includes rooms for make-up, equipment, waiting and production. The “top system” ensures that lights can be mounted on the ceiling and allows for more comfortable filming.
COLONIA-L TIES Digital Studio takes a look at some of the key facilities and kit offered by Dubai-based production house Colonia Film
Colonia Film is a full-fledged production and post facility located in the heart of old Dubai. Previously called Lorenzo Film Productions, the facility changed partners last P year to include Advanced Media Trading and ye re-branded itself as Colonia. re Executive director and producer, Yannis Zand (pictured left) claims Colonia Film is one of the (p 72 MARCH 2010
few facilities in old Dubai that provides all services under one roof including sound recording. “We provide a wide range of production services out here all the way from producing music videos, TV programmes and talk shows to voice recording and dubbing. As a result, regional clients who want to shoot in Dubai use out studios extensively. On an average, we do 85 TVCs a year,” he explains.
www.digitalproductionme.com
KITTED OUT COLONIA FILM
www.arri.com/babymax
Who’s the Daddy?
SHOOTING STARS We have several different cameras in Colonia Film right from the Sony DV and HDV to HDCAM and the XDCAM. In fact, we were the first company in the UAE to acquire an XDCAM. We have invested only in Sony cameras.
The BabyMax M18 has arrived ARRI is proud to announce the M18, first offspring of the Academy of Motion Pictures Arts and Science, Scientific and Engineering award winning ARRIMAX 18/12 presented February 7, 2009. Baby weighs 20lbs, looks just like daddy, and is already proving extremely capable and bright. Lensless ARRIMAX technology
KITTING NG UP Our kit is what distinguishes us from most other facilities. Besides having several different kinds of cameras, we also have our own Microdolly Hollywood jib and track, Steadicam and several different kinds of lights including Dedolight, Filmgear, Redhead and Cosmelights.
New 1800W lamp technology using existing 575/1200 cables Virtually the same size as a 1200W lamphead but more than 70% brighter Unique EB1200/1800 with CCL and ALF Runs from most domestic sockets world-wide 2008 ©A.M.P.A.S.® Scientific and Technical Engineering award to Erwin Melzner for the overall concept including the optical and cooling systems; Volker Schumacher for the optical design; and Timo Müller for the mechanical design of ARRIMAX 18/12 lighting fixture for use in motion picture production.
AT CABSAT 2010 ZABEEL HALL ARRI STAND No: ZP -3 ARRI Lighting Solutions GmbH Ernst-Augustin Str. 12, D-12489 Berlin, Germany Tel: + 49 (0) 30 678233 0 Fax: + 49 (0) 30 678233 99 Email: arri-solutions@arri.de
www.digitalproductionme.com
MARCH 2010 73
KITTED OUT COLONIA FILM
SOUND CHECK Our sound studio is equipped with different mics to address different requirements including vocals, audio dubbing, music and voice recording as well as narration.
MAKING THE CUT!
We have four editing suites and primarily work with Final Cut Pro, Avid Express and Edius Canopus HD. We are fully capable of undertaking SD and HD editing.
74 MARCH 2010
www.digitalproductionme.com
ADVANCING THE ART OF LIVE PRODUCTION. Whatever live event you’re watching on your HDTV, you’re experiencing Grass Valley™ HD products at work. We are proud to offer the broadest product portfolio, the greatest ongoing engineering investment, and the highest levels of customer support and systems expertise available for live broadcast professionals. The Grass Valley line of products and services encompasses cost-effective HD and multi-format solutions—from acquisition to editing, from the control room to delivery. As HD continues to become an important component of the broadcast industry, we’re ready with a full complement of technologies that are primed to build HD infrastructures.
It’s Gotta Be A Grass! For more information, please visit www.grassvalley.com
Experience the event.
See Grass Valley solutions at Cabsat 2010 on these partner booths.
Multi_Product_CABSAT_Digital_Studio_2.17.10.indd 1
2/17/10 2:39:51 PM
Interoperable. Integrated. Innovative.
Come see us at CABSAT MENA — stand ZB-21 To learn more, visit us at www.broadcast.harris.com/invenio Europe +44 118 964 8200 Sales.Europe@Harris.com
Middle East +971 4 433 8250 Sales.MiddleEast@Harris.com
ONE Company. ONE Direction. The Future.
2/19/10 10:25:06 AM M
TECH UPDATE CHOOSING CODECS
CHOOSING THE RIGHT CODEC As quality lost at the beginning of a production chain can never be recovered, end users should always opt for the best possible codec, says Ron Veel from Grassvalley When we talk about cameras in the digital world, what we actually need to consider is the file format. We’ve had digital technology, in the form of SDI, for 25 years now. What is transforming our world is the ability to handle content as digital files, where material can be moved around standard IT networks, moved faster than real time, and stored on inexpensive server arrays. The challenge is that, while analogue video and even SDI were fully standardised and uniform, there are many, many ways to compress digital content and package it as a file. One leading asset management system has more than 180 different flavours in its library, and that is certainly not all the possible permutations of video format, codec, bitrate and wrapper. Some of these variations are designed for dif-
www.digitalproductionme.com
ferent applications. If we take a self-contained Quicktime sequence, for example, it has three variants. MXF uses the frame wrapper, which as its name suggests contains a video frame with its associated audio, then the next video frame and audio, and so on. That makes it ideal for playout where you might want to start and stop at any point within the sequence, not at the beginning and end. But it is challenging to write in a low power device, so many ENG cameras use the clip wrapper, which writes all the video frames in a shot followed by the audio tracks. This is also supported by MXF. The third is a compromise version, the mixed wrapper, which has a block of video frames followed by the audio, then the next block of video frames and so on. Final Cut Pro usually produces Quicktime in this form.
Certainly standards would help in this area. MXF was drawn so widely that files generated by one device could be “MXF compliant” and utterly incomprehensible to another vendor’s “MXF compliant” system. Turner Broadcasting has taken important steps to move MXF towards a more standardised format, but it is still not universally recognised. In an ideal world, it would be wonderful to set a standard in the camcorder and never transcode or rewrap until the moment of delivery. For now, we have to acknowledge that the acquisition codec, the editing codec and the transmission codec are going to be different and optimised for each area. It is an obvious point but worth repeating here: quality lost at the beginning of a production chain can never be recovered. So we should acquire using the best possible codec, MARCH 2010 77
V myT
Cat onei sL i veCens or s hi pSys t em abl et os cal ef r om f ew channel supt ohundr eds ’ . I tcanbei nt egr at edwi t hapower f ulpr oduct i ons ys t em t hati ncl udesaMedi aAs s et Management ,f orof f l i necens or s hi p,Schedul i ngf orbr eaksandpr omos ,aswel las ver yi nnovat i vedi gi t alar chi vi ngs ys t em bas edondi s ksi ns t eadoft apes . Somef eat ur esi ncl ude: •L i ve,Cens or i ngandPr evi ew vi deomoni t or •Audi omoni t or i ngwi t hl evelmet er s •Mut i ng,beep •Over l aygr aphi cs ,di f f er ents hapes ,t r ans par ency andaut omat i ci ns er t i onf r amebyf r ame •Pas st hr ough •Vi deof oot agel i br ar yf orcutandi ns er t i on
•Countdownt i merwi t hal ar m •Pr ogr ammabl et i medel ay •Dualt i mel i ne:cens or edands chedul ed •Scr ol lbut t ont i mel i newi t hz oom upt o2hour s •Suppor tSD/ HD •I nt egr at edAD I ns er t i on •Et c.
