AV Specialist Vol. 114 by Tim Jones

Temple of Edfu comes to life Audio install at KZN airport

Buying Best of Breed AV tech at ProAV Forum

180 thousand visitors at Photokina IBC Awards reflect diversity of media

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Contents AV Specialist Volume 114

Transforming structures into visual landmarks Merging technology with design is a revolutionary new trend in contemporary architecture. Today’s cutting edge designs blend awe-inspiring LED displays into an environment, transforming ordinary structures into full-motion video display landmarks, guaranteed to make an unmatched impression.

DWR supplies LED lighting for Supersport HD studio Leading South African lighting sales and distribution company DWR has supplied over 400 LED fixtures for a brand new landmark, eco-friendly installation at the new HD hub of satellite channel, Supersport.

Wildlife filmmakers Mark Deeble and Vicky Stone recently filmed a 3D pilot for a wildlife feature film shot in Kenya's national parks.

180 thousand visitors attend Photokina 2010 The 31st photokina – World of Imaging closed its doors in Cologne on September 26 2010 with outstanding results.

IBC awards reflect the thrilling diversity of media The annual IBC Awards Ceremony celebrated just what can be

Publisher & Managing Editor Kevan Jones kevan@avspecialist.tv Feature Editor Dick Hobbs dick@avspecialist.tv Circulation Anne Ebrahim ann@avspecialist.tv Designer Rajiv Gopalan rajiv@avspecialist.tv Advertising sales Africa, Middle East, UK Richie Ebrahim richie@avspecialist.tv Europe Emmanuel Archambeaud earchambeaud@defcommunication.com Represented in North America by: Broadcast Media International Michael Mitchell Tel: +1 631 673 3199 michael@avspecialist.tv Represented in the Middle East by: AV Specialist MENA FZ LLC PO Box 502314, Dubai United Arab Emirates Tel: +971 (0)4 391-4718 Fax: +971 (0)4 345-2898 Represented in South Africa by: Doddington Direct cc PO Box 3939, Honeydew, 2040, South Africa Tel: +27 (0)11 083-6418 Fax: +27 (0)865253852 Represented in Europe by: Def & Communication 48 Bd Jean-Jaurès, 92110 Clichy, France Tel: +33 (0)1 4730 7180 Fax: +33 (0)1 4730 0189 Ave qualified circulation (Jan - June 2010) 4514

achieved when creativity and technology come together.

It’s the platform, stupid! Some believe that one remark, “It’s the economy, stupid”, uttered in 1992 by political strategist James Carville, unseated the incumbent president and put Bill Clinton in office.

Publisher’s Note For over 30 years, Anthony Robbins has dedicated his life to helping people achieve success. He’s worked with presidents and business leaders throughout the world; helping them find solutions to the challenges posed by our modern lifestyle. “Many people make the mistake of thinking that all the challenges in their lives would dissipate if they just had enough money,” he says. “Nothing could be further from the truth. Earning more money, in and of itself, rarely frees people. It's equally ridiculous to tell yourself that greater financial freedom and mastery of your finances would not offer your greater opportunities to expand, share, and create value for yourself and others.” The truth is that we each create our own reality through our differing response to the external factors that are imposed upon us. And those outside factors are impacting our lives at an ever accelerating pace. Nowhere is this more visible that in the broadcast and ProAV industry where change is taking place at a rapid and continuous level. More than ever before, the tape-based technologies that were accepted as standard just a few years ago have been replaced by IT-based technologies that are faster, cheaper and more efficient than we could ever have imagined. And in that process of change, broadcast and ProAV technologies are finding their way into almost every area of our business and personal lives. During February’s CABSAT conference we’re going to be talking about the technologies that are shaping the future of our industry. We’re now inviting individuals and companies who are interested in sharing their experience to contact us with a synopsis of their proposed presentation. The CABSAT conference is presented jointly by MECIA, the IABM and the ABU and we’re specifically looking for papers that reflect on the innovative use of technology in Africa and the Middle East. For more information visit the CABSAT website at www.cabsat.com or email cabsat@mecia.org

EDIUS® works seamlessly with the K2 Summit™, K2 Solo™, K2 Dyno Production Assistant, and T2™. All powered by Fusion

Breaking News, Without A Sweat When it comes to breaking news, you need to move fast. The EDIUS nonlinear editing application is more than a match for this challenge. You can edit multiple layers and effects in real time, in any format. You can even mix formats if you need to, still in real time. And you can do it all on a laptop if you like. Yes, still in real time. EDIUS is used by professionals and broadcasters alike because it’s fast, easy to use and solid. So not only are you editing anything, anywhere, but you’re also doing it faster than anyone else. That should keep you ahead of the pack. Learn more at www.grassvalley.com/edius.

EDIUS Video Editing

Product

news Fujinon introduce wide range of lenses Photon Beard Shines Wi Light on the World

During the recent IBC show Fujinon introduced several newly developed 3D & HD lenses, including their new HA14x4.5BERM/RD wide-angle broadcast lens. This is a high-end ENG-Style wide-angle HD production lens designed for 2/3-inch cameras. It features the world’s first 2.2x extender which extends the focal length from 9.9 to 138mm. Without the extender, the lens has a focal length of 4.5 up to a maximum of 63mm. The lens has a 14x zoom range and full remote control via an RS-232 serial data port and a maximum relative aperture at 1:1.8 from 4.5mm to 41mm and 1:2.8 at 63mm. Enhancements to the HA14x4.5BE RM/RD include minimized geometric distortion and improved corner resolution and contrast. It also features Fujinon’s Inner Focus to minimize lens breathing, Quick Zoom for rapid zoom movement and Zoom Limit for automated zooming parameters. The HA14X4.5 will be available in the fourth quarter of 2010.

Professional lighting specialists Photon Beard have launched Wi Light, a new, low-cost concept in control for studio lighting systems. Despite the presence of wireless communication devices in everyday applications, the professional lighting industry continues to use multiple, wired data links to carry the universal DMX512 stage lighting and effects control standard. This is suitable for conventional incandescent lighting, but the basic DMX512 standard sends data continuously even when nothing has changed. This redundant data is extremely wasteful in a wireless system, so Wi Light transmits only the data that has changed using a special protocol designed to make best use of wireless control in a lighting application. According to Photon Beard Managing Director Peter Daffarn, "Our approach with Wi Light is costeffective and reduces - or in some cases eliminates - the need for traditional wired DMX-controlled systems, which are time consuming and messy because of multiple cable requirements for each luminaire."

JVC Professional launch GY-HM790 camera

JVC’s new GY-HM790 camera is the flagship of their ProHD product line, offering new features for both studio and ENG applications, while implementing popular features from established ProHD models. In the studio, its modular design creates a cleaner integration for multicore or fibre-based

production. In the field, its three 1/3-inch CCDs allow a lighter, more compact form factor for better manoeuvrability. It produces 1920x1080 images and can record in 1080i, 720p, and even SD (576i) for operations that have not yet made the move to HD. The camera records to solid-state memory at 35 Mbps (HQ mode/variable bit rate) or 19 Mbps/25 Mbps (SP mode/constant bit rate). With broadcasters facing an expensive transition to digital television, and consumers wanting more high definition programming, JVC identified the need for affordable HD production equipment for local, regional and national network news.

Mistika Live delivers impressive live performance SGO is proud to reveal Mistika Live, its powerful new stereoscopic 3D production tool that was recently used in the impressive live stereoscopic 3D broadcasting of the latest Metallica, Hail & Barón Rojo concerts at “Rock in Rio” live music event in Madrid. Mistika Live, launched at IBC 2010, was involved from the stereoscopic 3D production stage where twin Sony Ex3 cameras were used to film the bands, with the images being fed via Mistika Live to correct the geometry and colour, before being fed to a large viewing screen. Mistika Live, SGO’s latest innovative development, extends the market leading stereoscopic 3D post production tools of Mistika into the production environment. The application is a specialised Mistika hardware and software configuration which is also available as part of the toolset in Mistika Version 5. 3

Product

news Autocue revamp teleprompter range

Midas launches VeniceF Midas has launched the VeniceF, a brand new ‘digi-log’ ultra-compact mixing console designed by Alex Cooper, complete with FireWire multi-channel digital audio interface, XL3 EQ and Propellerhead recording and processing trial software bundle. The VeniceF is the first all-new Midas product to be unveiled following the Music Group’s acquisition of Midas Klark Teknik. It features the full functionality and sound quality of the much-loved Midas XL3 EQ and filter section with a reorganised master section layout. The VeniceF’s 32x32 FireWire capability adds 32 channels of multi-track recording and playback (VeniceF 320) using any suitable FireWireequipped computer, without the need for additional costly interfaces.

Autocue has redesigned its top-end broadcast teleprompter range (the Master Series), drawing on extensive customer feedback and the latest panel technology. The new range will be unveiled at IBC 2010. The new range represents the latest and greatest in teleprompter hardware: using LED backlit technology, Autocue’s design team has created the first ever slimline, highbright teleprompter monitors. The monitors are significantly lighter, and together with more substantial bracketry, deliver a sturdy and balanced prompter system, especially useful for pan and tilt camerawork and robotic pedestals. Responding to broadcasters’ wish lists, the new Master Series delivers a host of further benefits, including instant access to the glass and a hidden compartment for a cloth and solution, making cleaning the glass much more convenient.In combination with Autocue’s IP-based prompting software (QMaster), the new Master Series hardware further demonstrates Autocue’s unrivalled, in-house design capability. CEO Frank Hyman said, “Autocue has led every major teleprompting innovation since 1955. If you want to be at the leading edge of broadcast teleprompting technology, Autocue is the brand to trust.”

RF Central’s microLite HD transmitter Vinten Vision blue makes its debut in style The new innovative Vinten Vision blue made its debut in style at IBC2010 by supporting one of the exclusive Panasonic AG-AF101 prototypes. Vinten’s high performance tripod system was chosen to help demonstrate the newly launched Panasonic handheld film-like camera which was unveiled for the first time at the global event. This new, competitively priced pan and tilt head and tripod system is designed to provide the experienced camera operator with professional support to match the extremely high-performance of today’s popular small lightweight camcorders and DSLRs equipped for video. Vision blue addresses the need for a broadcast quality tripod system capable of genuinely balancing the smaller, lightly accessorised cameras, managing payloads between 2.1 - 5kg / 4.6 – 11lbs with a low centre of gravity of approximately 55mm. The Vision blue head incorporates Vinten’s Perfect Balance technology, which enables consistent movement and easy positioning of the camera at any angle.

Integrated Microwave Technologies’ (IMT) RF Central, is an IABM “Award for Excellence Winner” for the design of its microLite HD, an MPEG-4 based full-HD digital 4

COFDM ultra-miniature Transmitter. The RF Central microLite HD is a complete TX/RX system with the microLite HD Rx. It expands the company’s portfolio of innovative MPEG-4 broadcast technology solutions. The transmitter is a product focused on the future of broadcast workflow and is an ultra-compact, mountable COFDM SD/HD digital transmitter designed for the next generation of professional lightweight cameras featuring full HD/SDI capabilities. The dual diversity COFDM receiver offers exceptional RF performance combined with user-friendly operation.

Introducing UltraStudio Pro, the world's ﬁrst broadcast quality editing for USB 3.0 computers! UltraStudio Pro is the world’s ﬁrst professional video solution for USB 3.0 computers! Only UltraStudio Pro has state of the art broadcast technology miniaturized into an attractive ultra-thin design with a massive number of video and audio connections, hardware up, down and cross conversion, full 10 bit SD/HD video quality, internal SD keying and more! Get broadcast quality capture from any video device with amazing cinema style monitoring with full real time effects! Connect to Anything

Powerful Image Processor UltraStudio Pro includes a fast video processor for incredible 10 bit quality hardware up, down and cross conversion! Now you can edit once and deploy in SD, 720HD or 1080HD! Select letterbox, anamorphic 16:9 and pillar-box 4:3 video. When working in HD you can even monitor in SD and HD at the same time! Use the Software You Love!

SYS: 03994775 RPTHHSRT 4355267 4:4:4 POINT:------- --- ------ ---- -- --VIC:132.285 IMBED: 4:2:2

UltraStudio Pro includes 3 Gb/s SDI, HDMI, and analog component which are all SD/HD switchable, plus composite, s-video, 2 ch AES/EBU with sample rate converters, 4 ch balanced XLR analog audio, down converted SD-SDI out, genlock/tri-sync and deck control. That's perfect for HDCAM SR, HD-D5, Betacam SP, Digital Betacam and more!

Work with the software you love to use! UltraStudio Pro supports multilayer real time effects in Premiere Pro™. You get Photoshop™ plug-ins to grab and output frames, plus real time playback in After Effects™, Fusion™ and Nuke™. We also include our Media Express software for frame accurate capture and playback of DPX, uncompressed YUV and MJPEG ﬁles.

Incredible Quality with USB 3.0 UltraStudio Pro takes advantage of the new SuperSpeed™ USB 3.0 to allow highest quality 10 bit HD video capture and playback! SuperSpeed USB 3.0 is 10 times faster than regular USB. That’s a blistering 4.8 Gb/s, which easily handles the highest quality 10 bit uncompressed 1080HD video with maximum real time effects.

UltraStudio Pro

US$895 Windows™ Version

Learn more today at www.blackmagic-design.com

www.christiecontrol.com/entero

How many bulbs does it take to change your mind?

Until Christie’s Entero™ LED powered displays, every video wall used lamps. And we do mean used. For over its life a wall could consume hundreds – an expense that could outstrip the initial cost. And then of course there was the downtime, the consumables, the maintenance charges. But where conventional lamps might last 10,000 hours, our LED light source lasts 60,000. That’s almost seven years running twenty-four hours a day. It could outlive the wall itself. So, with Christie Entero™ LED powered rear screen displays, when you buy a video wall, you buy a video wall. Not a lifetime’s commitment to never-ending expense. Isn’t it time you changed technology – not lamps?

The eNTeRO led SeRieS rear Projection modules

when it matters.

Product

news

Harris enhances NEXIO server portfolio Harris has announced it is adding significant product introductions to its NEXIO video server portfolio, designed to help broadcasters accelerate time-to-air, reduce costs and streamline workflows in both playout and production environments. IBC2010 marked the European debut of NEXIO Volt, a small form-factor, high-performance baseband video server equipped with 2 TB of RAID 3-protected integrated media storage. Offering support for up to four mixed SD/HD or SD-only baseband channels in a 1RU package, the high-density NEXIO Volt integrates easily into environments where space is at a premium. It reduces power consumption and lowers operating costs — without sacrificing functionality or flexibility. EXIO Volt is ideal for applications including disaster recovery, edge server, on-air cache, production playout and ingest-to-archive. Built on the same technology as the awardwinning NEXIO AMP server, NEXIO Volt offers software-enabled license keying that allows customers to pay for only the channels and resolutions they need, and easily upgrade to more channels or HD at anytime. A simple software reconfiguration enables NEXIO Volt to attach to NEXIO shared storage as system requirements increase.

Autoscript unveils promting app for iPad Autoscript has launched iPlus, a professional prompting software App for iPad, iPhone and iTouch devices. Autoscript has developed the App as an interface to its WinPlus News and Studio software. It allows downloading or transfer of scripts or run-orders directly to the iSeries device. To harness the portability of these devices, iPlus is ideal to use as a stand-alone system for studio or field use, commercials, public speaking, video conferencing, and even podcasts. However, by capitalising on Autoscript's industry-standard professional prompting technology, it can also be used a news production tool by interfacing to an electronic newsroom using the proven Autoscript WinPlus News prompting software as a bridge. Stories can be selected and downloaded, singly or in multiples, from a host laptop via a peer to peer WiFi connection. iPlus has many unique and innovative features, such as real-time variable speed smooth scrolling via a remote control - either Bluetooth, WiFi or wired - and the ability to receive stories from electronic newsrooms. Brian Larter, Managing Director, Autoscript, said, "iPlus is our response to the market which requires portable, cost-effective prompting. While there are basic prompting Apps available, iPlus is built on years of Autoscript R&D and comes with the quality and reliability our clients expect."

Miranda ships next generation routers

Blackmagic announce Compact Videohub

Blackmagic Design has announced Compact Videohub, the world’s smallest 40 x 40 SDI router that fits into an incredibly tiny 2 rack units

of space! Compact Videohub features 3 Gb/s SDI, auto switching SD, HD and 3 Gb/s SDI formats, full SDI reclocking, USB, redundant power inputs, ethernet and serial router control for only $4995. Compact Videohub is only 2 rack units size and is perfect for customers who need an incredibly tiny router that also meets tough broadcast technical requirements for performance as well as reliability.

Miranda Technologies has announced that it has started volume shipping of its NVISION 8500 Hybrid embedded audio routers with integrated audio processing, which significantly streamline television infrastructures and eliminate video/audio timing issues. “The NVISION 8500 routers are redefining the role of a router in a television facility”, says Michel Proulx, CTO at Miranda. “By

combining video routing with high performance audio processing and routing in a single, ultra-resilient chassis, they streamline signal management and deliver ultra-low latency to prevent lip-sync problems.” “They represent a new generation of routing technology, essentially ‘super-routers’ with built-in, advanced processing to minimize the device count in facilities. This approach to routing is gaining real traction in the market, especially in Europe.” Miranda’s NVISION 8500 Hybrid router (3D/3Gbps/HD) integrates de-embedding, shuffling, break-away and reembedding in a single frame. This means that everyday signal processing tasks, like swapping program audio tracks, can now be handled simply and elegantly within the router frame.

Product

news SSL introduce Gravity Live Edit v2 SSL DV, Inc., a Solid State Logic Company has introduced Gravity LiveEdit Version 2.0 real time non-linear editing system at IBC 2010. LiveEdit delivers the power to modify a program’s content while keeping within pre-existing time schedules for live and near-live broadcasting applications. New features help streamline production flow. “The Gravity LiveEdit Version 2.0 is a full-featured non-linear editing system that gives the broadcaster incredible control over content editing, live commercial insertion (right up to air) and compliance monitoring,” says Shaun McTernan, vice president of marketing for SSL DV. “ LiveEdit is perfect for live sports applications and for cross-culture compliance monitoring.”