Wei nvi t ey out ovi s i tusat Gl oc om boot hZC21 Zabeel Hal l ht t p: / / www. me di a a l l i a nc e . i t
Bec onne c t e d,Xpl or eyourme di a ! e ma i lt o:ma r ke t i ng. me da l l @me di a a l l i a nc e . i t
I TALY/UNI TEDKI NGDOM /RUSSI A/USA/HONGKONG/CHI NA/KOREA/SI NGAPORE/THAI LAND/EGYPT/U. A. E./TURKEY/KAZAKHSTAN
TECH UPDATE CHOOSING CODECS
with the best budget we can aord. We should not be forced into quality compromises just because we are recording a ďŹ le rather than to linear video tape. The television standard has been set for some time now as 10 bit 4:2:2 digital sampling and its equivalent in HD. Digital cinematography applications may go even higher, but this is a good standard for television. 10 bit 4:2:2, in high deďŹ nition, can be captured using AVC Intra or JPEG2000, and for premium work, I would suggest that these are the codecs to be considered. Eight bit quantisation, or 4:2:0 or 4:1:1 colour sub-sampling, will produce visibly inferior image quality in most productions, and will cause big problems in green screen work. The dierence between AVC Intra and JPEG2000 is that the ďŹ rst is an MPEG-type codec which splits the picture into blocks, whereas JPEG2000 uses a dierent mathematical compression process, known as wavelets. The AVC Intra standard also encourages the use of temporal compression: using information from
Although in an ideal world, it would be wonderful to set a standard in a camcorder and never transcode or rewrap until the moment of delivery, we have to acknowledge that the acquisition codec, the editing codec and the transmission codec are going to be different and optimised for each area.
&XULRXV" 6HH \RX DW &DEVDW %RRWK =/
52&.1(7 3(5)250$1&( $8',2 1(7:25.6
7KH 6ROXWLRQ IRU :RUOG &ODVV (YHQWV
5LHGHO &RPPXQLFDWLRQV *PE+ &R .* ‡ 8HOOHQGDKOHU 6WU ‡ :XSSHUWDO ‡ *HUPDQ\ ‡ 3KRQH ‡ ZZZ ULHGHO QHW
www.digitalproductionme.com
MARCH 2010 79
TECH UPDATE CHOOSING CODECS
one video frame as the basis of other frames in a group of pictures (Gop). JPEG2000, on the other hand, is always an intraframe compression scheme with each individual frame complete in itself. This relieves the pressure on the editing system, as well as maintaining quality. The other consideration to be made is that higher quality codecs use a higher bitrate, and higher bitrates mean bigger ďŹ les. Just as quality should not be compromised because we have moved to ďŹ le-based acquisition, we should also look at convenience. If we are used to recording 90 minutes onto a tape, then we should be able to record 90 minutes of ďŹ les onto whatever recording medium we select. Some applications, of course, will not require very high quality. News footage is unlikely to need sophisticated post production much beyond cuts only editing, and so lower grade video formats and codecs may well be appropriate, running at lower bitrates and thereby increasing recording time. As well as recording capacity, the choice of bitrate will also be driven by constraints in the
post production system. A one hour drama production with a 20:1 shooting ratio will generate around a terabyte of top quality raw footage, but with today’s commodity Raid arrays that is not an issue for a standalone editor. On the other hand, news production means moving quickly, and so there is pressure to ingest the rushes into the production network and transfer the content to multiple editors as quickly as possible. That might lead you to choose a lower bitrate codec, to trade quality for convenience. The important message, though, is that in planning for ďŹ le-based environments the acquisition format or formats have to be the primary consideration. This sets the quality standard for the rest of the network, and it should be maintained as far along the pipeline as possible. With today’s technology, that bar can be set very high indeed, with 10 bit 4:2:2 high deďŹ nition and excellent compression algorithms, now readily available in practical and aordable camcorders. Ronny Van Geel is camera products manager at Grass Valley.
&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
MARCH 2010 81
FACE TO FACE MIKE WHITTAKER
THE SHOW BEGINS
AT OSN The merger of two of the Middle East’s biggest pay TV rivals, Orbit and Showtime, sent shockwaves through the broadcast industry last year. The merger was not a simple business affair; it also required significant technical undertakings at both organisations to ensure that viewers would benefit from the partnership. In an exclusive interview with Vijaya Cherian, Mike Whittaker, VP of Broadcast Operations & Technology, Orbit Showtime Network (OSN), discusses some of the changes implemented at the organisation. What was the first and immediate project you undertook following the merger in July 2009? As Marc-Antoine [d’Halluin, CEO of OSN] said, the whole focus since we merged has been to ensure that the customer feels the benefit so one of the first things we did after the announcement was made was to make sure that we broadcast a small selection of channels from each operator on the other bouquet as well. Our next big focus within a month of doing that was to add two new transponders to the Nilesat position on 7 degrees East with thirty five additional channels from Orbit on it. Previously, Orbit was on 25 degrees and Showtime was on Nilesat 7 degrees West. This year, we will migrate our customers from 25 degrees to 7 degrees. 7 degrees is the home of the OSN platform. We wanted the new customers and existing OSN customers to see the benefits of having 35 more channels on their bouquet.
What did it entail? This was a massive undertaking in terms of securing the satellite capacity, the mux and encoding equipment for 35 new channels, the 82 MARCH 2010
channel and schedule information added to the EPG and the channels included in the correct packages. It’s been really good to have these kinds of projects to work on since the merger was announced. It provides a really good opportunity for our technology and broadcast operations teams at the Bahrain Network Centre and Dubai Media City to work closely together.
Are you retaining your Bahrain centre? Yes, absolutely. There’s a lot of sense in keeping two broadcast centres as we have very strong capabilities in terms of both our people and our technology. We are in a very lucky position to have two broadcast centres, which means if there is a problem on one site, we have a backup in the second area. We have also split our playout operations between our two centres. Bahrain will play out general entertainment (GE), News and the Arabic channels while Dubai will focus on movies, sport and VOD services. This means we’ve had to migrate thousands of hours of material from Bahrain to Dubai and vice versa.
www.digitalproductionme.com
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
FACE TO FACE MIKE WHITTAKER
Since October, our focus has been on migrating this material. We use different scheduling systems – Harris in Dubai and MSA Focus in Bahrain, and a key part of the migration project was not just moving the media but also the corresponding metadata and subtitles. This was a massive undertaking on which both our media operations teams and the programming worked together, not just to move the content but also the metadata. Once we knew how we were aligning the material and what would be played out, we knew all the GE material would be ordered straight into Bahrain and all the movie material ordered straight to Dubai.
Is the content migration project complete? There are still a few hours of movies in Bahrain and GE material in Dubai but we now have more formalised structures in place.
Will you consider shifting everything to one system instead of having two? Each of our broadcast centres has a content management system that is well integrated into the systems and workflows of the respective sites. Neither system is broken at this point, so we do not need to fix anything. Each centre will continue to run on the systems they are currently using.