Anton Bauer Dionic HCX highcurrent battery makes IBC debut Anton/Bauer introduced their new DIONIC HCX battery to attendees at IBC 2010. With a 120 watt-hour capacity and a brand new motion detection sensor that protects against capacity loss, the DIONIC HCX is the company’s latest addition to its successful DIONIC series high-current battery line. The DIONIC HCX’s most exciting feature is its unique, built-in motion detection sensor. After a two-week period without a load, the DIONIC HCX automatically goes into “deep sleep,” significantly reducing self-discharge and allowing extended storage with nearly zero capacity loss. To “awaken” the battery for normal use, customers need only move the battery, thus activating the motion detection feature and as a result, “wake up” the battery. This new motion detection feature significantly increases the overall life of the battery by mitigating lithium-ion battery selfdischarge when the battery is not in use.

Canon wireless lens control

During IBC Canon introduced a new wireless control system as an alternative to the cumbersome control cabling that is often required between the lens controllers and the lens-camera system. This consists of a Transmitter Box that is connected to the lens controllers, and a Receiver Box that is mounted close to the lens. These two boxes can be separated by up to

Sony expands XDCAM family with PMW-500

10m and the wireless connection between them provides precisely the same degree and quality of controllability as afforded by the cabling system they replace. The system offers huge advantages over conventional cabling and setting-up the lens-camera control system is swift and easy. Transfer between shoulder-mount shooting and tripod use is straightforward. The control of lens-cameras on jib-arm or crane is enormously improved. And in situations where the cameraman cannot enter the shooting environment (recording a stage production is a good example) it allows accurate, flexible remote control.

At the IBC Conference in Amsterdam, Sony Professional announced the latest edition to its hugely popular XDCAM HD422 family product range, the PMW-500, bringing together for the first time the performance quality of the PDW-700 with the operational flexibility of recording to solid state memory. The 2/3-inch shoulder camcorder, equipped with Power HAD FX CCD image sensors, is capable of recording in 50 Mb/s in Full HD 1080p and is the ideal choice for broadcasters and freelancers looking for a versatile compact memory based camcorder. The PMW-500 has already received significant interest from major European broadcasters, including RTL TVI in Belgium, which has recently invested in 22 units to support its launch of HD early next year. “The PMW-500 represents the next step in the evolution of our XDCAM product range,” said Richard Brooking, XDCAM product manager, Sony Professional. “Since 2003, the XDCAM format has become the industry standard with over 150,000 units sold worldwide. From speaking to our customers, there was a clear need for a light weight memory based camcorder which had the same rich functionality of Sony’s high-end camcorders but at a more affordable price.”

How do you buy broadcast technology? In my experience most articles about broadcast technology products fall into one of three camps - - product features, sales stories, and equipment reviews. A perhaps overlooked topic is how buyers of broadcast technology products actually go about purchasing them.

t seems to me that if broadcast vendors, dealers and systems integrators could better understand the psychology of their customers, they would be able to use this knowledge to better engage with the market and therefore increase their revenues and profits. So as part of the 2010 Big Broadcast Survey (BBS), I asked several thousand broadcast technology buyers in more than 100 countries how they purchase broadcast technology today, how they prefer to buy these products, and what factors they consider when buying. Here are the questions: • How do you typically buy broadcast technology products? • When purchasing, do you prefer a single vendor or best-of-breed approach? • When purchasing / evaluating broadcast technology products, which is the most important factor?

Purchasing preference – direct or indirect? The first question is about the channels that technology buyers use to acquire broadcast products. The broadcast industry is large and diverse, so in order to fully understand the dynamics in the channel, I have broken out the answer to this question by organization type. This shows that there is considerable variation in the way broadcast technology products are purchased, with each type of broadcast technology buyer exhibiting different purchasing preferences. Question: How do you typically purchase broadcast technology products? For example, cable/satellite/IPTV operators showed a strong preference to purchase directly from vendors (perhaps because of the relatively small number of these platforms as well as the large amount of equipment they require). Respondents from educational

institutions, film studios, postproduction, and recording studios reported that they tend to purchase broadcast technology products via third-party dealers. Systems integrators (SIs) sit between the vendor and the dealer in terms of the percentage of customers who prefer to buy through them, but keep in mind that these rankings show only the number of customers who prefer to buy in a certain way. They do not look at the value of the purchase that goes through any individual channel. SIs play a strong role across all customer types, but particularly with playout centers, cable programmers, and broadcasters. It’s worth noting the customer types who show the strongest preference for systems integrators tend to the ones with the largest and most complex projects.

Purchasing preference – one-stopshop or best-of-breed? There are a huge number of vendors in the broadcast technology space, and the industry’s vendor community is fragmented. Major international trade exhibitions such as NAB and IBC often have between 1,000 and 1,500 exhibitors at their shows. On the one hand are the many vendors who are relatively small and specialize in one or two product types. There are also a small number of large international vendors who produce dozens of product types. There are obvious advantages that 10

come with the scale that large companies have achieved, but small companies often argue that their more nimble, focused approach results in superior products. This has led to an ongoing debate within the broadcast industry about whether it’s better to buy so called “bestof-breed” solutions from a variety of suppliers, or go to one large company and buy everything from a single vendor. There are pros and cons to each approach. Dealing with a number of companies may indeed enable buyers to assemble a “best-of-breed” system, but this approach brings the possibility of interoperability issues and potential fingerpointing between vendors if things go wrong. Dealing with a large “one-stopshop” gives buyers the peace of mind that interoperability issues have been solved, that there is one phone number to call if things go wrong, and that there will be no finger pointing. Here’s what the respondents to the 2010 BBS had to say about this issue: When purchasing broadcast technology products, do you prefer to buy from a single “one-stop-shop” or select “best-of-breed” solutions from multiple vendors? In an era when vendor consolidation is on the rise, it’s interesting to note that where possible, the majority of traditional broadcast technology buyers prefer to evaluate and purchase so called

that is “fit-for-purpose” for the customer’s application and then work to differentiate their offering through the factors that are seen as most important to each type of customer. They key to this is understanding how these results can vary when broken out by demographic factors such as organization type, company size, job title, and kind of product that is being evaluated for purchase. Indeed a granular breakdown of this information shows that there may be considerable variation in purchase criteria based on a number of these factors.

“best-of-breed” solutions from multiple vendors. Broadcasters, as well as cable programmers, playout, and centers cable / satellite / IPTV operators showed the strongest preference to select best-ofbreed solutions. These customers typically have large-scale operations requiring large amounts of technology products. They also tend to have significant technical resources to evaluate and select best-of-breed solutions. Conversely, film studios, government and educational buyers exhibited the strongest preference to purchase from a single supplier. This reflects the fact that there are several strong dealers who cater specifically to the Hollywood studios; and it’s likely that government & educational buyers may consider local dealers and systems integrators to be single suppliers. Once again, these results show that there is considerable variation in the broadcast technology purchasing process, based on customer category. They also highlight the importance to vendors of developing go-to-market strategies that encompass direct sales, while at the same time developing and maintaining strong relationships with third-party players in the distribution channel.

service, the most recommended etc. But which factor is the most important to the most buyers? Question: When purchasing / evaluating broadcast technology products, which of the following are the most important factor? These results show that in a highly technical business like the broadcast industry, when it comes to purchasing broadcast hardware and software products, technical specification and technical performance is the most important factor for the majority of today’s buyers. In fact, technical performance in the broadcast industry is so critical, that at least three times more respondents cited technical performance / specification than the next most important factor. It looks like in this case “the only race is for second place.” Having said that, other factors such as operational features, service and support, total cost of ownership, and purchase price are also seen as very important criteria for product purchase. The challenge for vendors is to deliver sufficient technical performance

What factors most influence the purchase of broadcast technology products? Regardless of “how” broadcast technology products are purchased, what many in the industry want to know is “why” they are bought -- i.e. what are the most important factors that influence the decision to buy one product over another. When it comes to selling broadcast technology, there are several strategies that vendors have adopted. This includes positioning their offerings as having the best technology, the best feature set, the lowest cost, the best value, the best 11

About the Author Joe Zaller is a Digital media strategist with extensive international experience in broadcast, cable, satellite, IPTV and mobile TV markets. In 2008 he established Devoncroft Partners and embarked on the Big Broadcast Survey. This is the largest and most comprehesive study of broadcast

industry trends and technology vendor brands. The BBS provides insight into market trends and the perceptions of leading broadcast industry vendor brands by a wide variety of broadcast professionals across the world. It also delivers vendor brand ranking “league tables” in a variety of product categories; all of which can be segmented by geography and customer type. More than 5,600 people in 120+ countries participated in the 2010 BBS project. Information about the 2010 BBS can be found at www.devoncroft.com

Show your true colours. OLED Monitor. The PVM 740 is another leap in Sony display technology. Using the new OLED (Organic Light Emitting Diode) technology, blacks are black, contrast is mesmerizing and your picture never looked so good. PVM-740 OLED Monitor • 7.4 inch OLED (Organic Light emitting Diode) • Sony’s Super Top Emission (STE) delivers images of superb quality • High contrast night scenes with deeper blacks • Vivid clarity and contrast in brightly sunlit scenes • Accurate reproduction of intense light sources • Deep, rich colour with smooth gradations • Rapid response without motion blurs even at low temperatures • AC/DC power supply For further information contact Sony Professional Solutions MEA FZ LLC Unit C-50, P. O. Box 502050 International Media Production Zone Dubai, United Arab Emirates Tel: +971 4 391 8400 Email: middle.east@eu.sony.com website: www.pro.sony.eu/mea

STE and Super Top Emission are trademarks of Sony Corporation.

PVM-740

MxN and Emirates Computers deploy digital signage network MxN Middle East has just completed the deployment of a Digital Signage network, through its partnership with Emirates Computers, to the Urban Planning Council (UPC) in Abu Dhabi. This solution allows for a fully managed network that will be used for corporate communications. MxN was appointed to provide a total software solution, player hardware and ongoing support for the network.

he newly installed network comprises 6 large format LCD screens strategically located throughout UPC's new offices in Abu Dhabi and is powered by the CoolSign software platform. Their purpose is to offer an Internal and Corporate Communications network to allow for messages to be instantaneously deployed throughout the new facility. Emirates Computers had tasked MXN with developing a network that would accomplish several goals: the network had to be a “turn-key solution”; it had to support multiple languages, it had to be “real-time” to be available for emergency messaging, and it had to be easy to maintain.

Customised solution “We are very pleased to be able to partner with MXN to provide this solution to UPC,” Dani Diab, General Manager Emirates Computers said. “By working closely together, we were able to deliver a customised solution to specifically meet the customer’s requirements.” The use of Digital Signage for corporate communications is fast becoming the norm as more companies begin to realize

the value of rapid information deployment throughout various central and remote office locations. “With the costs of screens, hardware and software decreasing in recent times this solution will become more attractive, cost effective and prove better way to communicate with both employees and visitors alike.' said Raad Raad, Managing Director of MXN.

content management software in the market today. “As this industry spans over the reach of many others, we understand that each business has its own individual needs. This is why we have developed all our products using flexible, modular architecture in order to provide powerful functionality with the ability to quickly deploy, modify, and upgrade your systems,” concludes Raad.

Innovative content and technology The company provides technology, consultation and content services to a number of clients and customers throughout the Middle East. With corporate headquarters in Dubai’s prestigious Media City. MxN focuses on providing innovative, robust and flexible technologies that fuel the digital communications industry. MxN delivers solutions giving its partners and clients the ability to effectively communicate with their targeted audiences providing customizable digital marketing tools that include first of its kind features, such as multi-zone video and multi-channel audio playback. According to Raad, the CoolSign software platform the most robust, flexible and scalable digital

"As the cost of screens, hardware and software continues to decline the future for the digital signage market is extremely rosy," declares Raad Raad, managing director of MxN in Dubai.

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LG ARX8000

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3D-Rigs.com pioneers wildlife filming prototype WildEarth TV and 3D-Rigs.com recently made history when a South African safari was broadcast in live 3D for the first time.

ildEarth (WE) has been broadcasting safari footage on the Internet 24/7 from Sabi Sand Reserve in the Kruger National Park for the last three years, but this pioneering leap was made possible by a custombuilt rig created by Johannesburg company 3D-Rigs.com. â&#x20AC;&#x153;Our requirements for the rig were pretty unique,â&#x20AC;? explains WildEarth TV CEO and co-founder Graham Wallington. â&#x20AC;&#x153;We broadcast two live safaris of three hours each per day, which give viewers a real-time experience, as there are no scripts or staged sequences. Itâ&#x20AC;&#x2122;s the safaris as they happen. The rig needed to be the smallest size possible, be built to withstand the dust and heat of the African bush and be tough enough to survive the constant vibration of being mounted on a four-wheel drive vehicle. The stereo geometry was also challenging as it had

to continuously maintain the 3D effect while zooming from a wide-angle view with a presenter 1.5 metres in front of the cameras to a tight shot of a leopard's head 25 metres away.â&#x20AC;? Russell Bowden of 3D-Rigs.com and his team completed the motioncontrolled mirror rig to the point that it could be deployed in only five weeks. â&#x20AC;&#x153;But itâ&#x20AC;&#x2122;s still not really finished â&#x20AC;&#x201C; thatâ&#x20AC;&#x2122;s the problem with a prototype â&#x20AC;&#x201C; you keep

adding to it and adapting it until you decide that itâ&#x20AC;&#x2122;s time to start again and apply all that youâ&#x20AC;&#x2122;ve learnt!â&#x20AC;? says Wallington. â&#x20AC;&#x153;So the next rig will have some important modifications.â&#x20AC;? The live 3D service that WildEarth TV is now able to provide as a result includes a 24/7 3D channel which is delivered around the world using a unique cloud-based Master Control and IP distribution network. â&#x20AC;&#x153;We also broadcast on the Internet via our purpose-built 3D player,â&#x20AC;? adds Wallington. â&#x20AC;&#x153;We have made a daily 3D podcast available, as well as an iPhone application, both of which allow you to watch our safari content using headmounted displays (Cinemizers) directly from an iPhone or iPad.â&#x20AC;? He also confirmed that they will soon launch a series of television applications, which will be available for 3D televisions.

LEDing the Industry

Image courtesy of 3 Men and A Suit

With over 35,000 installations to date world wide, Mitsubishiâ&#x20AC;&#x2122;s name is synonymous with engineering excellence and reliability that is essential in mission critical installations. We are proud to introduce the brightest, highest contrast LED display wall cube available in the market place that fully compliments our 7th generation display wall range the Seventy Series. Developed 100% by Mitsubishi Electric the LED option offers significant advantages in many applications, enabling displays to be more environmentally friendly and easier to maintain whilst being the most cost effective solution available today. On-board intelligence is another hallmark feature of Seventy Series products with built-in processing enabling multi-window displays to be created without an external processor. Mitsubishiâ&#x20AC;&#x2122;s Seventy Series display wall range is available in 50", 60" and 67" sizes, in both 1024 x 768 pixel (XGA) and 1400 x 1050 pixel (SXGA+) resolutions; front and rear access versions are available in all of these sizes and resolutions. The 80" display wall cube is available in 1400 x 1050 pixel (SXGA+) resolution; rear access version.

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experience into media façades, splash colour and motion across domes and unconventional shapes, or wrap content around structures of any shape or size.

Drama and excitement

Transforming structures into visual landmarks Merging technology with design is a revolutionary new trend in contemporary architecture. Today’s cutting edge designs blend aweinspiring LED displays into an environment, transforming ordinary structures into full-motion video display landmarks, guaranteed to make an unmatched impression.

ommanding the attention of every passer-by, and capturing imaginations for kilometres around the Johannesburg CBD, the recently constructed giant Nike LED screen at the top of one of Johannesburg’s most iconic and tallest buildings, the Life Centre Building on Commissioner Street, is a dazzling example.

Readily available technology

Innovative LED display An innovative LED display constructed by Spectrum - a full service end-to-end digital media solutions company - stands approximately 14 storeys high, weighing 13 tons and incorporating 272 000 individual LEDs, has transformed the famous Life Centre Building into a global landmark, a fitting tribute to the world’s greatest sporting brand. The largest interactive LED screen in Africa, it measures an astonishing 44 metres high by 42 metres wide. Flanked by 90m tall images of Cristiano Ronald and Robinho, the total size of the wrap is 8, 400 square meters – big enough to cover an entire full size regulation football pitch.

Unlike anything possible with traditional signage, the LED displays, featuring perfectly placed effects, animation or video, instill drama and excitement to create the ‘wow factor’ demanded in cutting edge architecture. Designed on a video foundation, these freeform elements deliver smooth motion, accurate image reproduction, sharp contrast and rich colour depth. Specifically designed to offer crystal clear viewing in bright daylight and to function properly in extreme weather conditions, LED screens are ideal for outdoor media, playback screens and scoreboards, electronic display solutions and giant outdoor video displays. LED screens are also perfect for indoor use including message displays and Dynamic Data Displays. Creating dynamic environments, these screens generate ambience, while making a distinctive statement about a company and the positioning of its brand. LED technology is the visual communications technology of the future. And for many good reasons: it offers excellent visibility, extreme reliability, state-of-the-art remote control, a long lifespan (up to 10 years), low maintenance, environmental friendliness, energy efficiency, exceptional flexibility in shape and dimensions, and almost limitless applications as the technology evolves.

Such technologically advanced feats are made possible through innovative new technology from Daktronics, the world’s leading supplier of LED video products and control systems. Unlocking new possibilities in the realm of creative LED design, Daktronics’ ProPixel freeform puck and stick elements, together with a flexible mounting platform, allow architects to integrate an unparalleled digital 16

This technology is readily available in South Africa through Spectrum, the sole distributor of Daktronics LED screens. Over its 40 year history, Daktronics has designed and manufactured tens of thousands of outstanding display systems for more than 52 000 customers in more than 100 countries.Daktronics manufactures all the components of its display systems, resulting in stringent and consistent quality control, significant cost savings and an absolutely reliable supply of components for repairs and maintenance, covered by a service agreement that includes an extensive spares package, along with a standard one-year warranty, which can be extended. Spectrum’s team of expert field engineers, trained by Daktronic technicians, provide local maintenance and repair services.

Harmonic powers new South African Pay TV service Harmonic has announced that its market-leading digital video headend solutions have been deployed by On Digital Media (ODM) to power its new TopTV pay TV service in South Africa. The headend system includes Harmonic's Electra MPEG-4 AVC (H.264) multi-channel encoders and the ProStream 1000 stream processing platform with DiviTrackIP statistical multiplexing. This new solution was implemented for ODM in under two months by African Union Communications, a leading systems integrator and Harmonic reseller in South Africa.

opTV has a total of 52 channels of which 14 are contributed from South Africa. Using the Harmonic headend system these 14 channels are sent over IP via SEACOM's undersea fiber optic cable and are received at TopTV's teleport in Germany where they are multiplexed with the remaining channels on another Harmonic headend system. The complete 52-channel line-up is then uplinked to the SES World Skies Sirius 4 Ku-band satellite over Africa and delivered to the consumer via a compact set-top box. "The advanced capabilities of Harmonic’s integrated IP-based headend technologies allowed us to efficiently and quickly launch the new TopTV service," said Frans Lindeque, COO at On Digital Media. "In addition,

Harmonic’s compression and stream processing solution provides a superior quality viewing experience for our subscribers." "Satellite, broadcast, cable and telco operators around the world continue to prefer Harmonic’s video

contribution, distribution and delivery solutions, which power thousands of channels of television delivered to tens of millions of households worldwide," said Ido Nahmany, Africa Sales Director at Harmonic Inc. "On Digital Media’s launch of TopTV has the opportunity to make a big impact on the television market and open up a potential market of millions of new South African viewers." Harmonic, a leader in native IP digital headend solutions, offers a portfolio of products that perform the full range of video processing functions including satellite and terrestrial reception of digital content, encoding, grooming, statistical multiplexing, encryption, IP transport to the remote headend and service management.

www.electrosonic.co.za . 011-770 9800 or 031-533 0900 or e-mail sales@electrosonic.co.za

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10/2/09 1:08:51 PM

More exciting than ever before. 3D imaging with Fujinon.

www.fujinon.de

The future of television is 3D! Fujinon 3D systems help you to shape this future. Take advantage of our vast experience gathered in many years of collaboration with the pioneers of 3D film production. Lens pairs with perfectly matched zoom and focus positioning build the foundation for superior performance in sophisticated 3D productions. 16-Bit encoders and no-backlash mechanisms complement the synchronous interaction. In combination with 16-bit lens feedback, the new Fujinon 3D synchronous control system guarantees the required parallel positioning of zoom and focus and helps to avoid the need for elaborate correction measures during postproduction. The results are fascinating from the first to the last frame. Fujinon. To see more is to know more.

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NETIA enhances efficiency and collaborative production Expansion of existing Radio-Assist architecture automates archiving and streamlines news production workflow across multiple stations

ETIA has announced that Algerian Radio (RA), Algeria's public radio broadcaster, has expanded its Radio-Assist digital audio software installation to realize a highly automated end-to-end broadcast workflow incorporating media ingest, production, scheduling, playout, and archiving. By automating centralized media archiving for all five Algerian Radio national stations, facilitating the exchange of content among existing regional facilities already equipped with Radio-Assist, and streamlining acquisition of wires from various news sources, the Radio-Assist implementation enables more efficient creation and delivery of French- and Arabic-language news and other programming to more than 20 million listeners in Algeria. "Timely news broadcasts are a very important part of the services that we offer to our listeners, and the further build out of our Radio-

Assist software systems brings even greater efficiency to individual station operations, as well as improved collaborative capabilities among the different contributors to the news production workflow," said Hidougui Salah, director of technical services and equipment at Algerian Radio. "The highly automated workflow we now enjoy, as well as the benefits of a convenient

centralized archive, give journalists the time and tools they need to deliver quality news quickly." Algerian Radio had already equipped 15 regional stations with NETIA's Radio-Assist architecture, including Air-DDO broadcast modules and servers and the DBShare data security module, to streamline the entire production workflow and to establish the functionality necessary to exchange content securely and efficiently with other sites and remote databases. The new expansion of Radio-Assist at Algerian Radio includes implementation of NETIA's Script Office module, a dispatchprocessing module that keeps journalists close to information sources. Automating acquisition of newswire content from APS (Algeria Press Service) as it arrives at Algerian Radio facilities, Script Office provides filtering and display of multilingual wire feeds and facilitates fast, easy review of available content.

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Appear TV helps to take MultiChoice to a wider audience During the recent IBC exhibition in Amsterdam Appear TV, a global provider of next-generation head-ends for broadcast and IP television, announced the completion of a successful deployment for MultiChoice Africa.

he Appear TV modular head-end equipment is already live within a growing number of hotels, shopping centres and leisure venues in South Africa, enabling them to receive, descramble and transmit MultiChoice’s satellite signal over a local IPTV network. As part of the agreement, MultiChoice has also mandated that all new commercial subscriptions, where the DStv satellite signal is distributed via IP networks, will require the customer to use the Appear SC2000 configured with satellite reception, descrambling, and IP output modules. Carl Walter Holst, CEO of Appear TV explains, “We are delighted with the successful deployment of our technology for MultiChoice, which helps it to distribute the MultiChoice services to a wider audience. The roll out has been the result of a collaborative partnership in which we

have worked together to deliver a solution that met MultiChoice’s exacting requirements including some custom development to simplify installation and maintenance.” “Our compact, modular technology means that we can offer satellite reception, descrambling, and IP output via a single 4RU chassis. We are looking forward to working with

MultiChoice over the next three years to help them to reach a wider audience the length and breadth of the African continent.” concludes Holst. Gerdus van Eeden MultiChoice Chief Technology Officer says “Our partnership with Appear TV has enabled us to expand and enhance our offering to our customers via an exciting new platform. Together with Appear TV, we will continue to delight our audience with premium entertainment on new platforms like IPTV”. MultiChoice started as the subscriber management arm of M-Net. Today it is the leading multichannel digital satellite television operator across the African continent. Its dynamic technology platform and varied bouquet of channels, built on a foundation of compelling premium entertainment, has seen MultiChoice grow its business across South Africa.

DIFF 2010 to honour Arab icon with Lifetime Achievement Award Pan-Arab icon Jeanette Gergi Fighali, better known as Sabah, will be honoured with a Lifetime Achievement Award at the Dubai International Film Festival 2010.

a trailblazing and enduring achiever who carved a niche in a challenging industry. By honouring her, we celebrate women in Arab film and music everywhere.” Although a Lebanese national, the majority of her films were co-produced with or focused on Egypt. At the age of 15, her career launched with a debut in the Egyptian film Bint Al-Charq (Daughter of the East, 1946). Some of her most well-received films include 1956’s How Can I Forget You? (Izhay Ansak), 1959’s The Street of Love (Sharia el Hub) (1959), 1962’s Al Layaly Al Dafiaa and 1980’s Layla Baka Fiha El Kamar. Over the years, she has shared the screen with some of the biggest names in Arab cinema, including Abdulhalim Hafiz, Fareed Al Atrash, Emad Hamdi, and Hussain Riyad.

ne of the Arab world’s most prolific and popular actresses and singers, Sabah has starred in more than 98 movies, including several timeless comedies and musicals and lighthearted fare; Renowned for her endearing performances, soaring voice and sparkling personality, Sabah – or ‘Al Shahroura’ (The Singing Bird) as she is known to her fans – continues to act and sing today, including a recent appearance in the pan-Arab talent show Star Academy. Abdulhamid Juma, Chairman, Dubai International Film Festival, said: “For more than six decades, Sabah has inspired generations to aim high and break new ground. She is one of the hardest-working entertainers of our time, and continues to give of herself even today. She is an icon for the Arab world,

Christie bring Egypt’s ancient temple of Edfu to life When Egyptian technology company Horizon staged its first sound and light show for tourists visiting the Pyramids of Giza, back in 2002, head of engineering Wael Gouda little realised that it would lead to the company eventually presenting five such spectaculars at key temples along the River Nile.

oncentrating on the stretch between Luxor and Aswan, Horizon followed the Pyramids show with similar productions at the Philae Temple, Aswan, and then the Temple of Karnak at Luxor, and Abu Simbel. But during May the launched their most ambitious integrated show to date — at the Temple of Horus (Edfu), featuring large scale projection from four Christie Roadster S+20K 3-chip DLP devices. This was the first time that large format projection has been used in any of these shows. Projecting a distance of 70m onto the main gate, this is the final destination in a three-stage visitor attraction.

Giant leap forward Marking a great leap forward from the past sound and light shows, the Edfu spectacular is staged three times per night. Before being awarded the contract, Horizon first had to win a competitive tender (involving companies from France and Spain), issued by Misr Company for Sound and Light, the Egyptian Government-owned company. Only after being awarded the contract, were Horizon able to review the companies that could offer the kind of projection output needed. “We put out feelers to two companies and Christie made the most favourable response,” said Gouda.

Impressive results Early this year Phil Lord, Christie’s sales consultant, Africa, was on-site, demonstrating the system to both Horizon, Misr Company for Sound and Light and also Casa Magica, the artistic directors of the show. The S+20K’s delivered such impressive results and resolution that Horizon were able to abandon their idea of running the more powerful 30,000 lumen projectors. “The artistic directors were satisfied that the features of Christie were suitable for this application — and in fact we are able to use just two 20K’s stacked, with the lamps run at 60% of their power. This way we are not only energy efficient but we have full redundancy in the event of any faults.” These are mounted on pylons 70ft

from the ground, and encased in two 2m x 2m temperature controlled cabinets. The hazards of dust, sand and heat — the three enemies of working outdoors in the desert — have been countered by these air-conditioned, sealed cabinets in which the four projectors reside, since during the daytime (when the projectors are in storage) temperatures can soar to 45°C.

in Egypt (after Karnak) it is one of the best preserved. Dedicated to the falcon god Horus, it was built in the Ptolemaic period between 237 and 57 BC. The audio visual show depicts the building of the temple, presents a day in the life of a temple dweller, from sunrise to sunset, and tells the mythological story of Isis, Osiris, Horus and Set.

Artistic pageant

Show control systems

“With most of the structure IP65rated it is fine for the conditions,” explains the Horizon engineer. “The cabinet, which is built in Egypt, is of good quality and we have tested the cooling and isolation to ensure it is suitable — including making sure that by day the storage temperature is OK.” The team of creatives features lighting designers, sound composers and artistic directors. The show itself offers an experience in which the contents and presence of the original site are transposed into an artistic pageant of existing architecture, image, light, music and speech under the guidance of the artistic team. They collate high quality image sources and set up specific photo shoots in an overall show lasting 37 minutes (the final 16 minutes of which is dedicated to the giant Christie projection onto the 40ft x 40ft temple fascia). The ancient temple itself is located on the west bank of the Nile; the second largest 22

The footage is recorded on digital media, with speech and music updated regularly, and it is fed over fibre optic to the projectors from an AV Stumpfl media player running Wings Platinum 4 software. The show control also sends DMX signals to the lighting, which includes Martin Pro and Griven heads while the soundtrack is delivered through a Meyer sound system. Equipped with multi-lingual headsets, up to 1000 people attend the three nightly shows, which offer a different dimension to the daytime guided tours.

WRN Broadcast HD playout of triple play platform WRN Broadcast, the international broadcast services company, today announced a major contract win to manage and playout a range of TV channels for Wananchi Group Holdings’ (WGH) triple play Zuku platform in East Africa.

RN Broadcast has previously provided distribution services for WGH, however this new deal will provide the East African cable and DTH platform with a competitive solution to launch its growing number of channels. WRN Broadcast will be responsible for the playout, multiplexing and distribution of 34 of Zuku’s 100+ channels, with the ingest and content management of Zuku’s premium channels, including the six high definition channels, also taking place at the media centre.

8 movie channels The HD channels will be split across Zuku’s 8 movie channels, showing films from some of the world’s most successful studios, in addition to Zuku Life, Zuku Afrika and Zuku Sports which are dedicated to showing the best in lifestyle,

we’re in a fantastic position to do just that.” WRN Broadcast’s new media centre features enterprise class technology based on Pharos Mediator 4, Publitronics playout servers, DDN media storage and Harmonic encoding and multiplexing.

High level of technology documentary and sports programming. Lars Anderson, CEO, Wananchi Group Holdings, says: “Wananchi’s intention has always been to offer East Africans the opportunity to watch the best local and international content. WRN Broadcast understands this and with their well engineered broadcast solutions and our commitment to top quality content and services, such as HD, we believe

This high level of technology is matched by the expertise of the team which is led by Dave Travis, Head of Engineering and Technology Solutions and Mike Ward, Head of Operations. David Treadway, MD, WRN Broadcast, adds: “Our ability to provide a reliable, cost-effective solution means we can satisfy demand from anywhere in the world, showcased here by our multichannel delivery between the UK and Africa.

Europeâ&#x20AC;&#x2122;s No.1 show for professional AV and electronic systems integration presented by

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Discover a better way to design, install and maintain, with new AV products and solutions from over 700 exhibitors in 11 halls of the Amsterdam RAI. Make what you sell go further. Watch the video at: www.iseurope.org/movie Platinum Sponsors:

QSC spread the Gospel at Potters House QSCâ&#x20AC;&#x2122;s active K Series, with integrated 1000W Class D amplifier, is setting a new standard in lightweight portable PA systems throughout the world.

he latest converts are the Potters House Church in the South African city of Bloemfontein â&#x20AC;&#x201D; one of 2500 Potters House Christian Pentecostal Churches which have been established across the world over the past 40 years. Senior Pastor at Bloemfontein, David Kennedy, was eager to replace his existing system with QSCâ&#x20AC;&#x2122;s and when a friend offered to buy the previously installed rig (including sub), he said it was just the break he needed. â&#x20AC;&#x153;I wrapped up the deal and ran to Toms [QSCâ&#x20AC;&#x2122;s South African distributor] to buy my new K12's. As soon as I had installed them the difference was like night and day; even people untrained, or unobservant of such things, could tell immediately the difference in quality.â&#x20AC;? David Kennedy had been introduced to the K12â&#x20AC;&#x2122;s by Nico Greyling, who looks after the Bloemfontein branch of Toms Sound and Music Pty Ltd.

Improve the sound â&#x20AC;&#x153;I have known David for a few months, and on many occasions we have discussed how he might improve the sound in his church. The fact that his church operates in a huge tent makes it very challenging from an acoustic point of view, unless you truly have a huge budget. â&#x20AC;&#x153;Although his previous system worked fine, he needed more sound and

better quality â&#x20AC;&#x201D; without adding more speaker boxes. The first time I heard the K Series I knew we had found something that would work for him, and at a very affordable price for the given performance and specs. And so we demoed it.â&#x20AC;? In addition to creating a new standard in Class D power modules, every model in the K Series is fitted with the identical 1.75" HF device (full-range models) and high quality woofers. Extensive DSP processing optimises the performance, generating those high levels of output and sonic clarity required, while premiumgrade construction materials and multiple mounting and suspension options allow for a wide range of live and installed applications.

Wide range of applications In Bloemfontein, the K Series is tasked with reproducing speech from the

preachers during the service, as well as live music â&#x20AC;&#x201D; including a band comprising drums, keyboard, bass, and electric guitar. â&#x20AC;&#x153;It just delivers so much better clarity than the previous system, and with the bass boost it provides extra depth, although we will add a KSub at a later stage,â&#x20AC;? confirms David Kennedy. Nico Greyling believes that the extraordinary sales success of K Series experienced by Toms can be attributed to the shop demos. â&#x20AC;&#x153;This is for the simple reason that they are deceptively small for the huge punch they pack. That is why I always have a set of Kâ&#x20AC;&#x2122;s up and running in the shop, rigged against another brand. This way it is very easy for the customer to do an â&#x20AC;&#x2DC;A/Bâ&#x20AC;&#x2122; comparison by just panning from left to right â&#x20AC;&#x201D; and I am pleased to report that QSC has never lost a shoot out! â&#x20AC;&#x153;I have been selling sound equipment for 18 years, and the QSC K Series is by far the best speaker that I have came across.â&#x20AC;? Certainly David Kennedy shares this belief. â&#x20AC;&#x153;These were my best purchase this year,â&#x20AC;? he says, adding that he is now on a mission to convert the remainder of the 2,500-strong Potters House estate. â&#x20AC;&#x153;In the past Potters House has used other brands, but the K12's would set a much higher standard for us worldwide,â&#x20AC;? he states.

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Liquid-cooled video walls by Barco Barco’s new generation of LED-lit rear-projection video wall systems has been optimized with a unique liquid cooling technology. Combined with Barco’s Sense6 auto-calibration system, the new LED video walls offer: • 30% less power consumption • 80,000 hours lifetime • usability in 24/7 applications • 20% more brightness • 4:3 and 16:9 compatibility • display sizes from 50” to 80” Find out more on www.barco.com/cool

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Sony helps Africa combat the spread of AIDS The project â&#x20AC;&#x153;Public Viewing in Africaâ&#x20AC;? partnership between Sony Corporation, the United Nations Development Programme (UNDP), and the Japan International Cooperation Agency (JICA) brought 26 World Cup matches to 24,000 people living in Cameroon and Ghana. The viewings launched an AIDS-awareness campaign aiming to bring health information to vulnerable communities in these countries, and contribute to the achievement of the Millennium Development Goals (MDGs).

he MDGs are eight internationallyagreed targets which aim to reduce poverty, hunger, maternal and child deaths, disease, inadequate shelter, gender inequality and environmental degradation by 2015. Sony set up large screen visual equipment, including a 200inch screen, projector, Blu-Ray disc player and waterproof speakers, and aired, for free, 26 live matches of 2010 FIFA World Cup, at locations with limited access to television, while UNDP, JICA and local partners offered the viewers HIV and AIDS counseling and advocacy materials.

Nearly 20 thousand people in Ghana were able to experience the FIFA2010 World Cup as a result of the JICA initiative.

Low TV penetration Activities included drama performances, quizzes and song contests relating to HIV and AIDS prevention, as well as the free distribution of condoms. Despite the widespread popularity of football across Cameroon and Ghana, low household TV penetration, at approximately 20 percent, and the lack of electricity in certain regions prevents many communities from watching their teams on TV. In Cameroon, UNDP mobilized more than 5 thousand people to five venues in four regions, while in

Ghana, JICA brought tether nearly 20 thousand people at 18 venues across 15 regions. In addition, 1,800 people in Cameroon and 3 thousand people in Ghana took HIV tests. In both instances, more than double the number of people expected participated.