How are you undertaking this migration if each operation is running on a different system? We have different infrastructures between Bahrain and Dubai. Bahrain is a mix of tape and tapeless and Dubai has a tapeless operation. When doing the migration, content that was being moved from Dubai to Bahrain was moved on terrabyte hard drives. Content from Bahrain to Dubai was delivered on tape and ingested into the system using the usual workflow. We were moving post-complianced media so it was just a matter of ingesting it and then, exporting all the programming information including the metadata that existed in Harris or in Focus. Getting that migration right is the trick. Once you have set the rhythm, it is easy to click and drag everything. It was just a matter of making sure that the metadata was consistent.
How many people are involved in this job? I’d say about 30 people.
Was the integration a nightmare? No. It was clear what we were working towards – prelaunch on February 1 – and the people involved wanted to make it happen and everyone realised how good it was to have a project like this to work
84 MARCH 2010
on very early on in a merger. Of course, the Bahrain and Dubai centres have different house styles but it was just a matter of finding a common path and doing things a bit differently.
You recently launched a HD bouquet. What technical issues will you have to address to bring HD to the viewer’s home? We launched three HD channels on February 1(OSNHD Movies, Discovery Showcase HD and Nat Geo Wild HD), and we hope to add another five more in summer. HD meant adding another transponder in the 7 degree position. There is a lot of setup work involved in handling the OSN HD movie channel such as the file formats we will be using and how we will be handling Dolby. I don’t believe anyone else is offering Dolby at the moment here. We’ve begun broadcasting in AC3 (Dolby Digital) to give our viewers the complete HD experience in terms of both the image as well as the sound. We are looking at moving to AC3+ (i.e. Dolby Digital Plus). We’ve had great support from Dolby. In the case of Dolby, we have had to look at how to maintain the Dolby signal and its metadata when we edit material. You need to remember that. We’ve traditionally broadcast in stereo but are increasing the amount of material we are broadcasting in Dolby on our HD services. It’s an evolution as we ramp up the whole
Each of our broadcast centres has a content management system that is well integrated into the systems and workflows of the respective sites. Neither system is broken at this point, so we do not need to fix anything. Each centre will continue to run on the systems they are currently using.
www.digitalproductionme.com
FACE TO FACE MIKE WHITTAKER
thing. Right now, we’re offering our customers both Dolby 5.1 and stereo so they can configure their set top box (STB) to get Dolby 5.1 or just stereo. On the back end, when you have to handle the media in terms of the ingest, the QC and the compliance editing, you also have to keep in mind that you are not just editing the picture but also six tracks of audio. Additionally, you also have to consider your dial norm settings, which is a metadata parameter that controls volume and needs to be set against the normal dialogue levels of the content. We hope to run promos on our channels to educate our viewers on the Dolby experience just as we did when we launched the region’s first widescreen channels three years ago.
When will your subscribers actually get to watch the HD channels as I believe it will take time for your STBs to be rolled out to everyone? It’s happening now, as we speak. There will be a range of set top boxes we can provide this year. We will start with the HD Zapper and then, the HD DVR. Those who have basic stuff will get the basic stuff and those who previously had the DVR features will get the same in HD. The swap will begin to ramp up in the coming weeks. It will be a matter of time before we can say everyone is capable of receiving it but our HD services are already available on du and E-vision.
What HD format are you following? We’re broadcasting at 1080i, which is the best picture possible at native resolution and in MPEG 4, DVBS-2. We are using new Harmonic mux and encoding for the HD services. We plan to ultimately switch all our channels to MPEG-4 as it provides greater bandwidth efficiency. We can take advantage of new, better encoding algorithms as MPEG-4 requires less e bandwidth. That’s going to be another thing on b our o To Do list, where we change everything to MPEG-4 technology in the next 12 months. M
86 MARCH 2010
www.digitalproductionme.com
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
FACE TO FACE MIKE WHITTAKER
The market leader in mass door-to-door distribu on and controlled bulk distribu on of magazines within the UAE.
There is a lot of setup work involved in handling the OSN HD movie channel such as the file formats we will be using and how we will be handling Dolby.
Is it easy to bring HD channels to the region?
Tailor made distribu on solu ons to suit your requirements Distribu on 100% controlled by Blue Truck employees (no external management or distributors) Comprehensive in-house audit and repor ng structure - We also welcome external audits from the company of your choice A full solu ons package, including Design, Photography, Prin ng, Distribu on
+971 4 282 6333
Associate member
There’s a lot of work to do and some of this includes working with our partners. If you want to show Discovery HD, we need to receive Discovery’s feed into one of our broadcast centres. We are very fortunate to get Discovery and Nat Geo Wild to make the signal available here. But there are questions you need to ask. For instance, how do we receive a HD signal from a particular broadcaster and make it available in the region? This is our first question. Can we see it? Then it’s trying to understand whether they are broadcasting in 1080i or 720p and with Dolby or not. In some respects, HD is still new to everyone and a lot of thought needs to be given to it before you venture into it. We have been talking to our industry colleagues who are doing HD in Europe and have been holding discussions on some of the issues they are facing and this has helped us to address them before going ahead with our HD implementation.
Can your viewers watch the EPL in HD? Yes, of course. We have made the Premier League matches available on OSN HD, which can be viewed on E-vision or du.
88 MARCH 2010
www.digitalproductionme.com
more engineers. more innovation. more award winning products
+1.902.823.5131
MOREFM VS SERIES
NV SERIES 3.5 – 88kW
MOREMW NX SERIES 25KW – 2MW
+
MORECONTROL Nautel offers the industry’s broadest portfolio of digital/analog solidstate transmitters including 1kW to 2000kW MW and 300W to 88kW FM models. Outstanding reliability, global presence, efficiency and exceptional support have resulted in more than 8000 Nautel transmitter deployments in 176 countries. Expect more from Nautel.