Strong environmental impact During the screenings, â&#x20AC;&#x153;Join the Team!â&#x20AC;? footballs, made from environmentally conscious and durable material produced by Sony were also

distributed. Furthermore, with the help of NGOs and international organizations such as JICA and UNDP, Sony will be donating 3,372 footballs, which were gathered by people around the world through Sonyâ&#x20AC;&#x2122;s Earth F.C. project to children in Africa. As part of its efforts to harness sustainable energy sources, Sony also piloted in Ghana a combined solar power and lithium-ion storage battery system, which provided enough electric power to screen more than two hours of football broadcasts for public viewing in the evening. UNDP and JICA work with the private sector to accelerate progress towards the MDGs by 2015, by promoting inclusive growth, and sharing best practice on how businesses can be profitable while fighting poverty. Under the theme â&#x20AC;&#x153;For the Next Generationâ&#x20AC;?, the Sony Group is aiming to collaborate with external organizations to leverage the companyâ&#x20AC;&#x2122;s strengths in meeting the needs of todayâ&#x20AC;&#x2122;s society, while aiming to contribute to social sustainability and the development of the next generation. In recent years, Sony has also supported various activities in Africa with the aim of contributing to the MDGs.

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Saudi Ministry awards major contract for TV and Radio network Newtec and local integration company First Gulf Company are partnering to implement the next-generation television and radio exchange network of the Saudi Arabian government's nationwide media transformation programme.

his groundbreaking initiative involves an unprecedented deployment of satellite-based technology for a national infrastructure delivering television, radio and Intranet services. The TV and Radio Exchange network is a large deployment, providing a state-of-the-art solution for contribution between the studios and broadcast facilities located across the country, and for the exchange of radio and TV content between locations. The network's first stage of deployment will include HD-capable terminals and a central earth station pointed to Arabsat 5A, which successfully launched in June. The initial deployment will use Ku-band satellite bandwidth with the future option of Ka-band when the upcoming extra satellite capability becomes available.

Media inrastucture "The provision of the best possible media and information infrastructure is a key priority for the Kingdom of Saudi Arabia," says Dr Riyadh Najm, Assistant Deputy Minister for Engineering at the Saudi Arabian Ministry of Culture and Information. "Our programme is now progressing well, and this radio and TV exchange implementation is a cornerstone of the infrastructure project, where we are pleased to work together with professional and experienced parties â&#x20AC;&#x201D; an essential base."

Expanding Saudi capacity

coverage. In-car, portable and indoor reception with a small antenna is critical for the acceptance of DTT in the country. "Newtec's technology has made it possible to create a robust, highly efficient and advanced media infrastructure on a national scale. This is truly a groundbreaking project for the country, and First Gulf is proud to be playing its part," says Naim G. Saidi, DGM and CEO of First Gulf Company.

Ambitious multi-year programme Saudi Arabia's ambitious multi-year programme, overseen by the Saudi Ministry of Culture and Information (MOCI), will transform national TV and radio media provision for the Kingdom's

Newtec's participation with its equipment in this major contract also contributes to provision for the expansion of Saudi Arabia's capacity for Digital Terrestrial TV (DTT) broadcasting, with the extra capacity being used both for migration to HD of the current channels, and to accommodate the first private broadcasters now appearing in the Kingdom. The DTT network will migrate from one single MFN bouquet to different SFN bouquets and will be entirely based on Newtec Horizon technology, with up to 80 DTT towers being added throughout the Kingdom. In addition, many SFN gap fillers will be added to expand indoor 28

young and growing demographic. The programme will take in the entire broadcast chain, from digitisation of highdefinition terrestrial TV, through expansion of TV and radio contribution/distribution infrastructure, outside broadcasting (OB) and satellite news gathering (SNG) vehicles, studios, production and postproduction, to archiving and playout facilities. "We are very pleased to be working with First Gulf in this inspiring project," says Serge Van Herck, CEO of Newtec. "First Gulf's local knowledge and expertise are perfect complements to Newtec's technology, and the ambitious nature of the programme is a tremendous challenge that we shall enjoy meeting together."

Al Jazeera builds progressive training centre in the Middle East Qvest Media takes responsibility for complete technical realisation of the new training centre (AJTC)

or the setup of the training centre for media and TV technologies (AJTC - Al Jazeera Training Centre) the Arabic broadcasting network Al Jazeera has engaged the services of Qvest Media in Dubai. With a convincing concept, the company succeeded in a worldwide tendering process against international competition. With awarding of the contract, Qvest Media will have responsibility for the complete realisation of a cross-functional, media-technical infrastructure, which will enable the broadcaster to conduct future-oriented training courses for its employees. As a result, at the headquarters of Al Jazeera in Doha, Qatar, one of the most modern training centres worldwide will be established, which orientates itself on the highest technical standards. In the role of a general contractor, Qvest Media will be responsible for all phases of the project, such as preparation of the technical concept, planning, technical integration and the start of operations, as well as training of the teaching staff.

Media convergence As a result of the rapidly progressing convergence of the media, the individual vocational fields in the media business are today increasingly growing together. For example, in areas like broadcasting cross-functional networking is taking place combining Internet and communication. For media producers this development presents completely new challenges and tasks. Al Jazeera is now purposefully facing up to this process of change with the construction of its training centre for trimedial training and further training. Qvest Media will establish a complete multimedia technical infrastructure in a building newly-created especially for this purpose. This will enable a perfect interplay for training in creative, technical and administrative vocations.

Varied programme formats In order to demonstrate the many facets of different TV formats, such as shows, news and talk, Qvest Media will

which is based on Avid Unity ISIS storage servers. Control of ingest and playout processes will be handled by Avid Interplay platforms. Decentralised areas of the Media Server System, such as onair graphics, LowRes browsing and craft editing will be linked via IP to the Avid storage system. Additionally, Qvest Media will install a fully functional newsroom for editorial training purposes. On the base of Avid iNews this will be connected with all large feed and agency networks. The video and graphics processing will be realised using Final Cut Pro and 3D graphic workstations networked with the system environment.

Modern broadcasting installation Peter Nöthen, Managing Director of Qvest Media: “We are delighted that Al Jazeera is placing its confidence in us for this trendsetting project. Based on our experience we can say that with its innovative approach to uniting all multimedia training areas under one roof, the broadcaster has its finger on the pulse of the time."

equip a total of four studios and the associated control rooms with state-ofthe-art technology. The studios will be supplemented by auditoriums, with a capacity for up to 200 persons. Here, the latest presentation and communication technology will be used for interactive live training courses. The complete training complex, as well as its areas of recording, production and further processing will thereby be equipped entirely with HDcapable technology. In the interconnected control room facilities, special importance will be attached to the handling of the most varied broadcast formats. Therefore, the infrastructure will allow the training of the specialist personnel in all file-based audio and video formats and also for the HD/SD formats currently present on the market.

From AV to IT skillset The trend in the area of IT infrastructure today is quite clearly shifting from AV to IT-based processes. For this reason, the concept of file-based workflows is being followed consistently. Thus, Qvest Media is implementing a fully redundant, central Media Server System, 29

In accordance with the requirements of a modern broadcasting installation, all central components will be brought together at one location. Thus, the systems for routing, multi-viewing, signal conversion or synchronisation will be accommodated in a central equipment room. Peter Nöthen, Managing Director of Qvest Media speaking about the new training centre said: “We are delighted that Al Jazeera is placing its confidence in us for this trend-setting project. Based on

our experience we can say that with its innovative approach to uniting all multimedia training areas under one roof, the broadcaster has its finger on the pulse of the time. Creating a training infrastructure which unites all processes and tasks of the increasingly convergent media, is certainly an important investment for the future."

Get ready for more reach, more choices and the coming HD-TV and 3D revolution with Arabsat’s newest satellite With the launch of Arabsat’s new state-of-the-art BADR-5 satellite, the largest Arab community in the sky now reaches farther than ever across the Middle East, North Africa and Central Asia. BADR-5 is the latest addition to Arabsat’s constellation of BADR satellites at 26º East, bringing more reach, more in-orbit redundancy, more entertainment choices, more possibilities and more power to experience the HD-TV and 3D revolution of the future. Join the largest Arabsat community in the sky and tune in to the future, today.

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Is skype a threat to video conferencing and telepresence? Bryan Thompson is Sales Business Development Manager for Cisco TVSS in Southern Africa. He believes that skype has helped create a huge market for professional video conferencing solutions because early adopters of the technology are now looking to enhance their video experience.

here’s a general perception that Video conferencing technology has bypassed smaller businesses and it seems that Skype is favoured by a major portion of the SME market. It‘s also said that developers of highdefinition video conferencing systems are ignoring the smaller business market, but according to Bryan Thomson, business development manager for Cisco TVSS in South Africa, nothing could be further from the truth. Bryan believes Skype has in fact created a huge market of early-adopters of video conferencing who include students and business people using Skype to communicate with friends and family. They are the ones who are creating additional demand for video conferencing in the business environment. “Skype is not a competitor to business video but rather an enabler to the growth and development of business video and personal Telepresence,” he asserts.

Meeting user needs It is commonly accepted that Skype is not necessarily suitable for business use because of the unstable and low-resolution video quality, a lack of functionality such as document sharing and security. But for personal use Skype meets users’ needs. For business use, high-quality video is crucial without video ghosting, fading or pixilation, audio must be clear, calls must be easy to make and additional functionality is generally needed that Skype cannot provide. Previously, earlier systems required expensive ISDN connectivity. This has since migrated to IP and the ability to connect across the Internet. Today, the users simply select a name from their address book a make the video-call or uses the persons email address commonly known as URI dialling. Highdefinition systems are now available on PCs and notebooks with the added functionality of document sharing. This is lowering the barrier to entry to video conferencing for small businesses, made

session participants. This enables any PC to become a business-quality video system that seamlessly connects users to any other standards-based H.323 and SIP video or telepresence system. Providing high-definition 720p 30fps video with the highest resolution for a high-quality call experience.

Standards and interoperability

Cisco's Bryan Thompson believes that skype is not a competitor to business video but rather an enabler to the growth and development of business video and personal Telepresence.

more viable by the lower pricing of bandwidth. Systems are also Apple Mac compatible. While a sophisticated video solution may be expensive for a small business, local and overseas companies are now looking at “video hosting”. Payas-you-go overseas models for video conferencing may soon be introduced into South Africa.

Low cost of entry This will give smaller businesses an entry point to low-cost high-quality solutions with easy-to-connect HD PC or laptop-based video communication. HD video conferencing is not only being used to communicate externally, but for face-to-face internal communications as well, in large campus environments. A foreman may want to speak face-to-face with someone in the factory where the distance is too great to continually walk. Employees in multi-building environments may want to speak faceto-face, avoiding time-consuming walks over long distances. A key feature of the new HD, PC-based technology, is the ability to share PC content with other 32

Interoperability is ensured with other systems through conforming to a standards-based implementation, thus not limiting communication to a closed user environment. It allows users to simultaneously connect to multiple users on different devices, with better call quality and functionality. Picture-inpicture capabilities are available for content sharing to provide the flexibility to see who you are talking to while collaborating or sharing content such as a graph, financial results or legal document.

Cost saving technology Then there are the cost savings, especially on air travel. It is not uncommon for business people to travel from Johannesburg to Cape Town for a meeting, or travel overseas for a single meeting lasting an hour or two and then take the next plane back. Video conferencing can save thousands of rands on travel costs and time. Visual communications is paying off for Cisco where in the last year its global employees made on average 75 000 video calls each month. Replacing unnecessary business travel with ‘inperson’ video calls has effectively saved the company over 21 000 metric tons of carbon emissions, over $45-million in expenses and about 38 250 productivity hours in a year. This comes in the wake of a report from the European Commission that cites videoconferencing as a way to cut carbon emissions. The organisation claims that Europe could save more than 22-million tons of carbon dioxide a year if it replaced 20 percent of business trips with this technology.

Saudi ministry visits BE plant in Quincy Marking sixteen years of successful partnership with Broadcast Electronics (BE), engineers from Saudi Arabia's Ministry of Culture and Information (MoCI) received a warm welcome in Quincy during October from BE President & CEO Joseph W. Roark and Quincy Mayor John A. Spring.

oCI Director of Transmitter Projects Mizyad Al Omar and Project Engineer Ayman Al Zahrani, along with BE Saudi representatives Nasr Atwan and Madhukar Sonpal of Thales (formerly STESA), arrived in Quincy from Saudi Arabia to visit BE's corporate headquarters and preview the company's industry-leading STX LP transmitter. More than 30 BE STX LP transmitters ranging in power from 1 kW to 5 kW and featuring advanced, single-frequency technology for synchronized, continuous regional coverage are scheduled for shipment to the Kingdom of Saudi Arabia in Q4, 2010. In the past several years, the MoCI, the agency responsible for radio and television in the Kingdom of Saudi Arabia, has purchased several hundred BE FM transmitters along with associated

RF equipment. "The Kingdom of Saudi Arabia has been a very valuable customer to us over the years. In fact, this year they will significantly pass the 300 unit mark of radio transmitters in the Kingdom of Saudi Arabia," said BE’s Roark during an appreciation ceremony. Joseph Roark presented both Mizyad Al Omar and BE representative Madhukar Sonpal with plaques in

LP_1x1_1.2AVSpecialist:LitePanel 2/18/10 3:53 PM Page 1

recognition of their friendship and partnership, while Mayor John Spring presented Al Omar and Sonpal each with a ceremonial key to the city of Quincy. "It is a special treat to be here with our friends from Saudi Arabia and to recognize them and thank them … to let them know that they are truly our friends and are truly welcome," said Mayor Spring. Among the local dignitaries present were Jil Tracy, Illinois State Representative; Gary Sparks, Director of Administrative Services for the city of Quincy; and Jim Mentesti, President of the Great River Economic Development Foundation, a group supporting business development in Illinois, Iowa and Missouri. Each, like Mayor Spring, expressed gratitude for MoCI's business contributions to Broadcast Electronics' growth.

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3D takes to the African plains Wildlife filmmakers Mark Deeble and Vicky Stone recently filmed a 3D pilot for a planned 3D theatrical feature film. Shot for two weeks in Kenya, Distant Thunder follows a family of elephants as they struggle to survive when drought strikes their homeland.

learly, shooting in a fledgling format like 3D in the midst of the African bush is not a straightforward matter. Set against spectacular Kenyan landscapes the film follows a family of African elephants as they struggle to survive when drought strikes their homeland. Filming took place in Kenya’s Tsavo East and Amboseli National Parks and features a wide variety of filming techniques, from macro to hand-held gyro-stabilized to scenic time-lapses whilst following the elephant family on their epic journey. Vicky Stone, producer and director of the pilot commented: “It was a first for wildlife filmmaking and it proved the power of the medium. Digital 3D is so immersive and experiential that it is perfectly suited to natural history story telling. We were delighted that it was possible to achieve so much in such a short time - what started out as ‘proof of concept’ rapidly evolved to become a short film. It was an extraordinary and very successful collaboration.”

Deliver the safari experience Mark Deeble is equally enthusiastic. “Wildlife in 3D is as close as you can get to the safari experience without buying an air-ticket,” he says. “When that wilderness immersion and proximity to the animals is combined with good storytelling it is a compelling combination.” Mark and Vicky had been experimenting with 3D for a number of years. “About eight years ago we had a meeting with James Cameron just as he was starting on Avatar. We bought into his vision and could see that such a high profile release would drive the conversion of cinemas to digital 3D. That gave us the platform to launch a wildlife story in 3D. We had done tests with various 3D specialists both in the US and Japan and had conversations with Inition early on. It seemed a good fit to combine with top 3D specialists as our story is so well suited for 3D digital cinema. Inition were developing their own solid state field recorder and that, combined with the SI2Ks, mirror and side-by-side rigs that could be bought off the shelf, meant that all of a sudden, the right tools were available for a mobile and light-weight shoot in a remote location.” Vicky found working the 3D feature very different from the process of working in two dimensions.

Wildlife filmmaker Mark Deeble with his P+S Technik SI 2K 3D camera. "Digital 3D is so immersive and experiential that it's perfectly suited to natural history storytelling," he says. "It's as close as you can get to the safari experience without buying an air ticket."

“If you are filming from a vehicle (using it as a mobile hide) you can pare down to a crew of two but the weight of the 3D camera and accessories meant a bigger crew (stereographer plus digital image technician), more kit and longer set-up times,” she says, “but it was much more manageable than we anticipated and we were very pleased by what we were able to achieve in the two week shoot. More kit and people meant an extra vehicle so we were generally a crew of 5-6 in two landcruisers. What became particularly exciting for us was when 3D left the realm of the purely technical and we were able to use it as an extra storytelling device - in the same way that you might use colour or sound to enhance the narrative and emotional impact.”

React to events As with any wildlife shoot, many of the challenges came from having to react

to events, rather than predict and control them as you might in drama. “It is what we are used to in 2D, but working in a 3D environment meant that convergence and inter-axial had to be adjusted on the fly,” explains Mark. “It meant having to film in

dust or being unable to clean a water drop off the mirror in the middle of an essential piece of action - it was crucial to capture the action as fast and well as we could while it unfolded. In wildlife filmmaking this can mean rapidly repositioning the car to get another angle, while holding on to the rig and then rolling the moment the engine has stopped, while the stereographer either chases the inter-axial and convergence, or does a rough setting for the type of shot he imagines the DoP/ operator will go for next. This style of shooting requires rapid communication and a director completely in sync with the operator and stereographer. Luckily Vicky

and I, and assistant director Etienne Oliff, have worked together for 20 years and Andy and Campbell (from Inition), were both fast and very professional. It made for a great team.”

Slower cutting pace The production team also experienced differences with the edit which was completed at Apuntolapospo (postproduction) in Barcelona, Spain. “We found that we had a slower cutting pace, particularly in the wide shots, where there is the desire to look around more,” says Mark. “We checked the shots in 3D in the field every evening, playing out from a P&S Technik 'Onebox' with embedded Speedgrade to a DepthQ projector, with a 2m screen with active shutter glasses, so we knew the material worked. We then edited in 2D back in the UK, then rough assembled in 3D and did a first pass correction for colour and stereo alignment in Speedgrade - all the while checking any corrections on a large screen at inition.”

An extraordinary experience Vicky concludes with some words of advice for other filmmakers considering a 3D project. “Don't be frightened of it, it can be an extraordinarily exciting medium, but think whether your film will really benefit

As with any wildlife shoot, many of the challenges came from having to react to events, rather than predict and control them as you might in drama. “It is what we are used to in 2D, but working in a 3D environment meant that convergence and inter-axial had to be adjusted on the fly,” explains Mark Deeble. "What became particularly exciting for us was when 3D left the realm of the purely technical and we were able to use it as an extra storytelling device - in the same way that you might use colour or sound to enhance the narrative and emotional impact.”

from 3D - not all subjects do. Your life will be a lot easier if you can work with a good stereographer / 3D supervisor and we would highly recommend Inition. Ensure that the team is united in the 3D 'feel' you are trying to achieve - you don't want a DoP and stereographer who are at odds.

Think about what producing in 3D will add to your budget, the uplift might only be 1520% for heavily scripted shoots, but it will be significantly more for unscripted 3D. 3D will only get easier - every month there are exciting new developments in hardware and software.”

The SpeedGrade DI Workflow for Distant Thunder While Stereo 3D technology has been implemented with lots of CGI and a good number of feature film pipelines, it’s still out of the ordinary to do documentary.

he tools required to create a good looking S3D documentary are essentially the same as for feature film, but there are some additional challenges to face while shooting and while doing post production. Calculating the right interaxial and working a S3D rig takes additional time you might not have if you only have seconds to get up and running to capture the perfect shot of an elephant walking with a bird on his neck. Doing another take is often not an option. If you’re out in the desert with limited options to repair or exchange gear, you might find yourself in a situation where a scratch on the S3D mirror is just something you have to worry about later. Finally, shooting nature documentary is hardly done on prime lenses only. While there are great solutions to deal with zoom lenses on a S3D rig, it’s usually well beyond budget to use these expensive

motorized rigs that deal with focal length issues. This creates a number of tasks post production software has to deal with.

Essential production tools The SpeedGrade workflow for Distant Thunder offered a number of advantages for shooting a documentary cost efficiently by bringing the essential post production tools to the set for quality control. SpeedGrade DI allows for watching both streams right after 35

transferring the material onto the review and backup workstation. This works for almost every digital film camera available to date and is, in particular, well integrated with the RAW data recorded by the Silicon Imaging SI2K cameras used on Distant Thunder. The RAW files don’t need to be transcoded before reviewing the material, thus saving lots of time and storage bandwidth and capacity you can’t have with an ultra mobile setup. Loading S3D footage is automated in SpeedGrade as well as adding flip / flop settings for all clips coming from the same rig setup.

Creative choices Major issues will occur right away and therefore it’s easy to make the right calls for the next day. As virtually every kind of display can be used to watch S3D, every level of confidence in the S3D material can be achieved.

Convergence drives evolution of content management For a long time we have talked about broadcasters and telecommunications companies in different conversations. The very strong influence of increasing convergence within the media industry, however, has changed the discussion, as broadcasters and telcos now share the goal of acquiring TV programming and delivering this content through a multiplatform distribution model including TV channels, video-on-demand (VoD) services, Internet platforms, and mobile services.

hough they began offering very distinct and different services, TV broadcasts on one hand and telephony and then Internet service on the other, broadcasters and telcos are converging on the wealth of new platforms available today. One illustration of this powerful trend is the shift of the NAB Show, which is proposing for the first time that telecom operators join both as exhibitors and attendees. It’s a sensible proposition as, having taken on similar goals with respect to receiving and distributing content, these media companies now face similar challenges in managing that media.

Multiplatform delivery Media asset management thus has become critical for both broadcasters and telcos, who have realized that the only cost-effective way to establish multiplatform delivery model is to build a single central workflow that will allow them to receive and store content, handle metadata, and transcode or otherwise process media for automatic delivery to the appropriate target in the appropriate format. Centralizing asset management is the first step in building a streamlined and cost-effective model for multiplatform media delivery. Elimination of duplicate processes and storage saves both time and money while simplifying overall operations. The second step brings automation to bear in maximizing the efficiency of the workflow. Using preconfigured rules to guide the flow and processing of media from start to finish, broadcasters and telcos can redirect human resources toward more creative areas of content delivery. The third step is to establish a single dashboard or interface that supervises the whole system, monitoring all media management processes from start to finish. Tight integration of the media asset management system with third-party systems across the workflow makes this last key step possible. As convergence begins to alter media companies’

business models, it also will affect their implementation of media asset management systems. Whereas broadcasters traditionally have adopted such solutions in a B2B approach, in which they purchase the product and deploy it to support their services, telcos have operated in a B2C approach that functions more like a revenue-sharing model: it depends on the revenues gained rather than on a flat fee. This discrepancy stems from the relatively small size of the broadcaster as compared to the telco operator. As a result, their use of media asset

Christophe Carniel, CEO at NETIA believes that as convergence begins to alter media companies’ business models, it also will affect their implementation of media asset management systems.

management has become very similar, but the way in which they handle the subject has been very different.

Change on the horizon For the most part, broadcasters and telcos have been independently pursuing the more sophisticated, more streamlined model of asset management required for multiplatform delivery. A significant change is on the horizon, however, as these companies begin to realize that in a converged market, cooperation may be more profitable than competition. Up to this point, both broadcasters and telcos have put their resources toward acquiring the content that is popular with viewers. They have made sizeable investments in movies and programming in order to draw or maintain subscribers. Larger players across the industry are rethinking this approach, some even entering into alliances with their competitors in order to share – and ultimately lessen – the costs of acquiring content and the costs of operating TV channels and other delivery systems. As these partnerships continue to evolve, the concept of convergence will grow to encompass media companies in their entirety.

Qatar Media optimize quality of radio coverage Qatar Media Corporation, the state broadcaster of Qatar, has gone live with a Thomson Broadcast (formerly the transmission division of Grass Valley) customized anti-fading antenna for its national AM radio service. The new antenna enables the broadcaster to improve the quality and coverage of AM/DRM transmissions from its Al-Arish station in the north of Qatar.

he highly optimized solution was developed with extensive use of Thomson's state-of-the-art computer simulation systems for the best possible combination of efficiency, reliability, and bandwidth. A half-lambda antenna was used to create a superior radiation pattern for overcoming "fading zones," and special attention was given to an innovative solution for full grounding against lightning and static loads caused by atmospheric conditions. "Thomson's solution exactly matched our requirements, and its team was prepared to go the extra mile to deliver the customization we needed," said Abdul Wahab Aman Alkuwari, controller of transmitters, Qatar Media Corporation. "Special expertise is very important for a successful implementation

of a high-performance antenna project, and we chose Thomson because its experience and knowledge is second to none." Working with system integrators Mansour Trading and Qatar Media Corporation, Thomson Broadcast engineers developed a custom-designed

222-meter anti-fading antenna with a 430meter 9-inch outdoor feeder line supported on concrete pillars to overcome the particular challenges posed by the site and terrain. Factors affecting the construction and operation of the antenna included high soil acidity, extreme climatic conditions, and underground saltwater sources. "Qatar Media Corporation's new Al-Arish antenna enables a significant upgrade of the service the broadcaster provides to its customers," said Nicolas Dallery, president of Thomson Broadcast. "As with all of Thomson Broadcast's antenna projects, the essential thing was not to rely on a standardized design, but to customize the exact solution that conditions demanded for complete success.

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150 delegates attracted to SACIA conference programme During the SACIA ProAV Forum held from 20-21 October more than 20 AV professionals delivered presentations highlighting the effective use of AV technology in business, government, education and the architectural market.

he best attended workshop was a three hour session highlighting the effective use of AV technology in business. Headlined by Bob Simpson, this workshop attracted 75 delegates who were looking for the latest information on audio, video and display systems. Bob’s keynote address focused on developments in display technology and explored how technologies are changing to meet ever-more demanding user requirements. Another popular presentation was delivered by Dimension Data’s Gavin Hill who spoke about the democratisation of video. He walked the audience through the critical steps required to integrate video beyond the boardroom, looking particularly at the user’s experience with desktop video solutions.

Kevan Jones, executive director of SACIA invites visitors to join the workshop and share in a global celebration of InfoComm International’s AV WEEK.

Use of AV technology The afternoon session, which focused on the use of AV technology in Government, opened with a video presentation prepared by the Government Communication & Information Service. This 20-minute video focused on the role of video in Government and outlined how the SA authorities are using AV technology to contribute to good governance and transparency in our rainbow nation. Attended by about 50 delegates, the most popular presentation in the Government workshop was

delivered by Matieu Tzouves who spoke about the role video conferencing plays in promoting effective communication within government. Day two of the conference opened with a workshop on the use of AV technology in the education market. This workshop attracted about 35 delegates looking to understand how AV technology can enhance the process of learning and skills development in the country. One of the highlights in this workshop was a panel discussion exploring the use of

video conferencing in the SA education market. Moderated by SACIA executive director Kevan Jones, panellists included Jasper Cecil from the University of KwaZulu Natal and Clint Cronje from Imago Communications. Clint provided some specific examples on how AV conferencing had contributed to the process of learning at community schools in Tembisa Township while Jasper focused on the use of video conferencing in Universities and tertiary centres of learning. Another presentation popular

Top 10 presentations: Satisfaction Rating: Presenter

Title

88.8 84.8 82.6 82.4 80.8 80 79.6 79.6 79 78.6

Democratisation of Video Video conferencing in higher education* ABC of AV Design & Integration No Jacket required for educational technology Educational TV brings learning to the masses Delivering the visual experience Past, present and future of the AV industry Use of AV Technology in SA Education* Partnering with Architects Lighting for effective video conferencing

Gavin Hill Kevan Jones Mark Malherbe Annette Sadie Rick Grantham Matieu Tzouves Bob Simpson George Puthenkulam Bob Simpson George Puthenkulam * Panel discussion

Global Access MD Rick Grantham delivered an interesting paper outlining how TV can bring education to the masses. His presentation covered both corporate and school-level training and including practical examples that explained the practical implementation of distance learning programmes in an African environment.

Cindy Ludick, newly appointed head of video at the Government Communication and Information Service presented a 20-minute video presentation that explained how the South African government is using AV technology to promote transparency within the country.

with the audience was Annette Sadie’s presentation titled “No Jacket required for educational technology”. Annette emphasized the need to move away from teaching methods used in the past in order to suit the profile of a new and modern student. The final workshop in the conference programme was a three hour presentation titled “AV Design professionals - Partnering with Architects for more successful projects”. This workshop had been validated by the South African Institute of Architects as part of their industry CPD programme and was

designed to reach out to architects who are incorporating AV technology into their design practice. Mark Malherbe’s presentation titled ‘The ABC of AV design and integration’ was particularly well received, scoring an impressive 82.6% approval rating. It focussed on the realworld challenges Prosound experienced in designing and installing the audio systems used at many of the sporting venues used for the 2010 FIFA World Cup.

Quality conference programme All the presentations delivered over

Matie Hoffman from the University of the Free State explained how video technology can be used to create an immersive learning experience. The University’s Boyden Observatory is planning to construct a domed theatre that will allow visitors to participate in a virtual journey through time and space.

the two days of the conference were of a very high standard with only 15% points separating the most popular from the least popular papers. Most liked presentation was Gavin Hill’s paper titled “Democratisation of Video” while the most popular panel discussion was delivered during the education track. Moderated by Kevan Jones, this session was a last minute addition to the workshop and its popularity stemmed from its specific relevance to the South African market – local case studies and local users sharing their experience working with video conferencing technology in the real-life education market.

The most popular panel discussion was moderated by Kevan Jones, SACIA Executive Director and focussed on the use of video conferencing in the South African education market. Imago's Clint Cronje explained how the technology had been used to contribute to the process of learning at community schools in Tembisa Township.

each match. They also built up various idents and unique looks representing the Supersport branding by illuminating different bits of the set, which could also be matched to graphics appearing on the various plasma screens dotted around. Slick colour wipes can be applied across the whole room to segue between the different looks.

Never a dull moment

ocated in M-Netâ&#x20AC;&#x2122;s Studio 6, Randburg, Johannesburg, this is the first of its kind in South Africa, setting new imaginative and technological standards with 8 Philips Vari-Lite VLX Wash luminaires, plus over 400 Anolis LED units which are integrated into various set elements in a stunning design by Michael Gill. With sustainability a key issue, this whole elegant, highly versatile lighting rig can be run off 2 x 15 amp plugs. Gill, who collaborated closely with lighting designer Joshua Cutts of AV Unlimited to produce the stunning original aesthetics, wanted "Something contemporary and totally different that utilised the best technology in the world".

Dynamic environment The new studio was launched in time to broadcast comprehensive coverage of the 2010 Soccer World Cup, and was one of several Soccer World Cup related projects for which DWR delivered equipment prior to kick off. Lighting is an important aspect in all Gill's work. He likes

to create 'live' environments where the dynamics can be switched quickly and dramatically with the application of light.

Broadcasting 18 hours and 4 or 5 shows a day from the studio - with a variety of related magazine and youth programmes in addition to the pure sporting coverage - the installation allowed the creation of completely fresh and different looking environments all the time. There is never a dull moment with the lighting, and they still have plenty of headroom to constantly think of new looks. Covering all 64 World Cup games is certainly putting the system to the test in a high profile fast moving situation enabling amazing atmospheric effects in the studio which could simply not have been otherwise achieved. The lighting can be used either to make the space function as one huge area or to split the studio up into 8 different segments. The Anolis LEDs - the majority of the 400 pieces are ArcLinks - are installed underneath selected floor panels and behind the back wall set pieces - which are finished with either glass or opal Perspex fronts. Together, these constitute 105 different sections or 'light boxes' all over the set ... and all individually controllable. The Anolis' homogenised lightsources create a beautifully smooth wash when combined with the diffused panel fronts. Robe CitySkape 48s are used for highlighting set pieces and toning the trusses and slick - visible but understated - metalwork that also shapes the set structure.

Mimic stadium lighting

In this case, the geometry and layout of the lighting installation also brings a distinctly different 'showbizz' feel to a sports channel, again breaking new ground. In addition to being able to change the entire look and feel of the space instantly, they also have the scope to create way cool special effects like flag colours - used during the World Cup to highlight the different countries playing in 40

The 8 VLXs are rigged on to the top of vertical trussing sections running around the gently curving back wall of the set. For the World Cup broadcasts, they were used specifically to mimic stadium lights for stings, bumpers and for moments that needed a bit of additional tension and excitement building. Gill had used Anolis fixtures before on a Lotto show at the start of the year and was impressed by their brightness, which led to them being spec'd again. It was the first time that Cutts had used either Philips Vari-Lite or Anolis products, but he instantly fell in love with the VLX after seeing it put through its paces at DWR's showroom in Johannesburg. "Duncan (Riley) insisted that I come in and see the

units," he explains, so he shoe-horned a visit into his busy schedule, and was blown away with the results! "To get a fixture THAT bright and with colour mixing THAT smooth is truly incredible," he declares. The VLX contains seven proprietary 120W RGBW LED chipsets that provide output three times the efficiency of comparable tungsten sources and also features a homogenised light engine so the source is free of pixelation and LED 'shadowing'. It was a bold move to make by Supersport and a big investment, but with the lower running costs and the virtually maintenance free nature of the LEDs, the short term investment will most definitely pay off in the future. Other benefits of the installation include minimal heat output from a huge amount of lighting - so less AC needs to be used to keep the studio at a comfortable temperature. "The feedback has been phenomenal," confirm both Gill and Cutts. "I would put LED lighting and these products into any show we'll ever do from now on if the budget allows," enthuses Gill.

Cutting edge design Duncan Riley comments, "It's really great to see a cutting edge design crafted with this technology, and we're very proud

The new SuperSport studio is sometimes used for 18 hours in a day with 4 or 5 shows sharing the same space. With a variety of related magazine and youth programmes in addition to the pure sporting coverage - the installation allowed the creation of completely fresh and different looking environments all the time. There is never a dull moment with the lighting, and they still have plenty of headroom to constantly think of new looks.

to have been part of it. Already it's the talk of the TV production community in the country, and I am sure will inspire others to look into the benefits of low power, high impact installations!" DWR completed their

lighting supply to Studio 6 by commissioning locally based Giant Light to build custom DMX - controlled LED strips which are fitted to the noses of the staircases.

Angolan Broadcast Network installs wireless intercom TPA, Angola’s largest TV broadcast network, recently upgraded its comms infrastructure with a large Riedel Artist intercom system that was installed by Avantgarde, Riedel's Portuguese partner and the Portuguese system integrator Ibertelco.

PA is the largest broadcast network in Angola and the host broadcaster of the Africa Cup 2010. The TPA studio complex in Luanda, the capital city, includes four studios, two OB trucks and a master control room. To expand TPA's existing intercom installation, which previously only covered the master control room, it was necessary to integrate all four studios, the master control and the two OB trucks into one single system.

Riedel Artist dual-fibre ring At the heart of this communications infrastructure is a set of six Riedel Artist 32 mainframes. The frames expand the existing Artist system that was already installed at TPA. All mainframes feature redundant power supplies and CPU

cards. In conjunction with Artist's dual fiber ring, the entire installation is protected against system breakdowns in case of a hardware or connection failure between devices. The individual Artist frames are placed in the various TPA studios and two TPA OB trucks. To allow for the 41

flexible use of the OB trucks their Artist systems can be easily integrated via simple fiber links to any Artist installation, no matter if it is a broadcast studio, a stadium or any other truck they encounter in the field. TPA uses a total of 23 Riedel Artist 2000 series control panels with LCD displays in the studios and the master control room. To allow for a more flexible infrastructure an extensive Riedel Acrobat digital wireless intercom installation is used in the various TPA studios. "Acrobat is just amazing. The audio quality is excellent and far beyond any other wireless technology. Plus having the flexibility of wireless communication combined with regular intercom capability really helps us a lot in our daily workflow," said António Silva at Ibertelco.