See us at Stand Z-32
Making Digital Radio Work. See what more looks like at nautel.com/expectmore/
INTERVIEW DOMINIC BAILLIE, TAJ TV
TAJ TV
TAKES FUTURISTIC APPROACH
As a leading player in the sports content arena, Vijaya Cherian asks Dominic Baillie, VP of Engineering, Operations & MIS at Taj TV, whether HD is on the agenda and what key technical initiatives the broadcaster will undertake in 2010 Dubai-based Taj TV has always been known to be a quiet player yet very successful in the market. Although the broadcaster is not yet broadcasting in high definition (HD) , its Ten Sports channel is one of the most watched sports channels across Asia. The broadcaster’s two studios are constantly in use for its own channels and external hire, although currently equipped for standard definition (SD) production. Normally associated with cricket, there is a wealth of sport including most major European football leagues and championships, hockey and wrestling spread across the ten channels broadcast from the facility in Dubai’s Media City. Taj TV has focused on securing rights to matches and competitions that attract the masses in Asia – a business strategy that has worked well for the company in previous years. But does this mean that HDTV is not on the cards? Baillie says he does “not see why HD should be singled out as a project, or a target”. 90 MARCH 2010
“It is simply part of an evolution. It’s just another format, as is 3G and then, 3D and then whatever else follows that, which could be Super 3D, Holographic TV and so on,” explains Baillie. “The industry is not what it once was. There are many more channels fighting for subscribers and advertising. The broadcasters in this region face even bigger competition for rights and revenue. HD is a USP (unique selling point) and as such, only effective for a brief period of time before it will be superseded by the next technology. Demand is driven by a combination of the penetration of capability into the homes of consumers, availability of content, availability of distribution bandwidth and market competition. All of these factors need to come together to present a business case for investment,” he states. But having made the point that Taj TV is not specifically moving towards a HD goal, Baillie also assures us that the broadcaster can launch a HD service at any given point in the future without huge changes to its existing set up. “A lot of the infrastructure is HD ready; my
team has already completed detailed designs, identified products and could launch an HD service very quickly when the time is right,” he says. The question, according to him, is not whether a broadcaster should go with HD or not. The question is, whether a broadcaster should be enslaved to a specific format or adopt a formatindependent approach so that new evolutions in technology don’t compel a broadcaster to undertake huge migratory paths, he asserts. According to him, “it’s hard to find non-HD equipment these days, and most equipment comes with an upgrade path to 3G and beyond, so most broadcasters invest in this naturally”. “When I buy equipment, I buy the best I can afford for the purpose. I design systems around what is the best-available technology and not necessarily toward a goal of attaining a specific format capability. In fact, I try and design systems that are format agnostic to avoid re-inventing the wheel every time technology moves forward. I take technology advancement into account when building infrastructure and laying cable. Like any good engineer, I look to buy the
www.digitalproductionme.com
INTERVIEW DOMINIC BAILLIE, TAJ TV
The industry is not what it once was. There are many more channels fighting for subscribers and advertising. The broadcasters in this region face even bigger competition for rights and revenue. HD is a USP and as such, only effective for a brief period of time before it will be superseded by the next technology. — Dominic Baillie, VP of engineering, Taj TV most advanced options available, specifically for the core products that are harder and more expensive to replace. Cheaper edge products are where format should be considered, they can then be replaced at lower cost as technology progresses,” he explains. There is no question, however, that Taj TV will also launch a HD service at some point in the future, according to Baillie. The broadcaster will do this when the format becomes more widely adopted by its customers. “I could launch an HD service today, but what would be the point if nobody can watch it?” he questions. “Launching a service is relatively easy, but only a small part of the bigger picture. Once the market, the content, and the demand is right, we will be there. As for the studios, we are ready to equip them with the latest technologies. However, none of the customers who are using our facilities right now have a HD requirement so there is no business case 92 MARCH 2010
for investment at this time,” he points out. However, he agrees that as one of the largest providers of sport, the HD format brings a greater viewing experience to customers. “Live events are the only real asset left to broadcasters. We can watch movies and series at any time; there is less urgency. With sport, it’s all about the moment. We are committed to providing the best sport experience we can to our customers. This doesn’t just apply to format; it means variety, analysis and interaction, whatever can add to the enjoyment of the event. We switched to MPEG4 last year; we also streamed content on the Web combined with commentary analysis and user interaction. HD is short-sighted; it’s my job to focus on all technology, formats and delivery methods available to us. There is more to life than HD, we’ll do whatever makes sense to succeed and enhance the experience of our customers,” he adds. “Having said that, Taj TV is currently focused on undertaking more sophisticated improve-
ments to its broadcast infrastructure, postproduction studios and archive this year. The TV station is currently looking “to bring together a range of broadcast and IT technologies to build an ‘essence engine’ central to all our systems”, according to Baillie. While the popular term in the industry is ‘media asset management’, Baillie believes that Taj TV is looking at “something that is a step ahead of the current technology”. “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. With this kind of system, all engineers, operators and heads of departments will have access to “essential information of both the video data and systems, enabling effective planning and pre-emptive intervention,” according to the tech head. Everyone will be able to detect, identify and manage issues before they impact performance, he says. Information will be presented in a way that is suited to its target audience. As no single solution in the market will help the broadcaster achieve its ambitious goals, Baillie believes that his new team of engineers will be able to combine existing market solutions with their own engineering skills to create something new and customised to cater to Taj TV’s new goals. Although this is a long-term project, Baillie believes that the station has the right engineering skills in place now to execute this vision. “These are the kind of projects that Taj TV hopes to drive. As I’ve stated, HD is not our goal, it is already old technology. We need to have in place format agnostic solutions that will enable us to utilise our investments to its fullest,” explains Baillie.
www.digitalproductionme.com
Welcome to a World of e-motion. E-motion Films produces TV commercials, corporate & event films, marketing, safety and training videos, as well as interactive contents, feature and 3D stereoscopic films from scratch to completion. As executive producers or service providers, we assist local and foreign production houses in the Gulf.
+971 4 375 68 59 infos@emotion.ae www.emotion.ae
e-motion international fz llc Dubai Studio City – Boutique Studio 11 Po Box 502 798 Dubai – United Arab Emirates Fax: 00971 4 425 35 61
a member of
group
CABSAT 2010 PRODUCTS
AEQ CELEBRATES ME SUCCESS AEQ will be at CABSAT to showcase its solutions and also speak about some of the projects it has completed in the Middle East. The audio specialist recently undertook a major installation at TRT, the Turkish Radio and Television Corporation. TRT, which presently runs six TV channels, recently acquired five AEQ ARENA digital audio mixer to digitise its facilities. The AEQ ARENA supplied to TRT includes 15 faders and can support up to 135 different audio signals. The modular design of this audio engine allows for the free configuration and customisation of the I/O to suit the
needs of each customer. There are dedicated modules for analogue line signals, digital AES/EBU or SPDIF signals, microphone inputs with associate phantom power, headphone outputs (primary and secondary) and multi-channel links like MADI over optical fiber. The system is designed for uninterrupted ONAIR 24x7 applications, integrating universal redundant autorange power supply and the possibility of hot-swapping modules for maintenance of its different parts without affecting the emission.AEQ has also had several recent successes in Egypt, Syria and Jordan.
STAND NO: ZS-31
AL MAZROUI DEMOS BELDEN & ADC Dubai-based distributor Al Mazroui will showcase a range of products from Belden and ADC at CABSAT. New developments from Belden including the new hybrid fibre SMPTE311 HD camera assembly and HDMI cables for HD audio and video will be displayed while different patching systems and camera connectors from ADC will also be on show. Belden is set to focus on cable developments for HD, which offer extended broadcast quality. One highlight will be the upgraded Tactical Fiber cable that is primarily used for long-haul HD transmissions from mobile trucks. Belden will also showcase its cost-effective SMPTE311 HD Camera Assembly that supports 720p, 1080i and 1080p. The new Belden hybrid fibre SMPTE311 HD Camera Assembly was designed specifi-
94 MARCH 2010
cally for HD-fibred broadcast cameras and is designed for studio and field camera applications, requiring multiplex audio and video signals and power. Al Mazroui will also showcase the Belden’s heat-resistant Hybrid Fiber cable for HDTV cameras, the CATV Multicore cable for multi-switch systems, the NanoSkew Brilliance VideoTwist in S/FTP design, the expanded line of FRNC speaker cables and halogen-free solutions. A range of ADC solutions for HDTV & Broadcast connectivity including the ProPatch Miniature (PPM) Series Patching System, the ProPatch Programmable (PPP) Series Patching System, the UniPatch GigE Patching System and ProAx connectors and patching systems will also be available. STAND NO: ZA-1
www.digitalproductionme.com
HERE YOU ARE WT TelepoA Techn rt of the ology y 2009.ear
Visit us at CabSat 2010 Dubai, March 02-04 Booth Hall 2 E2-11
Satellite 2010 Washington, March 16-18 Booth 817
So many paths to choose from. So many technology providers, so many IP over satellite solutions. So many plans in your head. Time to choose. Time to get the facts straight. Fact #1: No technology provider offers in-house hardware and software expertise like Newtec does. Integration should not cost you extra.