180 thousand visitors attend Photokina 2010 The 31st photokina – World of Imaging closed its doors in Cologne on September 26 2010 with outstanding results. The numbers recorded for the exhibition (including estimates for the last trade fair day) show that the imaging sector’s biggest technology show attracted over 180 thousand visitors to Cologne, a increase of more than 7% compared to the previous event.

he proverbial Who’s Who from the international photo and imaging industry was in an outstanding mood in Cologne, where 1,251 exhibitors from 45 countries presented a huge range of new products, technical innovations, and future trends to visitors from more than 160 nations. International retailers responded to the great innovative power of the exhibiting companies by filling their order books. The share of visitors from abroad totaled 68%, and there were also a large number of country participations. “This exhibition is a must for everyone in the industry,” said Koelnmesse Executive Vice President Oliver P. Kuhrt, “photokina is the international revenue generator, and it has once again impressively demonstrated why it’s the most important international business platform for the imaging sector. No other event provides so much innovation and business momentum for this industry.”

World champion event Christoph Thomas, Chairman of Germany’s Photographic Industry Association (the co-organizer of the World of Imaging), was also full of praise for photokina 2010. “This was a photokina that truly deserved to be called a ‘world champion,’” he said. “It was a huge success in every way, and its high quality and large number of international visitors are beyond comparison with anything any other fair in the sector can offer. This year’s event was also outstandingly successful in incorporating new theme areas and addressing new visitor groups. This is especially evidenced by the many young visitors it attracted.”

numbers of trade visitors from around the world flocked to the stands from the very first day on, and their lively ordering activity filled the suppliers’ order books and heightened their mood. Jeppe Frandsen, managing director of Canon Deutschland GmbH, was in great spirits as well: “In 2010, we saw once again why photokina’s platform offers the right concept for the international imaging

Large international attendance

Specialised retail sector The international specialist retail sector also seemed overwhelmed by this year’s photokina, which Michael Gleich, Executive Director of the Ringfoto GmbH retailer association, described as outstanding: “From our point of view, the trade fair couldn’t have been any better. We were absolutely thrilled.” Large

industry. We came to Cologne with very high expectations both in terms of revenues and visitor numbers. These expectations were more than fulfilled, and the foundation was laid here in Cologne for very successful business at the end of 2010.” Duncan Ferguson, Director Professional Graphics, Epson Europe, said this year’s photokina “was a great success for business at Epson,” adding that he was very pleased to see how thrilled the many photography professionals and consumers were when they visited his company’s stand.

In recognition of Christoph Thomas' service to photokina, Fritz Schramma, Mayor of Cologne and Chairman of the Supervisory Board of Koelnmesse, presented the golden photokina pin to the general manager of the imaging accessories company Hama.

The exhibitors were also very happy about the large number of visitors from abroad. Sigma Deutschland GmbH Managing Director Marco Hahn said the ideal mixture of target groups at photokina was one of the main reasons for the fair’s success: “photokina is the only trade fair that precisely targets our important customer groups. It’s also the only trade fair in the world that brings together all the key players in our sector – retailers, consumers, global imaging media representatives, and photographic artists. Cologne is the only place where you’ll find that combination. All of this

makes photokina unique and very important for us. Thatâ&#x20AC;&#x2122;s why we use it to present all of our new products to visitors from around the world.â&#x20AC;? The exhibitorsâ&#x20AC;&#x2122; satisfaction with photokina 2010 was mirrored by the opinions of the visitors, 85% of whom said they were either satisfied or very satisfied with what they saw at the exhibition. Trade visitors were pleased with the opportunity photokina offered them to achieve their trade fair goals, with some 80% expressing their satisfaction or great satisfaction with this aspect and 92% reporting that they would recommend the event to a good business acquaintance.

Numerous highlights International trade visitors and end consumers also had great things to say about the attractive photokina event program, which featured numerous highlights that offered great added value to both groups. The program for imaging professionals from around the world focused on the sharing of information about the latest sector trends, market developments, and business models for the future. The numerous events allowed visitors to touch, try out, and directly experience the products photokina showcased for end consumers.

International CGI Forum Professional visitors were especially interested in the 1st International CGI Forum, which photokina used to highlight a new market trend at an early stage of its development, one which represents a key growth sector for the trade fair. The CGI Forum presented outstanding examples of computer-generated image design and

provided the numerous visitors with the associated know-how as well. This forum, which was staged in close cooperation with the imaging sector, created a trade fair segment in which new companies, institutes of higher education, and service providers were able to present themselves to the international imaging industry for the first time.

Prosound gives King Shaka International Airport a voice Prosound, in association with TDC Africa, completed the design, supply, installation and commissioning of a world-class public address system for KwaZulu-Natal’s new multi-billion rand King Shaka International Airport one month ahead of the official opening.

rosound completed the King Shaka project under contract to Alcatel South Africa and Thales, a global technology leader in the aerospace, space, defence, security and transportation markets. The leading pro-audio and lighting company in sub-Saharan Africa, Prosound specialises in the design, supply and installation of professional audio, sound and lighting equipment. Prosound Project Engineer Charles Markotter says the company was awarded the business based on its track record and recent contract to provide the PA system for the extension to the international pier at Oliver Tambo International Airport.

Design and install In terms of the contact, Prosound was tasked with designing and installing a PA system for the main terminal building at King Shaka International Airport which could double as an evacuation system. “Safety was a priority for the new airport,” Markotter says. “From the outset, it was understood that the PA system needed the redundancy, flexibility, coverage and clarity to be used as an evacuation system as well.” Due to the complexity of the implementation, Thales Italy supervised the project, ensuring that international standards such as the EN60849 specification were met. Prosound was required to adopt a phased approach for the installation to coordinate with completed areas of the building. This process had to dovetail with the other construction work taking place at the airport during the same timeframe.

PA and evacuation

Monitoring and control

Prosound designed a sound system which catered for both PA and evacuation requirements. As such, it is not only installed in all the passenger areas, but in all other regions of the airport from the basement to the plant rooms, cargo area, the control tower and crash, fire and rescue buildings. Peavey’s Media Matrix, Prosound implemented a total of 1,350 ElectroVoice, RCF and Dynacord speakers throughout the facility, together with 12 eight-channel Crest Audio amplifiers. Larger amplifiers were used for those areas with a minimum of 100 speakers.

Furthermore, the amplifiers are linked over a standard Ethernet network for control and monitoring purposes. Two Nion processors run the system, with another two installed as an automated back-up. Any aspect of the system – from noise settings to microphones and message playback levels – can be controlled remotely from the main computer in the TOC. “One of the main benefits of this solution is its flexibility in configuration,” Markotter says. “Using Media Matrix and the Nion processors, it is simple to add extra functionality as and when it’s required.” According to Markotter, the audio system supplied met a number of specialised criteria, including the ability to offer good quality voice that is clear, articulate and easy to listen to in the front areas, while the sound in back of house

Withstand fire and flood “To ensure the same system could be used for both roles, we designed the speaker system to withstand fire and other potential hazards. This included metalback boxes and built-in fuses to guarantee that the lines could be kept open,” Markotter says. “In addition, the system has built-in redundancy, and every alternate speaker is fed off a different physical amplifier.” The installation was split into 43 zones on six floors within the King Shaka International Airport’s main terminal building, with the functionality to page each zone separately if required. Thirty paging stations cover every departure gate as well as Check-In and Baggage Claim. There are two master stations in the airport’s Terminal Operations Centre (TOC) and three firemen’s microphone stations dedicated to evacuation purposes. Should the main paging processor fail in the event of a disaster, these three stations can be used to perform an evacuation. 44

areas (such as baggage handling and basement areas) features high levels of intelligibility that is heard over and above the ambient noise that exists at any busy airport. “From design to commissioning, the entire project has taken almost two and half years,” he says. “In that time, we have confronted a number of challenges, including adapting to architectural considerations to fit in with the theme of the airport.

Alsumaria improves satellite services services to Iraq with Newtec Iraqi satellite broadcaster Alsumaria has reached the third stage of its investment in Newtec's modulation equipment with DualFlow and FlexACM technologies, as part of its migration towards tapeless news production.

ince its inception in 2004, Alsumaria has established itself as one of the most dynamic and popular broadcasters in Iraq. The latest stage of its infrastructure project involves the installation of DualFlow and FlexACM in its fleet of DSNG units for increased productivity, faster delivery of news content and reduced costs. Alsumaria's fleet can now deliver live transmission of MPEG-4 over IP, with the dual capability of switching to ASI when required thanks to DualFlow. Staff can also achieve file transfers and downloads between the DSNG units and the production centre, increasing speed of response to unfolding events. DualFlow technology further increases the productivity of DSNG crews by enabling VoIP connection with the studio, together with e-mail and broadband Internet.

Extended reach Alsumaria's implementation of Newtec's FlexACM in its DSNG fleet gives the broadcaster an extended reach in the satellite footprint, with five occasional use slots achieved in only 4MHz. The modems with FlexACM functionality allow high speed file transfers between the DSNG and the studio/playout/editing site. The Newtec EL810 Mobile PEP-Box速 Terminal was added to achieve file transfers adding compression and real broadband experience. "We now have a state-of-theart operation that gives us an unparalleled ability to respond to events, cover breaking news more effectively and deliver higher quality content to a wider range of viewers than ever before," says Jad Atallah, Chief Technical Officer, Alsumaria TV. "The combination of Newtec's DualFlow and FlexACM means we can now get exceptional functionality and value from our DSNG fleet and our satellite bandwidth."

Exceptional functionality DualFlow modems give Alsumaria TV the ability to deliver MPEG-4 live streaming, as well as the ability to store and forward video files. The Newtec

aim has always been to provide satellite broadcasters and DSNG operators with a practical real-world approach to the introduction of IP, allowing them to maintain support for ASI so they can continue to work with legacy equipment when required."

Independent network

Alsumaria TV is a moderate platform that encourages diversity and coexistence of all ethnic groups within Iraq.

solution provides comprehensive control of the quality of service and higher dedicated throughput than traditional VSAT (shared MF-TDMA) systems, together with lower delay, higher availability and better throughput. DualFlow allows broadcasters to transport IP over satellite in the most efficient way, either separately or in combination with traditional ASI live streams on the same carrier. DualFlow supports both IP and ASI interfaces, allowing broadcasters to make the transition to IP connectivity at any time.

Two-way IP interactivity When used on a modem, DualFlow fully enables two-way IP interactivity over satellite, making it possible to introduce new services into the broadcast workflows, such as real-time interviews, VoIP coordination channels, file upload and download, and remote access to tapeless production infrastructures. By turning DSNG vans into remote offices, DualFlow increases the productivity of the remote teams. "As a dynamic, rapidly evolving operator, Alsumaria has been able to benefit greatly from the threestage implementation of DualFlow that is part of the Newtec strategy for our satellite broadcasting customers," says Serge Van Herck, CEO of Newtec. "Our 45

Alsumaria is an independent Iraqi Satellite TV Network that transmits on Nilesat and Hotbird. Established by a group of professional businessmen in 2004, it currently includes a solid staff of more than 700 employees. Alsumaria TV adopts a media strategy that supports reconstruction, progress and national unity plans as it also encourages all endeavors deployed for a better Iraq. Backed by a strong production knowhow, Alsumaria TV produces almost all of its 24/7 programs in-house. In addition to a significant compilation of live entertainment, social, political and game shows hosted by young Iraqis, its grid includes drama and comedy series starred, directed and produced by major competent Iraqis in this field. Alsumaria managed as well to acquire the exclusive rights to broadcast a bundle of movies, documentaries, musicals, children, entertainment and sports shows.

Peaceful co-existence Alsumaria TV embraces a moderate speech for One Iraq that stands at an equal distance from all Iraqis and believes that Iraqi diversity would only lead towards peaceful coexistence and power rotation. Through its programs and news bulletins, the network continuously strives to promote democracy, freedom as well as political and economic openness. It adopts a Liberal perspective whilst maintaining religious faith and strongly refuting repression and autocracy. Alsumaria only supports national approaches in building the Iraqi State on democracy and rational basis to meet Iraqi civil society needs. With its motto "Broadcasting Life" that embodies peace, optimism and prosperity, encouraging Iraqi talents in all domains is fundamental to Alsumaria's role in building the New Iraq.

IBC awards reflect the thrilling diversity of media The annual IBC Awards Ceremony celebrated just what can be achieved when creativity and technology come together. The awards covered the full gamut from “beautiful and elegant” engineering achievements to raising environmental awareness; from encouraging citizenship through access to parliamentary proceedings to bringing the world’s greatest sports events into our living rooms. And as ever with IBC, all the attention was on the big screen, with plenty of thrilling footage, culminating in a sneak preview of the next big 3D blockbuster – Tron: Legacy from Walt Disney Pictures – three months before its release.

BC is a global event, and this year’s awards were a real reflection of that,” said Michael Crimp, IBC’s CEO. “There were nominations from around the world and around the industry, but most importantly they captured the spirit of co-operation and partnership which is at the heart of what we do.”

The Olympian of broadcasting The 2010 IBC International Honour for Excellence went to Manolo Romero, the CEO of Olympic Broadcasting Services. He was a support engineer for Spanish national broadcaster TVE at the Mexico games in 1968 and has been involved in every single Olympics,

summer and winter, since. “I have been very fortunate to work in many sports events where we have been able to use state of the art technology and innovations,” he said. “With the help of many colleagues, we have made important strides in the development of television sports coverage. “I am 46

honoured to accept this award and dedicate it to all the friends and colleagues who contributed through the years, and to those who continue to strive for excellence in broadcasting in the future.” Today he has overall responsibility for all host broadcast services, not just at the Olympics but at related events: he came to IBC direct from the inaugural World Youth Olympic Games in Singapore. A tribute tape played at the awards ceremony described him as “the Olympian of broadcasting”.

Innovation Awards The IBC Innovation Awards are all about that co-operation and partnership.

While to win one you need great technology, the award actually goes to the end user which has put the technology to good use. There are three categories: for the most innovative use of technology in content creation, content management and content delivery. While there were impressive entries on stereoscopic sport at ESPN and managing audio loudness for the NBC Olympics coverage, the international judging panel gave the content creation award to Red Bull Air Race for its use of fibre for all content and communications. Riedel Communications led the technology, with support from SIVision Outside Broadcast and West4Media Production. The finalists in the content management category were the multiplatform newsroom at Antena 3 in Spain and the plan to bring the 50 year video and audio archive of the European Parliament online. Because it harnessed remarkable technology – automatically ingesting from a huge number of formats – to a civic issue – giving the public access to their parliamentary debates – the judges handed the prize to the European Parliament audiovisual unit. Technology partners were Front Porch Digital and Broadcasting Center Europe. Both finalists in content delivery were concerned with terrestrial transmission, but otherwise could not be more different. Highly commended was the rollout of DAB+ digital radio across Australia, by ABC and SBS, but the winner was the development of DVB-T2 to allow Freeview, the UK’s digital terrestrial platform, to offer HD in time for this year’s FIFA World Cup. BBC R&D led the project on behalf of DVB.

sports specialist channel ESPN and Sony which led the technical supply. Niclas Ericson, director of television at FIFA, paid tribute to the co-operation between the members of the team: “thank you very much to all the people who were involved in this project, and we look forward to 2014 in Brazil and the next FIFA World Cup”. Tim Scanlan of ESPN added “As you’ve heard from everyone

up here it was a true collaborative effort. Thanks to the talented Peter Angell and his HBS staff, Sony and FIFA, ESPN was able to launch a new network and a new dimension.”

Special awards for BSkyB and TV Globo Pioneering work in stereoscopic 3D was also behind one of two IBC special awards this year. With the launch of Sky

3D earlier this year, the UK and Ireland satellite broadcaster BSkyB stimulated the creative sector as well as tackling technical issues to ensure that 3D content could pass through the existing infrastructure including set-top boxes.

The audience at the Awards Ceremony was treated to a showreel which highlighted the broad range and high quality of the programming on offer, ome stunning wildlife photography, before director of product development Brian Lenz came on stage to receive the award. “It’s in Sky’s DNA to go out on the bleeding edge, pioneer and go somewhere new,” he said. “It’s really a privilege and an honour to say thank you to IBC for recognising the fantastic hard work that has been put in by literally hundreds of people at Sky to make this happen.” Campaigning journalism has an honourable television history, and TV Globo in Brazil has now combined it with technology. Concerned about the level of

Judges’ Prize The Innovation Award scheme includes a fourth prize, in the gift of the judges. This year they chose to make an award to a project not from the category winners, but to celebrate a remarkable achievement which relied entirely upon close co-operation. The FIFA World Cup is always a massive television event – 700 million people watched the final this year. With interest in stereoscopic 3D television rapidly rising, the decision was taken at the beginning of 2010 to cover a number of games live. Despite the many challenges and the very tight timescales, 25 matches were given the 3D treatment, including the final. Meeting those challenges under the pressures already surrounding the broadcast operation was a remarkable achievement, and IBC marked it with the Judges’ Prize, given to FIFA, its broadcast partner HBS, the

Red Bull air race wins Content Creation award The Red Bull Air Race has been awarded with the IBC Innovation Award at this year's IBC in Amsterdam. The international judging panel gave the "Content Creation Award" to the Red Bull Air Race for its use of fiber-based distribution of all communications and HD video and audio content via Riedel's MediorNet technology. Also involved in this large-scale project that excites millions of people worldwide, is the broadcast production provider SIVision Outside Broadcast and West4Media Production. "The Red Bull Air Race is one our most prestigious and technologically advanced projects. We are proud to be recognized by the IBC for our work. I would like to thank the IBC and everyone in the team for his effort to make this project happen," said Thomas Riedel, Managing Director of Riedel Communications. The Red Bull Air Race World Championship is a visual spectacle unlike any other, delivering raw sporting drama set amidst vibrant landscapes. The sport has quickly built a staggering following around the world with millions captivated by the exciting and dynamic format. With the race tracks usually set up in the middle of cities, the sporting action is brought directly to the audience. 47

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pollution in the river Tietê, it commissioned Flutuador – literally, “floating device” – to provide measurements and pictures, in order to raise awareness with the public and, ultimately, the politicians. The data and cameras on board Flutuador resulted in more than 150 broadcast news stories and reinvigorated interest in the environment. IBC was proud to mark this remarkable initiative with a special award, and in response the representatives of TV Globo emphasised the importance of collaboration and innovation. “I am delighted by the decision of the IBC directors and would like to thank our partners IPT and Policontrol, and of course my colleagues from the news group who endured hard times producing this work,” said Fernando Guieros from TV Globo. “I would also like to say that it is a privilege to work for a company like TV Globo that promotes innovation, supporting a small but very talented in-house R & D team.” His colleague Raymundo Barros added “this project was only made possible due to the contribution of professionals coming from 14 different TV Globo departments who turned the term technical operations into a true cooperation. Thank you my friends: thank you very much indeed.”