IP Transmission Equipment
Fact #2: No IP trunking solution suits your changing business needs like Newtec’s Elevation. Basic to cutting edge, Elevation grows comfortably with you, at your pace. Many paths will present themselves to you, but only one leads to the ROI you want. And here’s another fact for you: no technology provider has gone as far down the satellite path as Newtec. We set the standard.
IP over satellite by Newtec, from high performance to unmatched performance
All things considered, maybe this is not such a tough choice after all. The name is Newtec. The solution is Elevation. And there you are.
Newtec
Did you know our cutting edge FlexACM solution guarantees 100% signal availability under all circumstances? Get full FlexACM specs on www.newtec.eu/FlexACM Belgium
|
USA
|
Singapore
|
Dubai
|
China
|
Brazil
www.newtec.eu
CABSAT 2010 PRODUCTS
ANNOVA EXHIBITS WITH QVEST Annova will demonstrate the latest version of OpenMedia, its Advanced News Management System, at partner QVest’s stand. The new release dramatically improves story planning thanks to a StoryBin feature that empowers journ alists and editors to systematically link together all scripts, assets and resources relative to a specific story. Better, it automatically trails these assets across the workflow so as to ensure consistent tracking of allocated resources and produced outputs. The
introduction of StoryBin in version 3.6 provides a powerful tool to automatically aggregate all assets associated to any specific subject matter. Collected information can include any relevant information including scripts, CGs, videos, URLs or cost attributes. It can be automatically forwarded to a third-party enterprise resource planning (ERP) or date warehouse system. Real-time reporting of linked costs and budget allocations is facilitated. STAND NO: ZB-2
ARGOSY GEARS UP FOR CABSAT CABSAT will see the Middle East debut of some of the latest Argosy fibre management tools including a sample of the ADC Modular Fibre Optic frame and the company’s BendBright-XS ruggedised fibre optic cables. With its reduced bend radius single mode fibre cable, BendBright provides good resistance to macro bend attenuation allowing it to be handled in the same way as traditional copper cable. The benefits include added versatility, reduced installation time and minimal fibre damage, making BendBright-XS best suited for deployment in confined spaces patch cables, high density areas and outside broadcast vehicles. The BendBright-XS cable is the first fibre of its kind on the market and is unique in its ability to fulfil all three relevant ITU recommendations — G.652.D, G657.A and G.657.
CABSAT will also see the introduction of the latest Miranda NVISION Compact routers. Ideally suited to utility routing applications where space is at a premium, the Miranda NVISION Compact routers are available in a comprehensive array of formats, including 3Gb/s, HD, SD, AES, analogue video and analogue audio, as well as machine control. These compact routers are available in sizes from 16x4 up to 32x32, and are housed in 1RU or 2RU frames for maximum space efficiency. Look out also for the ADC modular fibre optic frame. The modular front facing concept allows users to have patch, splice and patch cord management all within a 600x300mm footprint. This frame secures the correct cable routing and bend radius to ensure there is no loss of quality or breakages in a fibre circuit.
STAND NO: Z-3
96 MARCH 2010
www.digitalproductionme.com
the results couldn’t be any clearer We do a wide range of productions – news, sports, corporate, reality and more – in HD. After comparing the 19x7.3 to competitive lenses, we went with Angenieux. Not only is it the most cost effective lens in this class, it's a convenient size and can focus down to .6m for close-up interviews. Rick Smosky Director of Photography Rick Smosky Inc. As a smaller company with international clients, we need maximum versatility, value and performance. We depend on the Angenieux 19x7.3 lens for convenient features like variable zoom control and double extender for golf coverage. We've been rewarded with honors and with satisfied clients, so we're sticking with Angenieux. Paul Piasecki Director of Photography Ko-mar Video Productions
The only lenses we use in our HD studios are Angenieux. We've used Angenieux lenses for over 20 years on major projects like Jazz Fest as well as nationally aired shows. Angenieux is very responsive – they've sent critical items to us overnight when needed – and their image quality is the best. Larry Allen Engineering Section Manager Louisiana Public Broadcasting
images +33(0)4 77 90 78 99 • www.angenieux.com
CABSAT 2010 PRODUCTS
ARRI LIGHTING SHINES AT CABSAT ARRI Lighting will showcase a range of solutions at CABSAT including a trio of LED-based lights, its TRUE BLUE fixtures and two powerful lampheads. ARRI’s LED-based lighting products — the PAX Panel, the Background Lighting Module (BLM) and the LED Caster Series — are especially worthy of mention. The ARRI PAX Panel boasts an advanced light control system utilising eight (8) Leo modules, the LED light engine, and intelligent algorithms to ensure consistent illumination in both colour stability and light output. A wireless controller option provides remote control for adjusting colour temperatures, HIS settings and the selection of colour gels based on 3200K or 5600K sources. The ARRI PAX Panel is provided in two kit configurations. The ARRI Background Lighting Module is designed for cyclorama, screen, and rear illuminated panels. These LED units are available in both RGB and Warm/Cool White modules, allowing for various configurations and providing vibrant background colour combinations. ARRI will also unveil its LED Caster Series. This uses a tuneable white source with a special optical design to provide single shadow rendering and
adjustments over a range of correlated colour temperatures. Since the Caster series offers a CRI of 90, colours appear more vivid and lifelike on digital and film media than single colour white or RGB LED configurations. ARRI Lighting will also demonstrate its new line of TRUE BLUE DAYLIGHT lampheads at CABSAT. This series consists of four new products including the D5, the D12, the D25, and the D40. These fixtures are lower in weight than their predecessors. ARRI will also showcase its M18 and AS18 lampheads at CABSAT. With a beam angle (HPA) adjustable from 20 to 60 degrees and a wide usable field angle, the M18 is designed to be both intense and efficient. When narrower beam angles are desired, ARRI offers the AS18.
STAND NO: ZP-3
TED AUTOCUE GETS STARTED Autocue’s new Starter Series teleprompters are aimed at small production and AV companies, education, corporate and government institutions, and come in a range of monitor sizes (7” to 17”) or as a conference system. Within the range is a lightweight and portable hardware system that turns the iPhone into a hand-held teleprompter. All systems include PC or Mac software and are available for next day delivery. Expect also to see Autocue’s QSmart newsroom system. This professional, modular solution – including scripting, rundown management, prompting, automation, media storage and playout – targets a similar group
98 MARCH 2010
of customers looking oking for customised mised solutions at aff ordable prices. ffordable The product is popular within thin the education ducation sector, ctor, with several veral media course installations in UK and US universities during 2009. 009. A selection of Autocue’s solutions lutions will be demonstrated d at CABSAT. STAND NO: ZN-1
www.digitalproductionme.com
CABSAT 2010 PRODUCTS
BE ENHANCES RADIO EXPERIENCE Broadcast Electronics’ (BE) AudioVAULT FleX is a robust system with dozens of tools that can help create, manage and broadcast content. AudioVAULT FleX is used for audio ingest and storage from simple dubbing to a cut and paste editor. Included is the ability to quickly record news actualities or phone bits, and break long-form bulk feeds into individual pieces. In addition to an editor, AudioVAULT FleX is based on open architecture so broadcasters can import audio produced in most multi-track editors, eliminating the time it takes to rebuild inventory. A VoiceTracker tool is also useful for stretching programming resources without sacrificing on-air sound, giving operators the ability to voicetrack as far in advance as their schedules allow. The AudioVAULT FleX’s scheduling tools are also developed around an open standard for easy access to existing music libraries that can be combined into one complete schedule with news, weather, liners and talk segments. AudioVAULT FleX can be set up to constantly scan directories on the station network, so all operators have to do is export the schedule from a music or traffic program; AudioVAULT
will do the rest. For delivering programming on-air, AudioVAULT FleX can do anything from being a simple automation package to a full digital storage and playback system. It is especially good at live shows and studio operations. Once the daily playlist is generated, each event is instantly available, similar to having all CDs pulled for the entire day. Enhanced Quick Starts give operators access to an unlimited number of on-screen buttons, which can be instantly configured to playback audio. AudioVAULT FleX also has a customisable interface that lets individuals create the workspaces that will enhance their productivity and creativity.
STAND NO: ZL-2
DATAVIDEO DEMOS FLY AWAY KIT The Datavideo HS-2000 is a compact, full HD 1920 x 1080 broadcast quality HD-SDI mobile video studio that is ideal as a fly away kit. The HS-2000 is designed around the Datavideo SE2000 five channel 10-bit HD-SDI, HD Component and DVI video and audio switcher. Other features include 14 pre-stored logos, digital clock display, five user set up, title overlay and DVI-D connection for presentation software. The integrated audio mixer with balanced XLR connectors allows up to four channels microphone or line audio inputs. The HS-2000 also includes a multi-image video output via Datavideo’s TLM-1700 a 17-inches HD/SD monitor, a six way ITC-100 Intercom System complete with five ITC-100SL belt pack units. To avoid the mess and incon-
100 MARCH 2010
venience of in¬dividual power supplies, Datavideo HS-2000 comes with an integrated PD-1 power distribution centre. It provides a simple and secure solution for connecting all of the integrated equipment from a single socket. The Datavideo SE-2000 full HD video and audio switcher enables the user to switch seamlessly between video and audio sources and blend high-quality digital content on the fly, even without external genlock.
STAND NO: ZA-21
www.digitalproductionme.com
CABSAT 2010 PRODUCTS
HARRIS AT CABSAT
IRT DEBUTS NEW MIC FOR SPORT
Harris Broadcast Communications will demo products, systems and services that provide interoperable workflow solutions for broadcast, cable, satellite and out-of-home networks at CABSAT. It will show how broadcasters can manage the outputs of rapidly increasing channels and reduce operating costs through a “Launchpad” channel launch solution -- a state-of-the-art master control environment using the full breadth of its interoperability (automation, graphics, multiviewers and master control) allowing content preparation for playout to many distribution methods. It will also demo the power of its Maxiva family of solid-state transmitters that are built to provide the industry’s best RF power density in a compact, energy efficient form factor.
The Institut fuer Rundfunktechnik GmbH (IRT), one of the world’s largest and most recognised competence centres for broadcast and media technology is coming to Dubai to introduce products and solutions at the CABSAT 2010 that support broadcasters needs for cross media services, production, distribution and network planning. IRT will present a prototype of a new microphone system for the audio recording of sport events. Authentic ball sounds during football broadcasts will place the viewers at field level in terms of audio rather than in the stands. The improved sound of passes, drop shots and goalpost shots is enabled by two highly dynamic cardioid microphones that automatically track the position of the ball.
STAND NO: ZC-21
102 MARCH 2010
STAND NO: ZR-11
MEDIACAST DEMOS ATEMPO
KROMA UNVEILS QUADSPLIT SERIES The main attraction at the KROMA stand will arguably be the new quadsplit series. Available in 17” and 24”, these screens have a compact design and can smooth be migrated to HD by activating its passwords. Each of the monitors includes 10 inputs. The user can directly choose four of these inputs to be displayed simultaneously, or display one of the inputs in full screen mode. Dynamic in-monitor displays (IMDs) and tallies make it easy to identify the 10 signals. The monitor is compatible with TSL protocol for both labels and tally lights. The monitors are also provided with audio monitoring functions. They include four analogue audio inputs and built-in audio de-embedder for SDI inputs. The different channels can then be fed to the onscreen audio bars or listened through the built-in speaker or the headphone output.
For the past two years, the IRT has been conducting research on how the audio portion of football broadcasts could be enhanced by including specific ball sounds in order to get the television viewers more closely integrated into the events on the field. The scientists have found that the fast automatic tracking ability of cardioid microphones is a solution. The original idea was turned into a prototype, which has been successfully tested during matches of FC Bayern München and the German national team. Besides this, IRT will also showcase Hybrid Broadcast Broadband TV, a pan-European initiative of leading media and CE industries aimed at harmonising the broadcast and broadband delivery of TV contents.
KROMA will also showcase its entry level 3000 series, and the new HD preview line. The new preview series offers LED displays in 9”, 7”, 5” and 4”, with top resolutions and a whole range of inputs for each panel. The 3000 series, in 8.4”, 15” and 18”, included top quality SD monitors, for those environments where HD is not required, while offering affordable prices. STAND NO: LA-1
MediaCast, which is the Middle East distributor for several different brands, has recently partnered with Atempo to sell the Atempo Digital Archive (ADA), its digital content archiving platform to data-intensive environments across the media and entertainment industries in the Middle East. MediaCast claimed its customers would benefit from Atempo’s digital content archiving software solution, which is designed to simplify the data management process and integrate it into their project workflows. MediaCast will showcase, among many other solutions, Atempo’s cross-platform archiving solution at its booth. STAND NO: ZC-1
www.digitalproductionme.com
CABSAT 2010 PRODUCTS
MHZ SHEDS LIGHT ON SI PROJECTS
HD AT OMNEON
Megahertz (MHz) will be profiling its complete turnkey systems integration (SI) solutions from engineering planning, project management, design, product evaluation, through to commissioning, training and support and IT services. The company has worked with several broadcasters in the Middle East including Al Jazeera, ART in Jordan, Kuwait Television, Oman Television, Qatar Television & Radio and e.tv in South Africa. “We have been very successful in diversifying our business in these tough economic times to meet the market demands quickly and effectively. Our clients in the Middle East have continued to insist on operational efficiencies through improved workflows while ensuring capital expenditure is minimised,” said Robert Stopford, sales director at MHz. “To achieve this, we offer a two-pronged strategy that not only focuses on those customers with projects to invest in the build out of latest state-of–the-art new HD facilities, but delivers the necessary refurbish-
Omneon will demo HD workflows including easy, flexible multiformat playout based on the new MIP-5501, part of the MediaPort 5500 series. The MIP-5501 will be featured performing back-to-back playout of SD and HD clips on the same timeline, with realtime up- and downconversion enabling a mix of MPEG and DV formats. The Omneon MediaDeck GX will give show attendees the chance to see firsthand the system’s sophisticated yet simple features including comprehensive wipes, squeezebacks, graphics, branding, and text. Omneon will also provide a “real world” demo of an end-to-end HD production workflow supported by its storage. This will illustrate how the Spectrum and Dolby DP600 can be used along with Apple FCP to enable ingest, editing, and Dolby-E encoding of media while meeting the multi-lingual dubbing requirements of a 5.1 surround sound environment.