Size matters The IBC2010 Conference Prize, for the best argued paper in the technical conference, went to an analysis of the way that screen size affects the viewer’s perception of depth in stereoscopic imagery. Does size matter? was written by Laurent Chauvier, Kevin Murray, Simon Parnall, Ray Taylor and James Walker of NDS. Receiving the award on behalf of his colleagues, Dr Kevin Murray said “We are deeply honoured by and surprised at this recognition of our work in this new, fascinating and developing area. We hope that this work contributes to the growing body of knowledge on 3D for television.”

Exhibition design Underlining the importance of good design to creating a welcoming and informative exhibition, IBC presents awards for the stands which most impress the judges. This year the winner of the larger free design stand was WASP3D from India, with the stands of Irdeto and Dolby highly commended. For smaller free design stands Miller Camera Support was highly commended but the award went to ioko, who incidentally won an

FIFA honoured at IBC Innovation Awards

FIFA’s efforts to constantly improve fans’ viewing experience of football have been recognised by the International Broadcasting Convention (IBC), the leading international forum for the electronic media industry. At a ceremony in Amsterdam on Sunday, FIFA was awarded the prestigious Judges’ Prize for its decision – with only six months to go before kick-off – to broadcast the 2010 FIFA World Cup South Africa in 3D. FIFA shares the prize with its partners in this sports viewing innovation, namely official FIFA Partner Sony, 2010 FIFA World Cup host broadcaster HBS, and FIFA Media Rights Licensee ESPN. The judges acknowledged the teamwork and admirable collaboration between the four entities in bringing the project to a timely and successful conclusion at such short notice. Accepting the prize on behalf of the group, Niclas Ericson, Director, FIFA TV said: "It is a great honour to receive this recognition from such a venerable exhibition award three years ago when it was a shell scheme exhibitor. This year’s shell scheme prize went to the smallest stand at IBC2010: Wenham Carter International. TriVis Weather Graphix and Phabrix were highly commended.

Sneak preview It is becoming a tradition that the IBC Awards Ceremony closes with an exclusive preview of a forthcoming 49

institution as the IBC for our endeavours in launching the FIFA World Cup into the third dimension. The judges’ award is sheer gratification for all the hard work in our race against time to ensure this new viewing experience of football in 3D could be enjoyed by as many fans as possible and in the best quality imaginable by kick-off of the 2010 FIFA World Cup South Africa. Our dream of the first World Cup in 3D only became a reality thanks to the commitment and the professionalism of our partners." The 2010 FIFA World Cup South Africa was the first global sports event to be broadcast in 3D. Twenty-five matches were filmed at five of the 10 stadiums by two dedicated 3D camera teams. The 3D feed was made available to Media Rights Licensees for "in-home" viewing on 3D channels. Public viewing of 3D broadcasts also made its debut, whereby a selection of matches were fed live to around 650 digital cinemas as well as selected venues in 3D HD quality around the globe. blockbuster movie, helping put all the technology and co-operation into context with the finest content available. This year the audience saw an extended sequence from Tron: Legacy, the long-awaited sequel to the 1980s sci-fi classic. Walt Disney Pictures will release it at the end of December, but IBC visitors got a sneak peek at the astounding mix of live and virtual reality action. It was a fitting end to a spectacular evening.

But what does it take to provide a compelling experience to consumers in these three different worlds? Is it about the technical requirements, the userinterface, the content rights? Here are 5 keys to succeeding in the new crossplatform market opportunity that industry experts and thought leaders recommended to me this month.

Technology: Make it work for you

oday, another historic opportunity can be summed up as: “It’s the platform, stupid!” Already, more than half of all PC users in the U.S. watch longform TV show or movie video on PCs, and 14% on mobile phones according to Parks Associates’ Q2 2010 Digital Media Evolution II report. In addition, world-wide smartphone users will nearly quadruple between now and 2014 to reach 1.35B users. A growing revenue opportunity awaits content producers that can master new digital techniques to deliver a seamless content experience to TV consumers that are beginning to tune in to online and mobile devices. The normal video “format” as well as advertising, payper-view, and subscription business models now must begin to adhere to cross-platform delivery requirements. There are many new drivers behind this trend. “I think a lot of people in the United Arab Emirates and around the world are still watching TV with their hands on their laptops” says Hassan Chahine, Chief

technology officer, Dubai media incorporated. But the availability of affordable consumer apps and tools the last few years has made content creation and social networking easier. This, in turn, is putting cross-platform media delivery into the spotlight. The younger demographic, says Chahine, is especially attracted simultaneously to computer, mobile and related gadgets. “They will accept anything through those platforms” he says, “and are not much interested in the usual way of providing content.” Consumers will increasingly expect to pause video on their home TV set and resume it on a smart phone or PC away from home. It’s important to create video for deployment on today’s devices as well as “those we can anticipate in the near future” says Cisco’s Malachy Moynihan, VP, Video Product Strategy, “to create capabilities for interacting in ways we might not have thought about before. Recommendation and search, for example, are important to deploy across the platforms, making sure to bring some of the monetization with you.” 50

“Encode it right!” The most important thing about multi-platform content delivery is video quality, because it degrades each time it’s re-encoded for a different platform according to Bob Hildeman, CEO of Streambox, a software-based video transport platform. “Our tip” says Hildeman, “would be to adopt a codec compression technology that preserves as much of the content’s original quality as possible even as it is re-encoded many times into different formats.“ “Understand the customer and the relevant devices”, advises Tim Napoleon, Co-Founder of AllDigital, formerly Akamai’s Chief Strategist. “For example,” says Napoleon, “it might not make the most sense to promote Disney content targeting young children on a Blackberry”. That’s why he recommends focusing on the top one or two relevant devices or operating systems per platform. “Build a single API through which all devices connect” says David Jensen, Digital Media partner at IBM Global Business Services. This enables the developer to focus on building out separate user-interfaces for specific devices or device types. Turn-key approaches for delivery such as Microsoft’s IIS Media Services tout one encoding format to deliver adaptive seamless streaming delivery to Silverlight players on everything from PCs and Macs to Linux, Intel set-top-boxes, and iPads, iPods, and iPhones. The name of the game is unified multi-screen video delivery for content distribution, management, and delivery requirements.

“Using a single solution to support all screens” says Concurrent CEO, Dan Mondor, “reduces the content management challenges, enables crossscreen interactivity, and ensures subscribers can get access to the same content and user experience on every screen”. Unique to Middle East audiences, to deploy cross-platform effectively “use MP4 format to ensure PC, Mobile, iPad and iPhone can play it correctly” says a spokesperson from Yahoo! Maktoob. Additionally, the use of caching techniques that leverage CDN (Content Delivery Network) edge servers within the region or Europe will enhance performance. But don’t worry if you haven’t figured it all out yet. Even Adobe, with its ubiquitous Flash video platform (nearly 99% global market penetration) is still working out its strategy as they seek the best quality codecs and commonly used encoding formats. “We’ve got about 76 partners participating in the open screen project initiative” says Anup Murarka, Director, Product Marketing, Flash Platform, Adobe. Android will be the first out the chute this summer, and next comes Blackberry OS, Palm OS, Symbian and others, the goal says Muraka is “for all those platforms to support the same video capabilities across each of them.”

Stubenvoll, “which can incorporate preand post-roll ads and create an integrated video/graphic presentation (note that 3GPP mobile devices and most IPTV set-tops do not yet support this view).” “Have a great idea” says AllDigital’s Napoleon. Having great content (and the associated rights, of course) is the first step. But the content owner also needs to define the programming’s business model “based on advertising, subscription, pay-perview, or other drivers to justify the investment into a multi-platform distribution strategy.” The reason content rights must be negotiated across the three platforms is because “many endeavors fail” according to Greg Douglass, Accenture Global Managing Director, Media and Entertainment Practice, “when people realize they can’t watch ‘their’ shows on mobile TV and instead it’s only second tier content or video clips.”

User Design: Create a user interface that wins the consumer

Monetize: Be methodical and prosper Turning to the business and revenues, it’s critical to create a uniform “back end infrastructure which can be leveraged across all platforms” says IBM’s Jensen, “to manage users, payments, entitlements, content, and rights.” But how do we know which revenue models work on the threescreen new media frontier? “Monetizing content deployed across platforms is very challenging” says Wowza Media Systems CEO David Stubenvoll, “because some client players and technologies do a poor job performing the necessary functions. The best, and most widely deployed platforms for PC are Flash and Silverlight” says

Today’s subscribers want control and scheduling of content through a simple, unified interface. So, it’s critical to give users a customized user experience based on their own buying and watching habits. “Don’t just put up a grid of available content” says IBM’s Jensen, “focus on optimizing the experience of each screen, rather than trying to simply replicate the television experience on the mobile device.“ From sign-on to log-out, quality of the video on their mobile, desktop, or digital television must be impeccable. If the encoding quality is poor, the consumer will discontinue the service. Many now expect high-quality HD. “Nothing less is acceptable” says AllDigital’s Napoleon. Likewise, easy navigation and search for content is critical. “Hulu Plus has this right” says Accenture’s Douglass who believes the consumer will not be satisfied unless they can find what they want in “two or three clicks/touches max.”

Be Creative Delivering to all three screens is really a new medium. Experiment with traditional and creative design, content, and social marketing tools. Consumers are hungry for new programming experiences across these devices and it’s a good way to capture audiences roaming in search of content. When it comes to mobile, “people come to watch news and weather” says thePlatform Director of Technical Sales, Tim Sale, “but then stick around for niche content like Comedy. They actually spend more time watching this content (that doesn’t do very well in the online, PC environment), but does very well on mobile.” In this regard, Sale and others believe it’s good business sense for smaller businesses to consider finding little niches that do better on each particular device. Also, consider the power of real-time delivery. “Live, live, live” says Accenture’s Douglass. “Audiences are really only aggregating in mass online and on mobile for live events. That must be a part of your offering especially if you hope to derive your revenue primarily through adsupported models.”

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Adapt! Don’t forget the iPad Because the only constant is change, it’s critical to adapt new technologies like Apple’s newest device that has sold over 7 million units since its launch only 6 months ago. In Europe, broadcasters in Germany and France have launched iPad-specific apps that stream top-rated network broadcasts, and the BBC says the iPad accounts for 10% of its iPlayer catch-up service user requests. Since Apple has chosen

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HTML5 as its video technology, it creates some intricacies for developers says Brightcove’s Eric Elia, VP TV solutions. Brightcove supports both HTML5 and the Adobe Flash video stack across all platforms. But as Elias says, today “it’s definitely a more complex world that publishers are having to deal with. We’re not going to have one platform to write against but many.” There are now Mac and PC plug-ins that convert existing video into iPad-compatible format. And with a little coding, content providers can also embed HTML5 into their existing webpage, Wordpress blog, or link to an HTML5 video player. Products like the popular Total Video Converter help migrate video content in a wide variety of video and audio formats. Another, iFunia’s iPad Video Converter for Mac, also transforms AVI, MKV, and various HD formats into iPad format providing conversion menus to select desired output settings and optimization options for iPad or iPhone. When it comes to cross-platform strategy, “similar to Apple”, says IBM’s Jensen, “allow independent 3rd parties to develop apps to run on your system. This provides thousands of other companies who are motivated to develop compelling games, apps, content, etc. based on a business

model in lock step with your own. The more developers create content for your platform, the more compelling your platform becomes.”

Good things come in threes. Content is becoming increasingly multi-platform as the 2010 Worldwide TV Yearbook advises: “TV, internet and mobile phones should together allow greater opportunities to watch your favorite show at any time, in any place, and on any device.” As the once distinct worlds of TV programming, computing, and mobile devices inter-connect industry drivers will continue to turn the bond into creative new forms of entertainment, communication, and revenue models.

About the Author

Howard Greenfield is a digital media industry strategist, columnist, and co-author of IPTV & Internet Video (Focal Press, 2nd Edition, 2009). He is principal of Go Associates, a leading consultancy that develops and implements high-tech product marketing and global business development strategies. Howard has held senior management and consulting positions with Sun Microsystems, Informix Software, British Telecom, Apple Computer, and other world technology leaders. He is the creator and former manager of Sun’s first Media Lab and is now a frequent contributor to industry publications. Howard completed his graduate studies at Stanford University.

STAR PLUS launch in Mauritius on IPTV platform STAR, Asia’s leading media and entertainment company, has announced a distribution deal with Mauritius based IPTV operator Mauritius Telecom to launch STAR PLUS, India’s No. 1 general entertainment (GE) channel and STAR One, The next generation of Hindi entertainment in Mauritius. The launch marks STAR’s second Indian Ocean distribution deal. STAR PLUS and STAR One are the first and only Hindi channels offered on the platform.

TAR PLUS has been the No.1 Hindi GE channel for nine consecutive years. Offering a variety of programs, the channel’s lineup includes dramas, comedies, reality shows, game shows, historical and mythological epics as well as Bollywood events and blockbuster movies. STAR One will bring a spanking new array of content, the shows comprising of a high voltage entertaining mix of reality, lifestyle, drama and a lot more that challenge convention and speaks the language of the youth, inspiring them to script their own destiny! “We’re thrilled to bring India’s favorite channels to Mauritius Telecom subscribers through our first ever Indian Ocean IPTV distribution deal,” said Sumantra Dutta, STAR’s Country Head -

Middle East, Africa & Pakistan. “I’m confident that STAR PLUS and STAR One 53

will excite viewers in the region with India’s most popular dramas, reality shows and special events. Looking ahead, we look forward to working more closely with Mauritius Telecom to bring subscribers even more television choice from our highly rated bouquet of South Asian channels.” The Chief Executive Officer of Mauritius Telecom Ltd., Sarat Dutt Lallah said, “Initially when we launched My.T we became the first provider in the region to offer IPTV services. We have since consistently strived towards providing the best contents to our subscribers be it VOD or TV channels. We are therefore delighted to welcome STAR PLUS and STAR One on the My.T service of Mauritius Telecom Ltd.

Christie expands 3D projector line Christie has announced that its successful Mirage Series 3D DLP projector line has expanded with the addition of six models to bring high performance 3D solutions to new markets. The new Christie Mirage M Series 3-chip DLP projectors offer complete compatibility with today’s 3D standards to support growing demands for 3D displays – from home entertainment and video gaming, to museums, education and rental/staging. The most compact 3-chip DLP projectors in their class, the six models feature a new dual-input image processor and a wide range of input options to integrate with any 3D signal and format. For 3D entertainment requirements, the Christie Mirage M Series is ready for Blu-ray 3D video, PS3 and other gaming consoles and meets the mandatory 3D spec for HDMI v1.4a. Combined with embedded Christie Twist for advanced image warping and edge-blending, and a full suite of specifically designed lenses, the projectors are easy to use and configure for visually stunning 3D.

LED has never been this cool Visualization specialist Barco has announced a new line of LED-lit, DLP-based video walls with an improved LED engine. The new OVL range reaches a brightness level that is 20% higher than any competing system, without shortening the projection system's lifetime. This makes it the most efficient LED video wall available today. The OVL video wall range is offered in 4:3 ratio, with screen sizes up to 80 inch. Just like Barco's 16:9 LED video walls, the new OVL series has an advanced heat management system based on liquid cooling technology, which brings the LED temperature down to the optimal level. This results in a significantly longer lifetime of the projection system, amounting to 80,000 hours of continuous operation in eco-mode – or a 35% improvement over competing video walls.

SMART introduces new class of Interactive Whiteboard

NEC announces new MultiSync X-series large-format LCDs At the beginning of next year NEC Display Solutions will launch two new 46” and 55” LCD public displays in the NEC MultiSync X-series with LED backlights. The NEC MultiSync X461S and X551S will be equipped with professional public display panels with the brightness and reliability standards suitable for public display applications. This is what sets these models apart from existing LED backlight

SMART Technologies have announced the SMART Board 800 series interactive whiteboard, a next-generation series that will provide the most natural and intuitive user experience yet on a SMART Board interactive whiteboard. The new 800 series extends the company’s leading interactive whiteboard product line to offer true student collaboration. The SMART Board 800 series interactive whiteboard supports multiuser writing and common multitouch gestures currently recognized in Microsoft Windows 7 and Mac Snow Leopard. SMART Notebook collaborative learning software will support certain features, such as freestyle interactions, touch gestures and full object awareness upon the release of SMART Notebook 10.7 software – expected by March 2011 – which will allow SMART Board 800 series users to take full advantage of gestures within SMART Notebook lesson activities.

displays with built-in TV panels. The LED backlighting allows for very low energy consumption and an extremely slim monitor. The two large-format monitors harmonise perfectly with any sophisticated environment in which first-class service and design are paramount. Examples of such environments are high-end retail signage applications or central information displays in hotels or conference centres. 54

Extron Modular Power Enclosure Epson introduces three HighBright professional projectors

Extron Electronics is pleased to announce the immediate availability of the PowerCage 1600, a rack-mountable, 16-slot enclosure that supports a wide range of Extron fiber optic and twisted pair A/V transmitter and receiver boards. Providing an efficient way to power and mount multiple transmitters and receivers, the PowerCage 1600 simplifies integration for large, rack-mounted systems. The PowerCage 1600 also features an optional redundant, hot-swappable power supply plus active power and thermal management to optimize reliability in mission-critical environments where continuous, 24/7 operations is essential. The hot-swappable, modular design allows for replacing or upgrading boards in the field at any time, without having to power down the system. "A/V professionals who are designing larger systems often need to include a variety of short, medium, and long distance signal runs to connect remote sources and displays to a central switching and signal processing equipment room," says Casey Hall, Vice President of Sales and Marketing for Extron. "The PowerCage 1600 offers the flexibility to specify the optimal mix of twisted pair and fiber transmitters and receivers for each system while providing a convenient, space-efficient way to rack-mount and power all the equipment."