PEBBLE BEACH EXPANDS Pebble Beach Systems will show the latest developments to its flagship Neptune automation system. MD Peter Hajittofi commented that Pebble Beach “is able to be agnostic with respect to third party devices, supporting the widest possible range of products, and offering the optimum solution for broadcasters of all sizes and needs”. “Our main focus is to provide the customer with an over-arching control layer, where a single system can manage a whole range of functions from ingest, to browse and edit, archiving, media delivery and playout. The system can be used for news and sports, as well as classic entertainment channels. We have an ambitious roadmap and plan to expand our services shortly,” he added. STAND NO: ZR-21
104 MARCH 2010
ment opportunities to customers with tighter budgets to upgrade their ageing truck and studio facilities.” MHz has built a strong network of partnerships with companies across the region including Greenland International Enterprises in Qatar, Mustafa Sultan in Oman, Ghali Electronics in Syria and Maritronics in Bahrain. This partnership approach has helped the company support broadcasters in the Middle East as they continue to transition to high-definition.
STAND NO: ZQ-26
STAND NO: ZE-2
SHOWTEX OFFERS DECOR TO STUDIOS ShowTex Middle East is one of the few companies in the region that has a huge stock of cutting edge stage and decorative fabrics, studio installations, precision curtain movement and drop systems, the biggest panoramic front and rear projection screens in the world, ShowLED starcloth, Blue key, Chroma key and custom made solutions for the entertainment industry. The Sharjah-based company recently moved to a larger site recently. “We’ve gone from 600m2 to more than 2000 m2,” commented managing director Sven Peeters. “The extra space means more possibilities for our customers, faster service, and more refined finishing. One of the major reasons for the move was to accommodate the 24-metrelong high frequency welding machine table. The welding machine is actually built into the floor of the 1000m2 dedicated mezzanine workshop adding even more area.
ShowTex already created some of the Middle East’s biggest projection screens. Now, with the self designed exclusive ShowTex system on site, we’re able to produce screens measuring upwards of 500m2 with super strong seams that are nearly invisible at less than 1mm. For the screens alone, we’ve hired two new specialists and the expanded workshop means there’s room for more sewing machines as well. Our 1200m2 warehouse makes room for large quantities of stock so we can deliver more and faster than ever before. With current projects spanning the Middle East, the extra space is a welcome addition for a growing business.” Visitors can experience first hand the latest in studio soft goods technology with ShowTex cycloramas, extra large projection screens, blue screen, green screen, chroma key, cyclo tracks, and the new cyclo led by ShowLED. STAND NO: ZL-4
www.digitalproductionme.com
CABSAT 2010 PRODUCTS
ROSS SWITCHES ON Ross will demo its QMD/X & Octane multi-definition production switchers. The Vision Series is Ross’ flagship line of production switchers designed to handle the most sophisticated and demanding productions. Vision offers a wide range of control panel sizes and both a small and large video processing chassis. The small QMD chassis offers up to 48 inputs and 4 MLEs in a compact 3RU. The large QMD-X Octane chassis offers up to 96 inputs and an unprecedented 8 MEs in 8RU. Both chassis offer 4-keyer MLEs with 6 keyers downstream. Ross will also demo its CrossOver line of MLE production switchers, its OverDrive automated production control system, its XPression 3D character generator and SoftMetal video servers at the show. STAND NO: ZG-11
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”
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
106 MARCH 2010
TEDIAL WOOS BROADCASTERS Tedial will demonstrate the newest version of its TdTarsys, TdMPM and TdFICUS solutions at CABSAT. TdTarsys is a powerful user-oriented MAM system which addresses disk storage and tape library seen by operators as a unique archive. Its unlimited system capability, that may be increased at any time, and its highly efficient tape library management are some important features of TdTarsys. Tarsys is integrated in the content production workflow and interfaced with newsroom, edition, ingest and playout systems exchanging metadata and media with any proprietary or third party equipment. Td Tarsys supports all media formats and wrappings (DV, MPEG, MXF, Quick Time, WMV, H264) and multimedia formats (jpg, pdf, doc) and is implemented according to standards (XML, LDAP, FTP, ODBC). TdMPM (Media Process Manager) is the main component of the Tedial Tapeless solution. MPM defines, plans and monitors media flows in heterogeneous environments with distributed servers and systems. All areas and systems (ingest, playout, news production, program production, archive, traffic, automation and web), are integrated using data network, which become the only route of media interchange between systems. TdFicus is a Broadcast Process Manager (BPM) that helps systematise and automate audiovisual production processes. This optimises the use of available resources thanks to dynamic synchronisation of different databases. Ficus automates media movement between any subsystems in the installation. It assures the availability of the media at any workstation in the appropriate format. Tedial technology has been installed in several broadcast organisations across the world including Televisa (Mexico), Telesur (Venezuela), RTVE (Spain), Disney Channel (Spain), Canal Sur (Spain), Teuve (Spain), Audiovisual Council of Bulgary, Audiovisual Council of Romania, Audiovisual Council of Andalucía and many others. STAND NO: ZS33
www.digitalproductionme.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
CABSAT 2010 PRODUCTS
TSL AT CABSAT TSL, which operates two separate businesses including systems integration and a Professional Products Group, will use CABSAT to highlight its products and also, win new business in the Middle East. TSLwill feature its PAM2-3G16 multi-standard, multi-format audio monitor at CABSAT. The monitor simplifies multi-channel audio monitoring via preset menus and shortcut keys for rapid and intuitive access to critical elements of complex broadcast audio systems. The flexibility offered in terms of user selectable scales, ballistics, range of standard input/output signals supported and the ability to intelligently dissect and monitor any multichannel audio signal structure from mixed mono, stereo and 5.1 make PAM23G16 a very advanced and intuitive product in its sector. STAND NO: ZE-13
MARSHALL BRINGS ORCHID TO SHOW
The new ORCHID series of professional rack mount LCD monitors from Marshall Electronics are stacked with high-performance features typically found in much more expensive solutions. The new ORCHID monitors come in a variety of sizes, including the Quad 4.3” OR-434, Triple 5” OR-502, and a dual 7” OR-702. The integrated real-time Waveform monitor (which includes adjustable White and Black clip level indicators) can be displayed in three different aspect ratios including Full Screen. The built-in
Vectorscope displays in full colour and can also be displayed in three different ratios. The Vectorscope has adjustable gain from 1x to 5x. All screens are colour matched at the factory and can be auto-adjusted in the field using an optional colour probe system. All models will de-embed and display up to 16 channels of audio and allow the user to monitor any two channels at once through the headphone jack or rear line output jack. The 64-segment tri-colour bar graph metres have user-adjustable reference levels. STAND NO: ZB-11/ZF-1
VIZRT UPGRADES MEDIA ASSET MANAGEMENT HUB Vizrt has launched Version 2.0 of its Viz Video Hub plug-and-play asset management (MAM) system. Among other significant enhancements, Version 2.0 provides extended support for archiving through a Tape Robot feature. The Tape Robot support enables broadcasters to archive huge amounts of video assets directly within Viz Video Hub. And it can serve as a long-term storage solution because the Tape Robot hardware exchanges outdated tapes automatically. The new version is also now integrated with Avid’s NewsCutter video editing software, so that users can leverage Viz Video Hub with the popular non-linear editing (NLE) software. As with previous versions, Viz Video Hub also supports Apple’s Final Cut Pro NLE software. Viz Video Hub is a scalable, upgradeable system for IT-based production and archiving. It can serve as the anchor for the entire Vizrt workflow, spanning newsrooms, editing stations, channel branding, control rooms, and every production task from
108 MARCH 2010
ingest to playout. The software includes capabilities for ingest and playout, transcoding, browsing, and craft editing. With its support for Viz Link workflow, Viz Video Hub 2.0 allows graphics solutions, including the Viz Trio HD/SD CG graphics engine, Viz Content Pilot for real-time template-based graphics creation, and Viz Multichannel for channel branding, to search for video clips on the MAM storage, retrieve and edit them, and add them to graphics and templates. The Viz Link support enables video assets contained in the Viz Video Hub to be quickly and easily retrieved and repurposed by Vizrt graphics solutions such as Viz Content Pilot, Viz Multichannel and Viz Trio. Additionally, the video assets of Viz Video Hub can be directly accessed from within the Escenic Content Studio software for managing and publishing media content to web, mobile, and other new media distribution platforms. Viz Video Hub 2.0 is directly tied to Viz Ingest Manager, a control interface for man-
aging automatic recording of live feeds, as well as Viz Capture from tape, providing easy control of multiple Viz Video Engine video servers. With the integration of Viz Video Hub 2.0 and Viz Escenic Content Studio, web journalists can now search and add video content stored within the Viz Video Hub to their online news stories directly from the Escenic Content Studio interface. STAND NO: Z-13
www.digitalproductionme.com
CABSAT 2010 PRODUCTS
WOHLER STREAMLINES MONITORING OPERATIONS Wohler will display a range of convenient and cost-effective solutions for audio monitoring in a variety of digital and HD broadcast environments at CABSAT. The range combines multiformat support with robust functionality in compact designs, not only streamlining monitoring operations but also enabling facilities to leverage new and legacy equipment to deliver quality services. Key products will include the AMP1-16 series 16-channel multi-rate SDI AV monitor with optional Dolby, the Touch-It digital touch screen video switcher and the RMT170e-HD single-screen SD/HD LCD monitor The AMP1-16 Series monitors are the world’s first to simultaneously monitor the video and all 16 channels of a 3G HD/SD-SDI signal in 1RU. Using three 4.3-inch OLED display screens, 16 channels of level meters, cluster-based ITU-1770-1 loudness metering,
110 MARCH 2010
metadata, and video are all viewable at the same time. Available with optional Dolby D, E, and DD+ as it is released. Wohler’s Touch-It digital offers multi-channel image viewing and switching functionality at a list price far below the per-channel rate of many other multi-view models, the company claims. The 3RU system features a high res 7-inch widescreen LCD touch-screen on one side and a full-size target screen on the other. HD/SD-SDI sources are displayed as thumbnails on the touch-screen display, with the selected signal displayed on the target screen
and simultaneously transmitted to a multirate BNC connector output for monitoring on an external display. Wohler’s RMT-170e-HD single-screen SD/ HD LCD monitor offers multiple inputs, a waveform and vectorscope display, and eight channels of audio bar graph metering. This is packaged in a compact design at a competitive price point. The 17” monitor is a fully inclusive solution that uses high res imaging at 1366 x 768 to reach a perfect medium in the scaling and interpolation process. STAND NO: ZE-21
www.digitalproductionme.com
VIEWPOINT ERIC MACINNES
LOCAL CONTENT IS THE NEED OF THE HOUR CABSAT MENA is a great time for us to marvel at the advances in technology but I always come away from these events with the same question; who will finally find a way to harness it to create a sustainable local content industry? There’s been a lot written recently about technology platform providers leading the way into the developing new world of digital media but the truth is without entertaining content – and more specifically in my view, local content – it’s the bakery delivery guys without the bread. The latest Arab Media Outlook report reaffirms this view. Investment will re-
cover faster here than anywhere else on the globe, it is claimed, but it depends on there being a better balance between international and local content. I have long been of the view that you cannot import Hollywood. There is nowhere in the world where it has worked successfully. The only way to create a sustainable media industry is to build from within; to develop a definable voice that is attractive to both the society it mirrors and the outside world looking in. You can spend billions of dollars on studios and sound stages. You can spend billions on communications networks but it’s what you do with them that matters. One
The industry here needs a dozen different pogrammes like Freej if it is to grow. There has to be a dramatic shift from a buying industry to a producing one and the sooner the better. of Etisalat’s top bosses in the UAE recently said as much about the internet; executive vice president Ali Al Ahmed is quoted as saying ‘Etisalat has invested US $6billion in optical fibre but the Arabic content does not exceed one percent.’ That has to change. The current trend of importing content from the US, Europe and certain countries in the Middle East has to be turned around. There are good examples of local TV content. In the UAE, everyone talks about Freej. The Dubai cartoon has many fans and it’s a terrific example of what’s possible but the truth is once you’ve mentioned Freej most people can’t think
112 MARCH 2010
of anything else. The industry here needs a dozen different programmes like Freej if it is to grow. There has to be a dramatic shift from a buying industry to a producing one and the sooner the better. Not that I’m saying the technology doesn’t have its place because obviously it does. Without the infrastructure, the industry could falter. And, the beauty of the market here in the Middle East is that new technology can be installed far easier than elsewhere where people prefer to upgrade rather than replace. But we don’t want to end up with the region looking like they have all the latest gear but fewer ideas on what to do with it. That’s why the developments in technology have to be matched by advances in the creation of Arabic content. It’s a bit like that movie Field of Dreams when Kevin Costner’s character builds a professional baseball ground in his wheat field. In a dream he hears the command, ‘build it and they will come’ and sure enough the ghosts of some of the best, but disgraced players from history turn up to play. There’s no doubt an ‘industry of dreams’ could be created here – there’s plenty of cash – but who will come out to play when the glistening media palaces are built? To return to an earlier allusion, when the delivery drivers are ready to roll, who will be making the bread? Eric Macinnes is a TV pro with more than two decades experience in the field. He is the faculty head for the Thomson Foundation at twofour54 tadreeb, Abu Dhabi.
www.digitalproductionme.com