Epson, the number-one selling projector brand worldwide, has announced the PowerLite Pro G-series installation projectors designed for medium to large meeting spaces in corporations, higher-education, K-12, and houses of worship. The PowerLite Pro G5550NL, G5650WNL and G5950NL are full-featured models for custom installations that include a wide range of “future proofing” technologies and collaboration features. “Epson remains committed to providing high-end installers and integrators with projectors that deliver the features, flexibility and easy set-up required for seamless integration,” said Kelvin Reynolds, general manager at Epson South Africa. “The new PowerLite Pro G-series projectors provide enhanced image quality by incorporating C2Fine technology previously only found in our high-end Home Cinema and premium large venue installation projectors. Plus, through networking advancements, they bring new presentation and collaboration tools like Multi-PC Projection to end-users, while still delivering the low total cost of ownership that customers expect from Epson.”

Mitsubishi expands pro-display line-up

Vogel’s Professional introduces modular XL wall mounts Vogel’s Professional has introduced a new range of modular wall mounts for extra large displays. The modular wall mount is especially designed for displays from 65 inches and larger, with a maximum mounting fitment of 1370x1400 mm and maximum weight of 150 kg. The modular wall mount is set up with a interface wall plate (PFW 58xx) and two interface strips (PFW 59xx). Vogel’s offers 3 different lengths of interface wall plates 800, 1050 and 1450 mm and 3 different lengths of interface strips 800, 950 and 1450 mm. With the modular concept you can create a mounting solution for almost every extra large display. Special diagonal mounting holes make it very easy to level the interface wall plate during installation. Vogel’s products are distributed in Southern Africa by Radionic Distribution.

Mitsubishi Electric has announced the European launch of its latest public display LCD monitor, the MDT651S. The new display is a slim-bezel 65” display, designed especially for use in digital signage or point of information applications. Excellent display performance is complemented by numerous energy efficiency and design features that make the 55

MDT651S an ideal choice in projects such as retail, leisure, transportation and public area signage. The 65” diagonal screen delivers Full HD (1920 x 1080px) at 700 cd/mÇ, with a contrast ratio of 2500:1. A fast response time of 8ms grey-to-grey ensures crystal-clear reproduction of dynamic content, and the screen can operate equally well in portrait or landscape formats, making it extremely versatile. MDT651S also has built-in image processing, enabling tiled displays of up to 5 x 5 units to be created for maximum impact. The elegant, brushed steel, slimbezel design blends effortlessly into any environment, making MDT651S a good choice for corporate as well as public area use.

Robe launches ROBIN 600 & 300 LEDWash fixtures Robe launched its amazing new ROBIN 600 and 300 LEDWash fixtures at PLASA 2010. As with all Robe products, the ROBIN 600 and 300 LEDWashes are robustly engineered and built for serious use in the touring, show and events markets in addition to long term fixed installations. Apart from the low energy consumption, both fixtures incorporate a smooth, homogenised light engine and emit a fabulous quality of light similar to that of a conventional source, but hugely brighter at a fraction of the power. The super-slim ROBIN LEDWash 600 features 37 x 10 Watt RGBW multichip LEDs that are each individually controllable. These are arranged in 3 concentric rings designed for creating stunning colour and pattern effects when pointed towards an audience .... as well as for providing comprehensive, even wash coverage of performers, stages, spaces, scenery, etc. The 3 LED rings are completely unique (patent pending) and set the LEDWash 600 aside from other LED wash light products, also making it a truly 'multi-purpose' unit.

Clear-Com shine spotlight on communications Clear-Com brought their new intercom platform, HelixNet, to the entertainment and installation industry at this year’s PLASA 2010 where it also showed of its enhanced version of the Tempest2400 digital wireless intercom system, which is now shipping worldwide.In today’s world of live production, crew members coordinating live events such as sports, breaking news, political conventions and other scenarios, require rugged, reliable wireless operation and are challenged with making more happen with less time, more complex technology and fewer resources. Recognising that communication still plays a critical role in enabling a wellcoordinated production workflow, Clear-Com’s latest intercom innovations are much simpler to set-up, use and manage, while still offering the level of sophistication, flexibility and scalabilities that live production demands. HelixNet and Tempest2400 are solutions that meet these challenges. ClearCom products are distributed in Southern Africa by Spescom Media IT and in the Middle East by NMK Electronics.

Polycom transforms communications in the workplace

Polycom, a global leader in telepresence, video and voice communications solutions, has expanded their leadership in voice over Wi-Fi (VoWi-Fi) products with next-generation Polycom Spectralink 8400 handsets for wireless voice and data applications that transform mobile unified communications (UC) in the workplace. The new Polycom SpectraLink 8400 series are the first in the industry to feature a revolutionary standards-based application platform, the most reliable form factor for enterprise

Da-Lite expands Home Theatre offering Da-Lite has introduced a new addition to its comprehensive line of home theatre projection screen options with the launch of the Multi Format Imager masking system. In a response to the home theatre market demand for screens that can display optional format choices while maintaining a constant height, Da-Lite’s new Multi Format Imager allows for sizes up to 16’ wide. With the masking retracted, the native aspect ratio of the Multi Format Imager is Cinemascope (2.35:1). With masking, you can achieve Letterbox (1.85:1), HDTV (1.78:1) and PAL Video (1.33:1) formats. 56

use, an integrated barcode reader, Polycom’s renowned voice quality, and the industry’s broadest interoperability with 802.11a/b/g/n wireless infrastructure and marketleading UC platforms. "Polycom is taking enterprise-grade VoWi-Fi to a higher level of functionality and performance with the introduction of the 8400 series handsets,” said Craig Mathias, principal, Farpoint Group, an advisory firm specialising in wireless communications and mobile computing. "The SpectraLink 8400 incorporates all of the key features enterprises are looking for in wireless handsets, including durability and ease of use, and also includes support for critical business applications through a powerful and flexible thin-client approach.”

RTI now shipping four-zone audio matrix

New Bose FreeSpace DS 40SE loudspeaker

Remote Technologies Incorporated (RTI) has announced that it is now shipping its AD-4 four-zone distributed audio matrix switcher. Acting as an extension of RTI's control systems, the AD-4 offers a cost-effective, highly adaptable solution for distributing music throughout any residential or commercial installation. Containing both a matrix switching preamp and a built-in 8-channel Cool Power class D amplifier, the AD-4 distributes up to four analogue audio sources to four zones. Added flexibility comes with the ability to augment four local audio source inputs with four remote source inputs. Users can now enjoy music from their bedroom CD player, kitchen iPod dock, and office PC in any zone, with an amazing sounding 25 watts per channel. Featuring a compact, lowprofile design, the AD-4 is suitable for rack-mount or freestanding installations. "Our AD-4 offers a simple way to distribute music from a number of audio sources throughout any residential or commercial installation without breaking the budget," said Pete Baker, vice president of sales and marketing for RTI. In addition to the AD-4, RTI has recently announced the upcoming release of several new sophisticated audio solutions, including the AD-8 eight-zone distributed audio system for larger installations.

Following the success of the ever-popular DS16 and DS 100 surface and ceiling mount speakers Bose are proud to announce their new FreeSpace DS 40 range of loudspeakers. The DS 40 SE is a high-performance, surface-mount loudspeaker designed for background and foreground music, and speech reproduction in a wide range of commercial applications—both indoors and outdoors. This loudspeaker is well-suited for retail stores, restaurants, patios/outdoor dining, bars/nightclubs, houses of worship, hospitality venues, public spaces, offices, meeting rooms, hallways, entrance ways, lobbies and concourses. This 40-watt loudspeaker is engineered for mounting heights up to 26 feet (8m) high. The FreeSpace DS 40SE loudspeaker features a single 4.5" (114 mm) HVC (Helical Voice Coil) full-range driver known for robustness and reliability. With sleek contemporary styling the FreeSpace DS 40SE compliments most decors while providing high-fidelity sound. The FreeSpace DS 40SE loudspeaker is acoustically compatible with the FreeSpace DS 40F flushmount loudspeaker and can be combined on the same loudspeaker line. It meets numerous standards for combination music and evacuation systems around the world.

Chief launches new Thinstall swing arm mounts

High-quality audio and classroom technology

Lightspeed Technologies, a leading provider of classroom audio solutions, has announced the launch of the all-new CAT800 Series. This is the latest evolution of Lightspeed’s installed classroom audio systems that includes an amplifier, infrared sensor/receiver, speakers, and the ultra light REDMIKE classroom microphone. These systems are specially tuned to penetrate ambient noise, optimize vocal clarity, and deliver full-range media sound. The introduction of CAT 800 systems to the classroom maximizes schools’ investment in technology and ensures all

students can hear every word. The systems are highly compatible and easy to integrate with all classroom technologies including computers, projectors, interactive whiteboards and DVD players. “With all the great new visual technologies used in the classrooms, it is critical to also include high quality audio to truly maximize that investment,” says Shaun Fagan, Product Manager at Lightspeed. “CAT 800 systems become the hub to integrate all audio sources, including the teacher’s voice, delivering clear, high quality sound to all students.” CAT 800 Series of products are highly configurable and provide specific feature sets to meet the audio requirements of every learning environment from the basic classroom to the most tech-savvy media room.

Chief, the industry leader in professional AV solutions, will present their new Thinstall low-profile swing arm wall mounts at ISE 2011. Designed for use with all types of flat panel TVs, the slim, ruggedly-constructed mounts have an ultra slim 38 mm profile, are easy to install, extend up to 63.5 cm for viewing from any angle, and support as much as 56.7 kg (125 lbs). Engineered for use with LED, LCD and plasma TVs, the Thinstall swing arm mounts collapse to a mere 38 mm depth while offering smooth, Centris 57

fingertip tilt. High strength, forged steel arms are utilized within the Thinstall design for extra strength and rigidity. Chief’s Centerless lateral shift feature offers up to 40 cm of post-install lateral shift, while height and levelling adjustments of up to one inch (25 mm) can be made after the mount is in place as well. All necessary hardware—including screws, spacers, and hex keys—are supplied for mounting on wood, concrete, or brick walls. Multiple cable paths have also been thoughtfully provided and are enclosed with covers allowing tool-free access. A wide-open wall plate lets installers quickly place the mount and connect power. In virtually any application, a single person can easily mount the system’s top rail and slide on the entire assembly.

UBMS named Master Distributor for Vitec’s Videocom division United Broadcast and Media Solutions (UBMS) sets a new milestone within the broadcast industry after being named Regional Master Distributor of Vitec Groups Videocom division, which includes brands such as Sachtler, Litepanels, Oconnor, Petrol Bags, amongst others. The announcement, made during IBC 2010, further enhances UBMS’ commitment to only provide excellent and innovative product lines, as well as deliver outstanding customer service and support network within GCC. Vitec’s Videocom Division is currently at the industry’s forefront by specializing in the design and production of high quality equipment principally for professionals engaged in producing and

transporting video content for the global media industries – broadcast, film, live events and education. Reza Nikfar, CEO of United Broadcast and Media Solutions said: “This announcement clearly reflects UBMS’ and Vitec Groups shared core competencies that will be beneficial to both our businesses and customers alike. Since its inception in 1997, UBMS has established itself as the premier provider of professional audio, video, lighting and broadcast needs, as well as system integration. The company represents more than 6,000 products of more than 50 major industry brands, such as Sony, Sachtler, Anton Bauer, Fujinon, Ianiro, Libec and Marshall Electronics, to name a few.

CTS Prep in Durban and Johannesburg Following on from the success of the AV Essentials class presented in Durban earlier this year, SACIA have scheduled to run the popular 3-day GEN112 CTS Prep course in KwaZulu Natal during January. The course will be presented at the University of KwaZulu Natal's Audiovisual Centre and will be repeated the following week in Johannesburg. Jasper Cecil from the University’s audiovisual centre has been an active supporter of SACIA and our drive to promote professional standards in the local AV industry. His Centre provides audiovisual support to five campuses with 35 staff,

who provide a variety of AV services in Durban and Pietermaritzburg. This includes a video production unit with 3 studios and 2 OB vans. They also provide AV equipment to support academic and student initiatives. “The division is committed to delivering exceptional services to its clients within the University and to achieve this objective, it is critical that our staff understand the science and technology behind the audiovisual services we provide,” he says. The course is designed to help AV professionals who are preparing to write the InfoComm CTS exam.

MECIA launch LinkedIn group To help the local AV industry keep in contact more effectively both MECIA and SACIA have established LinkedIn groups. With 80 million users worldwide, LinkedIn is a great tool that allows members to communicate, post jobs, ask questions and share ideas. The fledgling MECIA group accelerated to 100 members within two weeks of its establishment and 58

looks set to provide a great platform for AV industry professionals to engage with each other. Membership of the LinkedIn groups is not restricted to MECIA or SACIA members but is open to all AV professionals with an active interest in the market . If you haven't joined yet, log onto your LinkedIn account and click ‘Groups you may like’.

See us at CABSAT MENA 8-10 February 2011

Richie Ebrahim on tour with Protea cricket team Regular readers of the magazine will know that our business manager in Dubai, Richie Ebrahim, is a keen cricket fan. He’s a volunteer umpire with the Dubai Cricket Council and was recently recognised for his umpiring in the Dubai Super 6’s when he received a special award from Sri Lankan cricket legend Aravinda da Silva. The Super 6 tournament attracted a number of

recent international players including South Africa’s Lance Klusener, star of the 1999 World Cup and 2000 Wisden cricketer of the year. During November Richie was on tour with the South African cricket team when he was temporarily appointed as team liason officer for the South African team during their international series against Pakistan.

Bill Vinten wins the Guild’s TiCA Award for Excellence Bill Vinten, youngest son of the founder of Vinten, has been presented with the Guild of Television Cameramen’s highest honour. The award was handed over at the prestigious BFI Southbank in London, where 90-year old Bill Vinten collected the Guild’s TiCA Award for his lifetime contribution to fostering and improving the art and craft of the professional television cameraman. Bill Vinten dedicated his award to all of the Vinten employees for their hard work over the years, and their contribution to the company’s success. The award marks a momentous year for Vinten as the company recently celebrated its 100 year anniversary, an unprecedented achievement in the film and television industry. Back in January 1910, Bill Vinten’s father, William Vinten,

CTS-D advanced AV design in Dubai During October MECIA hosted InfoComm’s advanced DES212 AV Design Essentials course. Scott Wills CTS-D, InfoComm’s director of international education made his first trip out to the Middle East in order to deliver the course that was attended by delegates from Turkey, Nigeria, Saudi Arabia, Egypt and the UAE. “It was a unique

experience to teach AV professionals from so many different countries,” says Scott. “This geographic mix demonstrates MECIA’s broad appeal within the Middle East’s professional AV industry.” MECIA has partnered with InfoComm International to promote the adoption of professional standards within the region’s audio visual industry. 59

opened his first workshop for business, repairing and manufacturing cameras. The company revolutionised the broadcast industry and set Vinten on its path to become the established, global market leader it is today. GTC chairman, Graeme McAlpine, said: “We were delighted to present Bill Vinten with our TiCA Award for Excellence 2010, it is the Guild’s biggest accolade and went to a well deserved winner. Vinten’s innovative products have undoubtedly changed the world of broadcasting. The family and the company have provided cameras and cameramen with 100 fantastic years of support”. Earlier in the month, Bill had presented a special award to Tony Niemeyer, South African distributor of Vinten products, in recognition of Tony’s 40-year service to the brand.

Anton Bauer go ‘through the roof’ on Mount Kilimanjaro Anton/Bauer, a brand of The Vitec Group, and the world’s premier provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, was the behind-the-scenes power for “Through the Roof,” a documentary following the remarkable journey of Erica Davis, the first female paraplegic athlete to summit Tanzania’s Mount Kilimanjaro.

aptured Life Productions, which produced the film, relied on Anton/Bauer’s ElipZ 10K batteries to keep the cameras rolling as Davis and her team made the trek up and down the mountain. The ElipZ batteries proved themselves more than up to the task, as they not only maintained power throughout the nine-day climb, but still had energy to spare after it was over. “Through the Roof” depicts Davis, along with Tara Butcher, an amputee below the left knee, as they and their support team scale the 5,893 meter high mountain. It took them seven days to reach the summit, with temperatures decreasing from around 40 degrees Celcius at the foot to around 10 below zero at the top. Captured Life Productions co-owners Matt Peters and Chris Theibert were there every step of the way, shooting most of the footage with a Panasonic AG-HPX170 P2 HD handheld camcorder, powered by the Anton/Bauer ElipZ 10K batteries. “We did a lot of research to determine the best type of equipment for a shoot like this, where we would be operating in harsh conditions and without access to a power source for several days,” says Peters. “We read about many companies that really trusted

Anton/Bauer, and so we immediately started looking at the company. It seemed like a perfect fit, and the customer and sales support were great. I had some pretty specific questions regarding how the batteries would handle the temperature fluctuations and the fact that we wouldn’t be able to charge them for several days, and I always got feedback right away.”

Long life battery Using just three Anton/Bauer ElipZ10K batteries, Peters and Theibert captured 12 hours of primary footage for the documentary. As a precaution, they had brought six of the batteries with them on the shoot, expecting to use them all. They were surprised to have three charged batteries leftover after completing the shoot. “We were amazed that we actually had unused batteries when we got off the mountain,” recalls Peters. “It was something we didn’t think was possible, because we ran out of room on the camera before we ran out of battery power. It was a really good thing for us, very comforting, and it just clinched it for us. We’ll never use anything else!” Anton/Bauer’s ElipZ 10K battery uses the highest capacity lithium ion cells available, providing field runtimes of more than 60

seven and a half hours on a 10-watt camera load-almost an entire shooting day. The lightweight battery actually improves the comfort and handling characteristics of the camera by lowering its center of gravity and providing an additional handhold. It is also the first battery to use the underside of the camera as a mounting surface, away from operator controls, offering further ergonomic comfort.

Challenged athletes foundation The CHEK Institute, a provider of educational programs, products and services for the fitness and healthcare professional, teamed up with the Challenged Athletes Foundation, Overstock.com and other sponsors to assist Davis and Butcher in climbing Mount Kilimanjaro, the world’s fourth tallest mountain. The successful climb was designed to bring awareness to the capabilities of challenged athletes everywhere in that anyone can accomplish anything and everything they put their minds to, no matter what the challenge. Peters and Theibert are currently taking “Through the Roof” around the film festival circuit, hoping to pick up a distributor.

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